As gender boundaries blur, K-pop experiments beyond traditional boy-girl group formulas

Young Posse (RBW, DSP Media, Beats Entertainment)

For years, K-pop’s image-building playbook relied heavily on gendered archetypes. Boy groups were often associated with powerful, masculine concepts, while girl groups were expected to emphasize beauty, elegance, femininity or cuteness.

That formula, however, appears to be evolving.

As audiences become increasingly receptive to gender-fluid fashion and self-expression, a growing number of K-pop acts are challenging traditional expectations surrounding gender presentation.

Boy groups such as NCT Wish have found success with softer, more delicate visual concepts, while girl groups including Young Posse and Badvillain have embraced rap-heavy, street-inspired aesthetics that challenge conventional expectations of femininity in the idol industry.

The shift reflects a broader expansion in K-pop of what artists are allowed to look and sound like, regardless of gender. Rather than strictly adhering to traditional boy group and girl group formulas, newer acts are increasingly experimenting with concepts that prioritize individuality and self-expression.

Badvillain (BPM Entertainment)

Among the most prominent examples is Xlov, a boy group that has built much of its identity around a concept of gender neutrality.

Debuting in January 2025, the four-member act consisting of Wumuti, Rui, Haru and Hyun has drawn attention for incorporating skirts into stage outfits and voguing-inspired choreography — choices that remain uncommon within the traditionally masculine framework of boy group performances.

While K-pop has seen individual artists experiment with gender-neutral styling in the past, Xlov stands out for positioning genderlessness as a core part of the group’s identity, rather than as a temporary concept.

According to culture critic Kim Heon-sik, the rise of such concepts reflects changing attitudes among both artists and audiences.

“In the past, K-pop relied heavily on clearly defined masculine and feminine images. But as the genre evolved, the industry began to realize that such defined norms placed limitations on the concepts the artists could try and experiment with,” Kim said. “Today, audiences are generally more open to diverse forms of self-expression. Rather than focusing on whether an image appears masculine or feminine, fans are increasingly evaluating artists based on how unique and authentic they feel.”

Xlov (RBW, WM Entertainment, 257 Entertainment)

Initial skepticism accompanied Xlov’s debut, with some questioning whether a boy group openly embracing a genderless concept could gain traction in the domestic market. Though still in the process, Xlov is steadily expanding its fandom both in Korea and overseas, turning what was once viewed as a commercial risk into one of its defining characteristics.

The group’s momentum has been particularly visible internationally.

According to WM Entertainment, Xlov has garnered approximately 7.8 million monthly listeners on YouTube Music and more than 2.3 million monthly listeners on Spotify. Its European tour, which wrapped up in February, sold out stops in the UK, France and Romania, while the group’s first anniversary fan concert in January sold out within one minute of ticket sales opening.

The boy group aims to kick off its first North American tour in New York and Los Angeles in early July, while planning to tour in Korea and Japan later in the month.

Its EP, “I, God,” released in May, sold 220,000 copies in its first week, representing a 163 percent increase compared to the group’s previous EP, “UXLXVE.”

“International listeners are generally more open to diverse forms of gender expression, which can be explained as a factor behind the group’s overseas success,” Kim said. “Whether concepts of gender neutrality will last in the industry or remain a niche trend remains to be seen. But Xlov’s emergence suggests that K-pop is increasingly willing to move beyond rigid formulas, testing new approaches to identity, performance and audience engagement as the genre continues to evolve.”

lee.jungjoo@heraldcorp.com