“男娘” (English: “Femboy”, Japanese: “男の娘” [otoko no ko]) refers to individuals whose biological sex is male but who adopt a feminine appearance, clothing style, or behavioral manner for self-expression. As a form of gender expression, “男娘” differs both from the performance-oriented nature of drag queens, and from transgender individuals’ sense of gender identity. Most “男娘” identify as men but enjoy appearing in a feminine way for various reasons, such as personal aesthetics, role-playing, identity exploration, or personal comfort.

“男娘” culture began gaining popularity on the internet and within youth subcultures in the early 21st century. It first emerged in the Japanese ACG (anime, comics, games) scene and subsequently spread worldwide through social media. This cultural phenomenon exemplifies how contemporary society challenges traditional norms of gender expression and provides a more diverse range of practices for gender plurality.

Cultural Origins and Development

Concept Definition and Traditional Roots

The term “男娘” generally denotes male individuals presenting with highly feminine appearances. In Chinese contexts, such individuals are often called “伪娘” or “女装大佬”, while in Japanese, the corresponding term is “男の娘” (otoko no ko), and in English there is a related concept, “femboy” (1), 2). This notion emphasizes a biologically male person whose outward appearance and mannerisms are extremely feminine. Historically, many cultures had traditions of men dressing as women: for example, the male dan in Chinese opera, the onnagata in Japan’s Edo-period kabuki, and the early modern Western practice of men performing female roles in Shakespearean theater. These precedents offer early examples and aesthetic foundations for modern “男娘” culture (3, 3). For example, in ancient China’s Three Kingdoms era, the scholar He Yan was famous for wearing women’s clothing, and was considered the country’s first “女装大佬” (man dressed in women’s clothing). At the time, his tastes drew criticism from conservatives who called it a “bad omen” (4). Japan similarly had traditions like onnagata in Edo-period kabuki and “new-style reversed-gender roles” in Meiji-era kabuki. Still, these older crossdressing traditions were mostly for performance or ritual rather than the self-driven youth subculture that would later emerge.

Emergence and Evolution in Japan

In the modern sense, the “男娘” subculture first arose in Japan. In the early 21st century, a wave of crossdressing characters appeared in Japanese ACG (anime, comics, games), sparking discussion and interest among otaku communities. A landmark instance is Bridget from the 2002 game Guilty Gear XX, a seemingly cute nun-like young girl who is actually male—this twist delighted fans (5). Bridget’s popularity is said to have “revived and united previously half-dormant crossdressing elements.” Within just half a year of the game’s release, Japan saw the launch of a doujin convention named after Bridget—evidence of this character archetype’s huge appeal (5). In subsequent years, “cute and feminine boy” characters became ever more frequent in the two-dimensional world, and the term “男の娘” (literally “man’s daughter”) began circulating online to describe male characters in female attire (1), 1). Japanese media and businesses quickly picked up on the trend. Around 2009, Akihabara saw establishments specifically aimed at “伪娘” (crossdressing men), such as maid cafés, fashion stores, and cosmetics shops. Magazines and photobooks featuring crossdressing men were published one after another, indicating the formation of a genuine subcultural industry (1). Since then, “男の娘” has moved beyond purely doujin culture and entered mainstream anime and games: countless manga and anime introduced crossdressed male characters (for example, Kazama and Itsuki in Fairy Tail, Chris in KonoSuba), and works focusing solely on “伪娘” have emerged. Japan’s idol and entertainment fields have also showcased male entertainers in female attire, such as certain visual-kei band members and comedic performers who exaggerate female appearances. That variety further enriched Japan’s “男娘” culture. However, it must be noted that Japanese “伪娘” culture is typically distinguished from transgender identity. In Japanese, “男の娘” primarily highlights men in women’s clothing, not necessarily a change in gender identity (3). Many Japanese men see crossdressing simply as a hobby or form of role-play; they do not regard themselves as women. Within Japan’s relatively tolerant subculture environment, “男娘” is more often consumed and discussed as a novelty or curiosity, rather than conflated with transgender identity.

Trajectory in China

China’s “男娘” culture was heavily influenced by Japanese ACG, developing slightly later but growing rapidly. As early as the late 2000s, China’s anime fandom saw a wave of men cosplaying female characters. A notable example is Wuhan’s “Alice 伪娘 troupe,” originally a university anime club. In October 2009, when a female performer couldn’t appear at a show, a male member stepped in wearing women’s clothing to a great reception, inspiring the creation of a specialized crossdressing performance troupe (3). Starting in 2009, “Alice 伪娘 troupe” grew from 9 members to around 200, mostly male university students in Wuhan who performed female roles at anime conventions. They became one of China’s earliest well-known male crossdressing groups (6). Around the same time, the Japanese term “伪娘” was imported into Chinese ACG subculture to describe adorable crossdressing male characters in anime, then extended to real men wearing women’s clothing (3). Around 2010, mainstream media began noticing this subculture for the first time. In 2010, the Hunan TV talent show Happy Boy featured a contestant named Liu Zhu, who wore female makeup and outfits on stage, sparking widespread controversy and discussion (8). Liu Zhu’s feminine looks—often mistaken for a woman—drew repeated questions about his gender from the judges. This incident, broadcast on television and proliferating online, precipitated China’s first nationwide debate on men wearing female attire (8). Though he was eliminated early due to controversy, he garnered a large online fan base who referred to him as “Sister Zhu,” and he was later invited to grace the covers of women’s fashion magazines, release his own music, and hold concerts (8). Liu Zhu’s popularity marked the moment when “伪娘” imagery first broke into Chinese public consciousness (8). Soon after, the term “伪娘” briefly became a trendy buzzword, and mainstream media and online forums began talking more about men dressing like women. Moving into the mid-2010s, with the rise of bullet-screen video sites and streaming platforms, China’s “男娘” subculture expanded further. In 2D fandom circles, the humorous nickname “女装大佬” (“big shot in women’s clothes”) became popular to describe men whose crossdressing skills were so convincing they could pass for actual females. Many communities started a “let’s see the male host in a dress” trend. On platforms like Bilibili or Zhihu, male streamers often faced boisterous comments from viewers saying, “We want to see you in women’s clothes!”—turning crossdressing into a playful interaction (3). Some streamers obliged, using female attire as a marketing gimmick or reward during special events. The heat continued into 2016 and beyond—a period some call the “Year of Male Crossdressing” in Chinese cyberspace. Many key opinion leaders (KOLs) in the anime domain tried crossdressing publicly, leading to widespread excitement, such that “XX wearing women’s clothes” became a big meme (3). This wave has continued in recent years; new male crossdressing internet celebrities keep popping up, proving that the phenomenon has built a stable base in the Chinese internet scene (3). Nonetheless, compared to Japan, the concept of “伪娘” in China has been localized differently. Many in China equate men wearing feminine attire with the LGBTQ community. In Japanese usage, “男の娘/伪娘” specifically refers to external appearance only, without implying sexual orientation or gender identity. But Chinese youth often assume that a “伪娘” role indicates homosexual or bisexual tendencies, or confuse it with the “effeminate” male stereotype (3). Thus, in China, the word “伪娘” often takes on more complex connotations of sexual orientation and “effeminacy.” Some people regard it as defying gender stereotypes and sexual orientation, while others equate it simply with flamboyant or gay men. Fundamentally though, as observers have stressed, “伪娘” does not directly indicate sexual orientation or transgender identity. It is first and foremost a visual style or character trope, not an automatic statement about sexual identity (3, 3). Hence, the Chinese concept of “伪娘” has taken on a more complicated meaning: some see it as challenging gender stereotypes and sexual orientation norms, others simply treat it as signifying an effeminate male manner. But at its core, as pointed out by analysts, “伪娘” does not inherently signify same-sex attraction or transgender identity—it is consistently a type of external persona or character design, not necessarily identical to a person’s internal sense of gender.

The Situation in the West

In Western culture, men wearing women’s clothing is not new, but historically has taken different forms and contexts from East Asia. Traditionally, the West has drag queen culture, where men perform exaggerated female attire and makeup, a major part of LGBTQ subculture. Drag, however, stresses performance and playfulness, differing from the “moe-style” crossdressing that thrives in East Asian ACG contexts. In more recent years, with the global spread of Japanese anime and internet communities, a Western youth culture resembling the “男娘” phenomenon has emerged—sometimes referred to as “trap,” though this term has garnered controversy for being derogatory or disrespectful to transgender people. Consequently, it has gradually been replaced with the more neutral and friendly “femboy” (2). “Femboy” literally means “feminine boy,” typically referring to a male who still identifies as a man but is feminine in dress and demeanor (2). In the 1990s, the term still bore strong discriminatory overtones, used to mock men seen as insufficiently masculine (2). However, by the 21st century—especially the late 2010s—this group began to be reclaimed and recognized. “Femboy” evolved from a slur to a subcultural tag, and some take it on as an identity reflecting more fluid expressions of gender (2). In Western online communities (Reddit, 4chan, etc.), discussions of anime “trap” characters or male crossplay photos started in the late 2000s, building the earliest fan base. By the late 2010s, with Tumblr and Twitter, “femboy” subculture reached a wider audience. In short-video and streaming platforms especially, Western men dressing in female attire have proliferated. A prime example is the British streamer F1NN5TER, who often appears in female outfits on Twitch or YouTube, amassing many followers; on TikTok, a “Femboy” trend surfaced, where numerous young men wear short skirts or thigh-highs to post dance or comedic videos. Data shows that the TikTok hashtag #femboy has over 30 million video posts, demonstrating its popularity among Western teens (9). Meanwhile, mainstream Western fashion circles are also blurring gender lines—for instance, singer Harry Styles in a skirt on a magazine cover triggered heated debate. All this suggests that in the West, “men in women’s clothing” is shifting from a marginalized subculture to something more openly discussed, aided by LGBTQ equality movements and viral social media. “Femboy” culture in the West generally centers on personal fashion expression and internet communities; it’s less tied to the ACG subculture than Japan’s. Yet the core is the same: challenging conventional masculine norms. Semantically, Western femboys emphasize fluid gender expression: most do not consider themselves female or transgender, but simply show a more feminine side while remaining men (2). This precisely aligns with Japan’s “男の娘” definition, highlighting cross-cultural similarities.

Overall, though “男娘” subculture has followed different development paths around the globe—Japan focusing on 2D moe culture and commercial packaging, China evolving from a small hobby circle to a mainstream buzzword, and the West blending into queer culture and social media trends—they all reflect contemporary youth’s exploration of more pluralistic, creative forms of gender expression. Each country’s cultural backdrop endows the phenomenon with unique features and societal significance, which the following sections will discuss in greater detail.

Social Media Dissemination

The rise of “男娘” culture is inseparable from social media. In China, platforms like Weibo, Bilibili (Bilibili), and Douyin (TikTok in China) host a huge number of male crossdressers and spirited discussions. For instance, on Sina Weibo, men’s crossdressing photos or short videos sometimes trend, arousing nationwide debate. In 2020, singer Annie Yi’s son, “Halle,” posted photos wearing a pink tulle skirt, climbing Weibo’s hot search chart (10). This marked a rare instance of a celebrity’s child openly wearing women’s clothes, capturing widespread attention. Comment sections showed polarized responses: supporters felt he was “bravely being himself,” asking “Why can’t a boy wear a skirt?” (10) whereas detractors deemed it “disturbing,” calling him “perverted” or “mentally ill,” and blamed parenting. Each time such a topic arises, a massive Weibo debate ensues, with fierce arguments from both sides, highlighting the broad social interest and controversy that “男娘” raises.

On short-video platforms, Douyin (TikTok in China) has produced several famous “女装大佬,” or crossdressing male internet celebrities. One is “艾比” (Abbily), known for sweet dancing and a petite, girlish look, amassing millions of followers (11). Many viewers only realized he was male after he revealed his sex, prompting widespread surprise. Another example is the streamer “轩墨宝宝,” who rose to fame as a gaming commentator but later appeared on camera in women’s clothing, branded by fans as “China’s #1 女装大佬.” He’s extremely popular (11). Videos of these personalities routinely gain millions of likes, demonstrating strong public fascination. On Bilibili, the vibrant 2D fandom hub, “男娘” culture also flourishes. Many male cosplayers upload videos portraying female characters—making up entire transformation sequences from male to “adorable anime girl,” receiving an outpouring of supportive “bullet comments.” Some classic scenarios are widely circulated: for instance, a male content creator fulfilling a vow to fans by wearing a maid outfit for an entire show, attracting site-wide attention. This “male host in a maid costume” gag has long been a staple of Bilibili subculture, a playful exchange between fan and creator (3). Internationally, Twitter and Instagram also feature numerous femboy creators who routinely post pics of themselves in feminine clothing, using hashtags like #femboy or #trap. On TikTok’s overseas version, “femboy” has formed a major trend, with countless teenage boys showing off crossdressing in comedic or dance videos. According to counts, #femboy videos on TikTok surpass 30 million entries, indicating the phenomenon’s popularity among Western youth (9). On YouTube, there are channels dedicated to makeup tutorials or fashion tips for men wanting to dress femininely, offering advice for beginners. Meanwhile, on Facebook or Reddit, communities like “Crossdressing Men,” “Trap/Femboy,” etc., gather fans worldwide who anonymously post pictures, exchange tips, and discuss their experiences—providing a transnational platform. Thus, social media’s widespread circulation helps “男娘” culture transcend geography, bringing people of different backgrounds into a shared subculture that thrives on continuous mutual reinforcement.

Forums and 2D Communities

Beyond mainstream social platforms, there are more niche communities and forums. In China, early ACG enthusiasts populated Baidu Tieba and Tianya forums, where terms like “伪娘吧” or “女装吧” were created as discussion boards specifically devoted to crossdressing men in anime or real life. These tieba communities gave fans a space to connect, referring to each other as “sisters” and sharing outfits and pictures. Platforms like ACFUN or the old Mop Forum also saw numerous threads about “伪娘,” including “伪娘 contests,” where participants voted on the best crossdressed photo. Some longtime anime fans recall that 2009-2011 was a peak for such forum activity. Hot anime with crossdressing or ambiguous male characters, such as Haku from Naruto or Chrome Dokuro (actually male) in Katekyo Hitman Reborn, spurred countless threads, making it a top subculture topic (12). With the rise of bullet-screen video sites, Bilibili itself has become a hub for real-time commentary, where fans can instantly weigh in on male crossdressing content. Bilibili also hosts many interest groups and organizes offline anime conventions that bring fans together. At these events, it is common to see male cosplayers in female costumes, often becoming the focal point of the entire convention and sometimes even covered by the media. Onlookers praise them as “indistinguishable in their male/female appearance” (12)). Attendees also exchange tips on how to wear wigs, corsets, or silicone inserts for the best female look.
In Japan, “男娘” groups have their own ecosystem. Besides popular crossdressing hosts on Niconico, the 2ch forum once had a dedicated “女装 board” for anonymous discussion, and in Akihabara there are crossdressing photoshoot gatherings (撮影会) that draw many fans, with pictures later shared on Pixiv. Some Japanese publishers even produce dedicated magazines like 女装少年 and おとこの娘❤蜜園 focusing on male crossdressing, featuring reader-submitted photos and how-to articles, which further cements a strong community. In the West, related groups mainly congregate online—like the r/femboy subreddit with hundreds of thousands of members, where people share their crossdressing selfies for feedback or talk about social attitudes. Private Discord servers also exist, offering a somewhat more discreet environment. Notably, gaming communities are another big space for “男娘” culture. Some online RPGs, especially Japanese or Korean ones, let players choose or mix female outfits even when controlling a male avatar. These in-game “伪娘” characters become an extension of the crossdressing phenomenon, with forum participants swapping screenshots and tips. Even in male-dominated ACG forums like NGA, pictures of well-known “女装大佬” posted from Weibo sometimes garner high clicks. Many male gamers exclaim, “This girl is gorgeous,” then are surprised to find out it’s a man, leading to comedic threads joking “I’m okay with it” or calling it the “bend test.” Overall, “男娘” subculture in forums and communities shows clustering and lively discussion at different levels. From open networks like Weibo/Douyin to more private spaces, a vast online community is shaping and reinforcing this subculture. There are also many femboy and gender transformation related literary works or community stories, which can be found in the Archive of Transformation Literature and Gender Transformation Novels.

Key Influencing Factors on This Culture

The popularity of “男娘” culture depends on multiple catalysts and influences. We’ll examine four factors: anime/games, idol/entertainment, emerging media, and related subcultures.

Anime, Games, and Other “Second-Dimension” Content

Character Demonstration Effect

Anime and game works provide abundant character prototypes and imaginative space for “男娘” culture. The proliferation of crossdressed male characters in Japanese ACG was the original driver of this subculture. Early examples date from as far back as the 1980s, but in the 2000s even more classic characters appeared: for instance, Haku in Naruto, who is gentle and looks like a beautiful girl, surprising viewers when revealed to be male; O-Kiku (Kozuki O-Kiku) in One Piece also shows up as a beautiful swordswoman in the Wano arc, only for the story to later reveal the character is male, building dramatic twists (12). Another example is Astolfo in Fate/Apocrypha, with pink hair and a lolita outfit, officially a male but adored by fans as “because cute is justice,” frequently referred to as a “waifu.” Such popular fictional figures challenge viewers’ standard gender perceptions (“boys can be this cute!”) and create new aesthetic standards. This encourages real men to emulate them. Indeed, many real crossdressing fans say they were initially inspired by a specific anime character, eventually copying the character’s makeup and costume, and thus entering the “男娘” scene (12).

Amplification via ACG Communities

Anime/game crossdressed characters don’t just influence viewers passively; they generate active subcultural participation in ACG communities. Fans create massive amounts of fan works (doujin manga, music, cosplay, illustrations) revolving around these crossdressing characters, which intensifies the presence of “伪娘” elements. For instance, after Bridget’s popularity in Guilty Gear, vast amounts of doujin material and cosplays emerged, re-centering discourse around crossdressed male characters. On Pixiv, the “男の娘” tag soared in popularity, becoming a hot category for a while (5). On China’s Bilibili, numerous ranking videos celebrate or poke fun at crossdressing characters, hooking users with “Top 10伪娘 Roles” compilations. All this activity unifies scattered characters under a single phenomenon, fueling fans’ preference for “伪娘.” Once a character type becomes popular, it also shapes creators: more anime and games begin adding crossdressed characters to please the market, creating a positive cycle of supply and demand. Thus, anime and games function both as the origin and a catalyst for “男娘” culture, setting up role models and fueling ongoing fan engagement.

Idol Culture and Entertainment Shows

Role Model Effect of Idols and Entertainers

Outside the fictional realm, certain real-life performers with cross-gender or flamboyant images also influence mainstream aesthetics. Japan has male celebrities like singer/actor Akihiro Miwa (a man in flamboyant gowns for decades), comedian Matsuko Deluxe (a large-sized, makeup-heavy male), and trans talent Haruna Ai. Seeing them on TV normalizes men wearing feminine attire for the broader public. Certain male idols also adopt a cute or androgynous style that appeals to fans, bridging a gap between conventional masculinity and feminine aesthetics. In K-pop or J-pop boy bands, some members are known for their delicate features, elaborate makeup, or sometimes wearing partial female outfits on stage. Similarly, in China, there have been occasional attempts at “伪娘” elements within the entertainment industry. After Liu Zhu’s success in 2010, variety shows like Happy Camp or Day Day Up sometimes featured crossdressed male guests purely for shock value. Male idols in fan meetings occasionally appear in maid outfits or schoolgirl uniforms as a “fan service” surprise. Such stunts bring “男娘” elements into mainstream fan culture. Fans (most of them female) typically respond with delight, seeing crossdressing as a fun, adorable twist. This positive feedback encourages more male entertainers to sporadically adopt female looks, progressively eroding the taboo around men in dresses.

TV Variety and Dramatization

Variety shows often treat male crossdressing as comedic or promotional, further propelling the phenomenon. Eastern variety programs frequently feature short skits where male hosts or guests suddenly don female clothing to amuse the audience. Taiwan’s Kangsi Coming or Mainland’s Your Face Sounds Familiar have all done segments with men in girls’ outfits. While meant for comedy, it inadvertently desensitizes the public to crossdressing. Similarly, comedic films often contain male-to-female crossdressing sequences (Stephen Chow’s movies, for instance). Although these comedic portrayals can be highly exaggerated, repeated exposure reduces the shock factor in the broader audience’s eyes. Over the past decade, some Western celebrities have also adopted a fluid or flamboyant style—like musician Harry Styles wearing dresses—bringing men’s feminine attire into mainstream discussions. These developments coincide with a wave of LGBTQ acceptance and social media viral marketing. Both factors help younger viewers regard gender boundaries as more flexible, resonating with “男娘” subculture. Nonetheless, mainstream entertainment mostly presents crossdressing as short-lived comedic or shock routines. It’s distinct from the normative or identity-based phenomenon in the ACG sphere. However, it still fosters a more relaxed environment, letting crossdressing men appear in public media without as much condemnation. Over time, these references have softened mainstream viewers’ attitudes, paving the way for greater acceptance of men wearing women’s clothes in general.

VTubers and the Streaming Economy

Emergence of Virtual YouTubers (VTubers)

VTubers—streamers who perform behind a virtual avatar—are another new frontier. Many male streamers choose female avatars and voices, known in Japanese as “バ美肉” (babiniku): a male in real life playing a cute female character in virtual space (13). This phenomenon has gained traction in Japan and China. Examples might include a male operator behind a cutesy female avatar and voice, interacting with viewers as if a moe anime girl. This approach allows men to “crossdress” in digital form with minimal real-world cost. Some researchers argue this is a modern digital extension of “男娘” culture. On one hand, it lowers the barrier for men to present feminine traits securely. On the other, the “idealized young girl” persona can still reflect mainstream norms about feminine attractiveness, raising questions about whether it unintentionally reinforces stereotypes (13). Nevertheless, from a positive angle, VTuber spaces provide a safer environment for men seeking feminine expression, as they can do so virtually without disclosing personal identity. This broadens the scope of “男娘” and draws in new participants from the 2D crowd, further boosting the subculture’s size.

Financial Incentives in Streaming

Whether in real or virtual form, “男娘” can be a magnet for livestream audiences. Platforms thrive on attention, and novel or outlandish hosts stand out among the competition. Many male streamers adopt a feminine style precisely because it draws crowds. Early adopters who discovered success from crossdressing soon realized fans were willing to shower them with gifts and donations. Encouraged by substantial income, these streamers then appear more frequently in female attire or fully adopt that style as their signature brand. Fans also appreciate the comedic or alluring “contrast effect,” staying to watch repeatedly. This cycle is reinforced by the platform’s own recommendations: male crossdressers who achieve high watch times or viral shares are pushed to front pages, achieving greater reach. As streaming data soared, some platforms witnessed a temporary mania of “male hosts in dresses,” especially for comedic value. The short-video arena is similar. Douyin has many male creators who post “before-and-after crossdressing” transitions, often going viral, leading to quick follower gains. Thus, commercial reward fuels “男娘” culture in today’s internet: fans not only watch for free but also happily send money or gifts, driving creators to continue and refine their female transformations. Broadly, the profit potential has turned men’s crossdressing from a private pastime into a livelihood for some. This financially sustainable model, in turn, elevates the subculture’s visibility and professional sophistication.

Interaction with Other Subcultures

Cosplay and the 2D Fandom

“男娘” culture is intrinsically linked with cosplay, arguably a sub-branch. Male cosplayers crossplaying female roles (crossplay) is commonplace at anime conventions, and it’s the most direct face of “男娘” culture. Some male cosplayers have become icons for their astonishingly realistic or delicate portrayals. China’s “Alice 伪娘 troupe” epitomizes a group approach to crossplay (3)). They perform on stage at anime events, then share footage online for fans, bridging offline and online. Because cosplay culture prizes character accuracy, male cosplayers go all out with wig styling, silicone busts, and waist cinchers to emulate a convincing female figure. As they refine these skills and share them, more men become interested in trying female roles. The overlap between cosplay fans and crossdressing enthusiasts fosters a robust community—some start by cosplaying a female character and eventually realize they enjoy regularly appearing feminine. This transition from “playing a character” to “expressing oneself” broadens “男娘” culture, attracting new members from the cosplay sphere.

Lolita, Maid Outfits, and Other Niche Fashions

“男娘” culture has also intersected with other feminine fashion niches. Lolita (frilly Victorian-inspired dresses), JK uniforms (Japanese schoolgirl style), and maid outfits are all female-oriented attire that some men find appealing. A subgroup of men wearing Lolita is often humorously called “Brolita.” Western Lolita communities sometimes discuss how to accommodate male members, offering sizing or makeup advice (14). In China, there have been media reports of men venturing out in Lolita groups, drawing both curious stares and online debates. Meanwhile, JK uniforms and maid outfits are simpler, often serving as entry-level garments. Many Bilibili creators post short videos about “my first time wearing a maid outfit,” capturing their transformation from a regular boy to a cute maid and eliciting countless shares. By merging with these female sub-styles, “男娘” culture furthers its openness: women in these communities may accept male participants who treat it seriously, while men appreciate the novelty and aesthetic challenge. That said, female fans sometimes worry about men trivializing or fetishizing these styles, so courtesy and respect remain important. Overall, by blending with Cosplay, Lolita, maid fashion, JK uniforms, etc., “男娘” crosses subculture boundaries to become a broad phenomenon encompassing any form of male–female clothing crossover. Different niche circles benefit from each other’s synergy, enriching youth pop culture with an expanding repertoire of gender expression.

Social Impact

While “男娘” subculture flourishes among online youth, it also influences society’s views on gender, the general public’s discourse, and attitudes of various groups. We will analyze three aspects: the challenge to gender identity concepts, evolving public opinion, and differences in acceptance across demographics.

Challenge to Gender Identity and Perceptions

“男娘” culture directly confronts traditional binary notions of gender. For centuries, society equated “male” with masculinity and “female” with femininity. Yet “男娘” demonstrate that a biological male can wear makeup and skirts, exuding feminine qualities. This underscores gender expression as potentially distinct from one’s physical sex. Many “femboys” emphasize they identify as men but simply enjoy dressing in a feminine way (2). This helps the public differentiate gender identity (inner sense of being male or female) from gender expression (how one dresses/acts), as well as sexual orientation. For example, a “男娘” might be hetero, attracted to women, yet prefer wearing women’s clothes for aesthetic pleasure—crossdressing does not necessarily relate to sexual orientation. By showcasing diverse real-life examples, “男娘” culture popularizes the idea of gender plurality, undermining the prescriptive “men must be manly, women must be womanly” mindset. It especially resonates with younger people, who become more open to themselves or others challenging conventional gender roles—some men grow out their hair or wear light makeup, some women adopt more androgynous looks. Meanwhile, “男娘” culture itself prompts debate about gender identity. Certain popular crossdressers (like the Chinese influencer “艾比”) have eventually come out as transgender, opting for surgery and publicly identifying as women. Their journeys show how, for some, crossdressing can be a step toward discovering one’s true identity. It reveals that not all participants in “男娘” culture remain content with a male identity in the long run: for some, it’s an exploratory phase that leads them to transition. Still, not all “男娘” are on that path—some remain distinctly male-identified. This phenomenon invites society to see how fluid and exploratory gender can be. Some scholars note that “男娘” practice is a form of gender negotiation: participants blur the lines of man/woman, but sometimes reinforce certain clichés about feminine cuteness (13). They both deconstruct gender stereotypes and selectively reproduce them (emphasizing “moe,” “kawaii,” etc.). As such, “男娘” is not purely subversive but also heavily steeped in aesthetic stereotypes of what “feminine” means. Hence, “男娘” culture is complex in terms of gender commentary: it breaks down certain boundaries (men can be pretty) but can also maintain certain unrealistic or fetishized female norms (“cute, dainty girls”). Some interpret it as a strategic distancing from traditional masculinity, letting men adopt some female aesthetics for self-expression, while still retaining male privilege in daily life. Either way, “男娘” has made gender more visibly “performative” and open-ended, and that is arguably its main contribution to modern society.

Public Opinion: Acceptance and Controversy

Public opinion on “男娘” is diverse and fluid. Younger, internet-savvy groups tend to be more accepting—some even celebrate them. Mainstream media and conservative voices often respond more cautiously or negatively. On the positive side, online discourse is laden with playful admiration for crossdressing men. Many netizens describe the shock and delight at discovering a “beautiful girl” is actually a boy, with comments like “He’s more gorgeous than actual girls!” or “I lost, I lost.” Women sometimes admire these men’s skin or figure, calling them “big sister,” praising them for “surpassing real girls.” Meanwhile, many men greet them with curiosity or an amused sense of “I might be attracted,” leading to comedic expressions like “I’d fight them in a sword duel” or “I’m bent!”—humorous euphemisms for ambiguous interest. All this indicates a lighthearted acceptance in certain online circles. Social media ensures that each time a new “extremely convincing 女装大佬” goes viral, the post quickly spreads, receiving countless likes and comedic remarks. Positive commentators stress individual freedom and “there’s nothing wrong with a man loving beauty.” This growing tolerance is more noticeable in the younger generation, who often champion acceptance of personal choices. Some suggest many find male crossdressing fun or beautiful, or interpret it as men connecting with feminine perspectives, thus bridging empathy. However, negative or skeptical reactions still abound, and can be very harsh in certain segments of the population. Critics rooted in traditional gender norms or moral concerns often argue that crossdressing men violate social values or set a bad example for youths. In China, scornful remarks calling them “perverts” or “psychologically imbalanced” remain common. Some parents worry about “gender confusion.” In the case of Annie Yi’s son, many pinned blame on his mother’s parenting, insinuating it was “unnatural.” Similarly, mainstream authorities in China sometimes demonize “effeminate men.” In 2021, the National Radio and Television Administration explicitly banned “娘炮” and “abnormal aesthetics” from TV, discouraging effeminate male idol images (16). The official statement used phrases like “abnormal” and “sickly,” revealing a negative stance. This top-down policy influences public attitudes, with some netizens supporting it as a restoration of masculine norms. Hence, traditional gender norms remain strong at a governmental and policy level, meaning that while “男娘” is popular online, it’s still far from fully accepted in mainstream institutional contexts. In the West, there are analogous conservative backlashes. Some consider “femboys” a sign of “societal decline” or mock them online. Yet regulatory bans are less direct; more a matter of social prejudice. Overall, “男娘” still straddles the line between being an online subculture beloved by youth and a subject of heated opposition. Over time, it’s clear that many more people have begun tolerating or even enjoying male crossdressing. But friction remains, and controversies can flare up around each new incident or influencer. Over the long run, with each younger generation being more receptive to diverse gender expression, acceptance for “男娘” is likely to keep growing. In the short term, though, negative viewpoints and institutional constraints will persist. “男娘” is thus shaped by an environment where affirmation and rejection coexist, driving ongoing discussion that raises awareness of gender fluidity.

Divergent Acceptance Across Demographics

Acceptance of “男娘” culture differs by age group and gender. Youth evidently form the core base. Teens and twenty-somethings, growing up with the internet and pop culture, are more open to new ideas. Many high schoolers or college students treat it playfully—male classmates sometimes put on girls’ clothes for fun photos, and female peers often help them. Conversely, older adults often find it jarring. They grew up in eras enforcing strict gender roles and struggle to see men wearing women’s attire as normal. Some middle-aged individuals remain indifferent or critical, seldom fully embracing the phenomenon, though a minority remain open-minded, seeing it as “the times have changed.” Gender differences are also noticeable. Female audiences frequently appear more accepting and even supportive of crossdressed men. They might see it as an endearing creativity or appreciate that men are participating in beauty/fashion, or even treat the crossdressing male as a “girlfriend-like figure.” Many female fans describe “伪娘” as comfortable or friendly to them. This partially explains why male crossdressing streamers can attract large female followings. Male audiences, meanwhile, are more split. Some, especially within the anime fandom, appreciate the aesthetic or even experience mild attraction. However, a significant portion is strongly against it, fearing it undermines masculine identity or triggers “gay panic.” More traditionally minded men label it “unmanly,” occasionally ridiculing or attacking “男娘.” Another factor is homophobia: those who conflate crossdressing with homosexuality may reject or mock it. On the other hand, some men are open-minded or simply find it entertaining. Lastly, social roles matter. Academics and cultural critics often see “男娘” as a phenomenon worth studying, from a perspective of cultural diversity. Educators, parents, and others might be more cautious, worrying about youth role models. Some schools forbid “gender-inconsistent outfits” for students. This reveals that institutional acceptance is still limited. In short, different groups display varied levels of acceptance, and these divisions fuel ongoing debate. This fosters deeper social reflection on gender. Over time, generational shifts and broader gender-equality ideologies will likely broaden acceptance. Yet for now, “男娘” subculture thrives in a context of both affirmation and pushback, continuing to spur public dialogue about masculinity, femininity, and identity.

Data Points and Case Studies

Though “男娘” remains something of a niche phenomenon, some data suggests its significant scale. For instance, in Chinese search trends, “伪娘” spiked around 2010 due to Liu Zhu’s show and subsequent media attention (8). Then “女装大佬” became a meme around 2016-2018, repeatedly appearing on Weibo or Zhihu trending topics whenever an impressive crossdressing photo circulated, often reaching tens of millions of reads. One male cosplayer’s pictures spread so quickly that they allegedly garnered over 100 million views on Weibo. In terms of fanbase, Douyin’s “艾比” soared to 10 million followers in three months, with total likes exceeding 100 million at the peak (11). Another Bilibili crossdresser named “轩墨宝宝” once boasted tens of thousands of concurrent live viewers, called a “phenomenon-level” figure. On the international side, the Reddit forum r/femboy surpassed 200,000 members as of 2023, with thousands of daily postings, and #femboy on TikTok has billions of views in total (9). These figures prove that crossdressing content amasses considerable traffic and a dedicated user base. Some internet surveys also show interesting results. One portal website’s poll “Can you accept men in women’s clothes?” saw about 60% supporting, 20% neutral, and 20% opposed—unscientific but indicative of a fairly open-minded leaning. Weibo sentiment analysis reveals that whenever “伪娘” is discussed, neutral-positive comments are usually the majority, with negative remarks having less presence (though still audible). Another example is “Ladybeard,” a bearded muscular Australian man in lolita dresses and pigtails, who caused an internet sensation in China. Searching his name in Chinese once yielded 740,000 results, reflecting his viral popularity (3). He became an online celebrity around 2015 with coverage across multiple media sites. This numerical data suggests that although still subcultural, “男娘” content enjoys large and recurring popularity online, with periodic viral spikes. Some netizens recall that a certain set of crossdressing photos often rack up millions of hits each time they resurface. Meanwhile, Chinese “Ladybeard mania” also shows a foreign crossdresser can go viral domestically. Summarizing, “男娘” has a high-heat, long-tail dynamic on the internet: from time to time, an item will explode in popularity, fueling ongoing waves of interest.

Representative People, Works, and Events

To illustrate “男娘” subculture more vividly, let’s look at a few iconic individuals and incidents:

  • Liu Zhu (China, 2010): A hallmark figure for breaking “男娘” into mainstream. His audition on Happy Boy, with glamorous feminine styling, drew immediate media coverage. Judges questioned his gender, audience debated. Despite early elimination, he built a large fanbase and was invited onto magazine covers, releasing music later on. He was the earliest example of a crossdressing male on a national TV show in China (8).
  • Alice 伪娘 Troupe (China, since 2009): A cosplay group from Wuhan universities, known for collectively crossplaying female anime characters at conventions to great acclaim. They grew from 9 to 200+ members, receiving media coverage as “the campus伪娘 army” (3), (6). A prime example of group-based “男娘,” bridging campus life and anime convention culture.
  • Ladybeard (Australia/Japan, 2015): Richard Magarey, aka Ladybeard, is a muscle-bound man with a beard, wearing frilly lolita dresses and ponytails—he found fame in Japan’s idol/metal scene, forming “LadyBaby” with Japanese girl idols. Their quirky music videos soared in popularity. Chinese netizens called him “eye-searing bearded maiden,” yet he truly went “viral” online, exemplifying a muscle–cuteness contrast approach to “男娘” (3).
  • 艾比 (Abbily, China, 2018–2021): A leading male crossdresser on short-video apps, garnered millions of followers with a sweet, girly aesthetic since age 16 (11). As he got older, he claimed to have undergone sex-reassignment surgery, stirring heated debate: fans praised, others questioned his motivations. He highlights the trajectory from net idol to possible trans identity.
  • 轩墨宝宝 (China, 2016): Started as a gaming commentator, became famous as a “女装 anchor.” Called “China’s #1 女装大佬,” extremely successful financially, spurring others to follow suit. A prime illustration of how live streaming fosters commercial success for male crossdressers.
  • Bridget (Japan, 2002 & 2022): Though fictional, Bridget from Guilty Gear is monumental. Introduced as a “cute nun who’s actually a boy,” pivotal in shaping 21st-century “伪娘” archetypes (5). In 2022, the game’s sequel reintroduced Bridget as transgender, confirming her as MtF, shocking fans globally—marking a shift from “just crossdressing” to officially acknowledging a trans storyline.

Through these examples, we see: in China, the phenomenon often starts online, with links to streaming and short-video platforms. The controversies revolve around transgender lines or public acceptance. In Japan, it’s more about fictional characters, media marketing, and bridging to real stage performances. In the West, it may blend with music or idol subcultures. Each case deepens our understanding of “男娘” as a diverse, cross-cultural phenomenon.

Commercial Analysis

“男娘” subculture’s rise is not just a social phenomenon but also yields considerable commercial potential. Companies, brands, and content creators spot opportunities, incorporating these elements into marketing or products. We’ll examine brand marketing, content creation and fan economy, and derivative product markets.

Brand Marketing and Content Creation

Eyecatching Marketing Strategy

In a saturated media environment, brands aim to stand out; “男娘” culture can offer that novelty. Some brands hire a popular crossdresser to showcase a new lipstick or do promotional videos under the tagline “Men Can Be This Beautiful,” generating massive social shares. Others have male models wear a female outfit in a fashion show, stirring buzz in the press. “男娘” naturally commands shock value and discussion, thus boosting brand visibility. Typically, such campaigns target youth/fashion consumers receptive to edgy styles, ensuring they interpret it as forward-thinking. Done tastefully, “男娘 marketing” signals the brand’s embrace of gender diversity and can go viral quickly.

Innovation in Entertainment IP

In entertainment, “男娘” is becoming an IP category. Streaming and short-video platforms have agencies (MCNs) signing crossdressing influencers, providing professional management to build them into recognizable internet idols. Agencies might script comedic mini-dramas about “A crossdresser’s daily life at school/work,” attracting hundreds of thousands of fans. The inherent** comedic and dramatic tension** in men wearing women’s attire fosters high audience engagement. Meanwhile, anime/games also systematically integrate crossdressing characters. Doujin works, web novels (like “The Crossdressed Boss Reborn!”), or comics about men in female roles prove surprisingly marketable, reflecting strong fan interest. Such IP expansions show that “男娘” elements can be integrated into broader entertainment, not just in niche corners.

Social Media Campaigns

Brands and content creators use the interactive nature of “男娘” for user participation. Some apps host “Transformation Challenges,” encouraging male users to post crossdressing videos for prizes, generating hype. Many netizens join for fun or recognition. This results in massive user-generated content, fueling user growth. Another example: e-commerce platforms create “Men’s Beauty” sales events, inviting crossdressing live-streamers to demonstrate cosmetics, capturing a new male user base. The fun factor plus authenticity from “男娘” talents can effectively stimulate consumer interest, exemplifying how subculture integration can become a marketing tool. Overall, “男娘” is a potent approach to brand marketing and content creation for those seeking a youthful, inclusive, or boundary-pushing image. Properly executed, it yields high engagement and “buzz.”

Fan Economy and Platform Strategies

Tipping and Community Effects

Many “男娘” net idols or streamers rely on fans’ financial support. Enthusiasts willingly spend on donations, merchandise, or paid events to back their favorite crossdresser, reminiscent of mainstream idol “fandoms.” This close idol–fan dynamic fosters high loyalty. Some fans even mail in used dresses or accessories for the host to wear on air. Others lavish gifts to hear the crossdresser affectionately greet them. Despite the comedic or playful surface, the relationship is quite strong and monetizable. That draws more men to attempt female attire, fueling the subculture’s expansion.

Platform Traffic Promotion

Content platforms often promote crossdressing content because it has proven engagement. Their algorithms detect high watchtime or viral shares, so “女装 videos” get recommended more. Some platforms even sign or highlight such creators to maintain user interest. For instance, Douyin included male crossdressers in “Rising Star Plans,” giving them production resources. Bilibili invited them to official events. This boosts creators’ brand recognition and revenue while the platform benefits from unique, eye-catching content. It’s a win–win loop: streamers get traffic, platforms get attention metrics, and both gain commercial success.

Community Management and Merchandise

As fan communities flourish, crossdressing creators often release merchandise or host events. For example, a popular male crossdresser might sell photo sets, calendars, or even behind-the-scenes transformation DVDs. Hardcore fans jump at the chance to own exclusive “女装” content. Some produce collaborative Lolita dresses or cosmetics lines labeled with the crossdresser’s name—fans love supporting them by purchasing these items. The synergy with brand tie-ins is also lucrative. This fosters a dedicated, high-spending fan ecosystem akin to idol fandoms. Japan goes further with “男の娘” idol auditions, awarding winners a pro contract. Though niche, it mirrors the standard idol business model. In sum, the fan economy aspect is robust: “男娘” content commands loyal fans, significant user engagement, and real profit from events, brand deals, and merchandise.

Derivative Products and Market Performance

Clothing and Cosmetics

“男娘” culture has driven up demand for crossdressing supplies. E-commerce sites on Taobao or Amazon have “male-size maid outfits,” “plus-size women’s clothes,” “femboy shoes,” etc. Some manufacturers now design specialized items: silicone breastforms, more concealing foundations for covering facial hair, large-sized thigh-highs, etc. They note rising sales to male consumers, forming a stable “niche market.” Similarly, the cosmetics industry sees men’s share growing, not only for general male grooming but specifically for crossdressers wanting heavy coverage or “feminine” cosmetics. Consequently, some brands adopt more gender-neutral packaging or hire men as makeup spokesmodels. Influential “男娘” streamers run makeup tutorials that spark product booms. Certain products have been dubbed “伪娘 must-haves.” So yes, “男娘” is shaping consumer trends in beauty and fashion.

Entertainment and Offline Services

Beyond physical goods, a “男娘” economy also exists offline. In Japan, crossdressing-themed cafés or bars have opened in Akihabara, with male waitstaff wearing female uniforms. Their novelty draws customers in droves (1). In China, specialized photography studios or makeup parlors offer male customers “transformations,” letting them experience dressing as a woman, sometimes accompanied by a photo shoot. Couples might visit such studios for fun. Meanwhile, some anime expos or nightclubs book crossdressing performers as a unique attraction. There’s also synergy with marketing events—like having a well-known crossdresser appear at a brand launch. These real-life expansions illustrate that “男娘” culture has moved offline, becoming a viable business. Some men even see crossdressing as a full-time job. On top of that, performance shows featuring crossdressing men singing or dancing appear at fan conventions, further merging with event entertainment. This diversification indicates it’s no longer only an online phenomenon; it’s also present in real-world events.

Brand Crossovers

Finally, certain mainstream brands partner with “男娘” KOLs in collaborations. A sportswear brand once had a famous femboy star in an ad, wearing both sneakers and high heels as a statement of “breaking norms.” Another brand had him design a limited-edition T-shirt line featuring his cartoon image, quickly selling out. These collaborations benefit from the influencer’s dedicated fan base, while also delivering edgy, progressive messages for the brand. As “男娘” idols continue gathering fans, more industries—music, fashion, personal care—may tap these personalities for cross-promotional campaigns.

In summary, from personal broadcast incomes to brand partnerships, “男娘” subculture shows significant monetization potential. While implementing it carefully is key to avoid backlash or tokenism, in a diverse and inclusive market climate, the creative energy from “男娘” can yield powerful results.

Academic Perspectives

As a burgeoning online subculture, “男娘” has also drawn interest from academia. Scholars in gender studies, sociology, and communication have analyzed it, noting how it challenges and reproduces certain norms. Because it merges the breakdown of gender binaries with certain new aesthetic codifications, “男娘” culture is a fertile ground for examining contemporary attitudes about masculinity and femininity.

Gender Studies Angle

From the lens of Gender Studies, “男娘” exemplifies performative gender theories. Influential theorist Judith Butler introduced the idea of “gender performativity,” stating gender emerges through repeated social performances. “男娘” practice showcases how wearing female-coded outfits and mannerisms can be intentionally performed by a biologically male individual, thus emphasizing gender’s plasticity (13). Many participants separate their male identity from their feminine outward expression, proving that identity and outward performance can be decoupled. This supports modern conceptions of the “gender spectrum.” Additionally, “男娘” culture reveals the plurality of masculinity. Traditionally, masculinity equates to being tough, stoic, and not caring about appearance. But here, men intentionally adopt cuteness or “feminine beauty.” Scholars have discussed “hybrid masculinities,” where men incorporate feminine elements to reconstruct their sense of manhood (13). This at once distances them from hegemonic masculinity while still retaining certain male social privileges. In that sense, “男娘” can be both subversive and somewhat complicit with patriarchal structures. They’re subversive in that they defy “men must be macho,” but they might still reinforce ideas of “female cuteness” or rely on the male vantage point. This dual dynamic spurs debates over how far “男娘” truly undermines patriarchy. Some argue it’s simply giving men more freedom in expression without fully challenging deeper gender power structures. Because many “男娘” adopt mainstream “feminine ideals,” they potentially replicate stereotypes about women being soft, sweet, or docile. Nevertheless, from a gender theory perspective, “男娘” strongly affirms that gender is not innate but is performed, supporting the notion of fluid, chosen identities rather than fixed categories. This resonates with or extends older crossdressing concepts but with updated, internet-driven motivations (not just fetish or performance) and a large visible social community.

Sociological and Communication Perspectives

Subculture Community and Identity

Sociologically, “男娘” can be viewed as a subculture (a group that forms around certain norms differing from the mainstream). Members bond via crossdressing, using specific terminologies (like “女装大佬,” “姐妹”), thus forming communal identities. Online, they offer each other emotional support, acceptance, and technical advice, fulfilling a “safe haven” role, especially as mainstream society may not wholly accept them. Different from older subcultures that isolate themselves from the mainstream, “男娘” actively interacts with mass society through commercial, comedic, and social contexts. It represents a new type of integrated subculture, influencing mainstream views on gender.

Media Framing and Agenda Setting

Communication scholars analyze how media portray “男娘,” shaping public discourse. Older mainstream coverage might depict it as sensational or deviant, using “psychological disorder” frames or moralistic angles. Meanwhile, new media, including influencer posts, highlight the entertaining or fashion aspect, normalizing it. This difference in framing can guide audience perception. Agenda-setting theory posits that the topics media emphasize become key public concerns. Initially, major outlets fixated on “moral hazard” or “freak show” narratives about crossdressers. But with user-generated content on Weibo/Bilibili, a friendlier narrative “Men can also be adorable” gained traction. Over time, “伪娘” and “女装大佬” have become casual memes. This suggests how bottom-up social media discourse can moderate older narratives. Communication specialists also note internet memes like “We want to see you crossdress!” as catalysts, turning crossdressing into a comedic normalcy. The “fun normalization” approach, repeated in bullet comments and threads, fosters a widespread acceptance. However, official mainstream voices occasionally push back, calling it “abnormal aesthetic,” showing institutional vs. grassroots tension. Scholars might also explore how cross-cultural exchange—like Ladybeard or Western “femboys”—impacts local acceptance. The internet’s global nature merges anime-influenced crossdressing with Western drag or queer scenes, forming an evolving transnational subculture.

Social Norms and Increased Tolerance

Sociological frameworks consider how “男娘” fits into broader changes in social norms. Why now? Possibly because we live in an era of strong individualism and rising acceptance of alternative lifestyles. Youth are taught to celebrate self-expression, so crossing gender lines is less stigmatized. Some see it as a postmodern identity experiment—in a society where identity is fluid, wearing women’s clothes is no big deal. In a more conservative era, it might have been heavily punished. Today, even public figures (Magic Johnson supporting a crossdressing child, or Annie Yi supporting her son) champion it, further legitimizing. Meanwhile, legal frameworks and policies on LGBTQ issues are shifting, though crossdressers are less addressed than trans folks. In any case, the environment overall offers more safety for “alternative” expressions, especially online. Researchers might measure attitudes across generations, or do interviews to see how crossdressers define themselves. Many do not view themselves as “rebelling” but simply find it feasible to express themselves. The result is a partial acceptance forming a “new normal.” Some highlight the contradiction: official policies in China labeling effeminate men undesirable, yet netizens still promote “女装” humor. In the West, far-right groups might see femboy culture as moral erosion. So societal norms remain contested, but the bigger picture is that “男娘” would have faced greater persecution decades ago. Their present success testifies to expanding social openness, even if friction persists.

Cultural Significance and Future Outlook

From the vantage of cultural sociology, “男娘” is a mirror reflecting society’s anxieties and fantasies about gender. Some compare it to earlier waves of “flower boy” or “unisex” fashion, seeing a cyclical pattern in humanity’s pursuit of blending masculine/feminine aesthetics. But the crossdressing phenomenon is especially flamboyant thanks to the internet’s global interconnection. It remains to be seen if it is a stable cultural shift or a fleeting fad. Some observers suspect the hype may fade, replaced by another meme. Others believe it indicates deeper acceptance that “men can be feminine,” akin to how women wearing pants eventually normalized. Scholarly caution coexists with optimism that “男娘” fosters a more inclusive environment for individuals to experiment with gender. Ultimately, “男娘” has become part of the ongoing gender diversity conversation. Researchers note that while it expands men’s expressive freedom, it doesn’t always transform patriarchal structures. But it does highlight the fluidity of identity in a digital age, letting more people appreciate or enact new ways to present themselves. Indeed, “男娘” subculture is a vibrant example in the cultural mosaic of modern societies. As one commentary put it, “Beauty can take many forms—why can’t a boy love being beautiful, live as the version he likes?” (10). That might be the strongest takeaway from this phenomenon.

This text was compiled and edited by the Chinese Gender Diversity Digital Library https://transchinese.org.

References

  • [3] GCORES User Submission: “那些和男娘相关的无用但有趣知识” (2020)
    Link (Chinese)
  • [9] Wikipedia: “Otokonoko” (2021)
  • [12] Tencent News: “百万粉女装大佬自曝‘已成为女孩’… ” (2021)
  • [21] Chinese Wikipedia entry: “刘著” (Accessed 2023)
  • [22] AnimeFeminist: “Everybody Loves Bridget: The origins of otokonoko…” (2020)
  • [23] AnimeFeminist: Ibid.
  • [27] Tencent News: “男生当了14年的女生？网友：女装大佬真可爱” (2020)
  • [29] Sina News: “伊能静儿子穿女装上热搜…” (2020)
  • [30] Sina News: Ibid.
  • [40] GCORES: “女装大佬背后知识” user post
  • [41] ResearchGate: Ayumi Miyazaki, “Otoko no ko in male subculture in 2010s Japan” (2019)

(Others are cited inline throughout the text.)