Why luxury brands are falling for Asia’s queer romance shows
Stars of ‘boys’ love’ and ‘girls’ love’ dramas are becoming fashion ambassadors, as labels chase their unusually devoted fan bases
During fashion week, it’s common to see a crowd of fans waiting outside the show venues of luxury brands. But if you thought they were hoping to get a glimpse of Hollywood stars such as Tilda Swinton or Colman Domingo, you’d be mistaken. At Max Mara’s autumn/winter 2026 show at Milan Fashion Week in February, most of those gathered outside were waiting for Thai beauty queen turned actor Peraya Malisorn. Better known as Faye, she rose to fame after her lead role in popular Thai TV show Blank, which depicts a love story between two women navigating the societal norms that prevent their romance from flourishing.
So impactful was Faye’s appearance at Milan Fashion Week that her posts generated at least 13 times more media impact value than all of the content produced by Italian celebrities, according to the software company Launchmetrics (media impact value measures the return on investment of marketing activations). By this metric, Faye’s social media content generated $22.2mn in MIV, compared with Vogue US’s $10.2mn.
Faye is among a wave of Asian actors from queer romance shows, known as “Boys’ Love” (BL) or “Girls’ Love” (GL), who are resonating deeply with fans. The shows are increasingly appealing to luxury brands, too. In April, the mega-artist talent agency CAA signed Becky Armstrong, the Thai-British actor who is also a Chanel ambassador. Armstrong’s breakthrough role was in the lesbian series Gap, starring opposite Thai actor Freen Sarocha Chankimha, who has been an ambassador for Valentino since January 2025.
Thai actors Win Metawin and Bright Vachirawit, who feature in the BL series 2gether, are ambassadors for Prada and Burberry respectively. Meanwhile, Lingling Sirilak Kwong and Orm Kornnaphat Sethratanapong, who starred together in the GL drama Only You and are known to fans under the combined moniker “LingOrm”, are both ambassadors for Dior.
In the view of Andrew Ooi, the founder and chief executive of talent management company Echelon Talent, “executives are finally recognising the cultural relevance and commercial demand” of stars playing LGBTQ+ roles.
“Luxury brands, ultimately, are in the business of aspiration,” he says. “They seek attractive, influential figures who can embody desire, elegance and emotional connection. Few are better positioned than these actors, whose popularity is reinforced by intensely loyal and highly engaged fan bases. Because their conversion rates are often exceptionally strong, brands increasingly gravitate towards them as collaborators.” LGBT Capital, a specialist investment and corporate advisory firm, estimates that the LGBTQ+ community holds $4.7tn in global purchasing power.
When it comes to queer romance shows, western audiences may be more familiar with Heated Rivalry, the 2025 Canadian TV series about ice hockey rivals, starring Hudson Williams and Connor Storrie. Both actors have since been propelled into the mainstream and become luxury brand ambassadors, for Balenciaga and Saint Laurent respectively. But as the rising Thai actor Phuwin Tangsakyuen, who is an ambassador for Tommy Hilfiger and Loewe, said in April during an appearance on the Zach Sang Show, an online show and podcast: “I wouldn’t say that Asia has done it first, but I think it has become big in Asia first.”
Indeed, pop-culture power — which has traditionally stemmed from the US — is increasingly coming from the Asia-Pacific region, driven in part by phenomena such as the Korean wave or “Hallyu” and, more recently, social media trends including “Chinamaxxing” on TikTok, where users celebrate and adopt Chinese habits and aesthetics.
While Thailand is one of the biggest producers of BL and GL shows, a large proportion of viewers tune in from the Philippines, Vietnam, Taiwan, South Korea and Japan. Some of these regions are also making their own LGBTQ+ productions, such as the 2024 South Korean film Love in the Big City, starring actor and Chanel ambassador Kim Go-eun, or the Japanese show The Boyfriend, which premiered on Netflix the same year and was the nation’s first same-sex reality dating show. And the appeal of these programmes goes beyond LGBTQ+ audiences. “A lot of fans are heterosexual women because the fantasy is actually about emotional intimacy and softness,” says Tiffany Godoy, a Tokyo-based consultant and the editor-at-large of W Magazine China. “These male characters are often more emotionally expressive, vulnerable and less trapped in traditional masculinity.”
Yet, despite the genre becoming a regional phenomenon, advancements in LGBTQ+ rights across Asia have been slow and uneven, stifled by a collision with tradition and religion. Same-sex marriages only became legal in Thailand in 2025, for example, while LGBTQ+ individuals in other nations continue to face significant legal restrictions and social stigma. Same-sex relationships remain illegal in many Asian countries, including Malaysia, Sri Lanka and Myanmar.
Not all regions in Asia have been as welcoming of the genre either. Representations of same-sex relationships have long been censored in Chinese media — though a growing number of content creators and independent production companies have been making BL dramas and taking them to alternative streaming platforms, where they are portrayed under the guise of “brotherhood” or intense friendship to bypass regulations.
But queer romance dramas have largely resonated across Asia because “a lot of these ideas around fluidity already existed culturally”, says Godoy. She cites Asia’s blurred gender aesthetics, as seen in the use of gender-neutral skincare or the androgynous styling and silhouettes popularised by K-pop stars and Japanese designers such as Rei Kawakubo of Comme des Garçons. “Audiences aren’t always approaching these stories as political statements first,” she says. “A lot of the time, they’re just romance stories that show longing, tension, fantasy and emotional drama.”
While some brands may still feel hesitant to collaborate with actors playing LGBTQ+ roles out of fear of potentially alienating customers in regions where conservative attitudes to gender and sexuality still dominate, “the stigma surrounding LGBTQ+ representation in Asia is gradually being eroded”, believes Ooi. He attributes this change to filmmakers who are prioritising “more emotionally authentic and nuanced storytelling” and also actors who “are far more open to taking on LGBTQ+ roles than previous generations”.
And the increasingly high-quality production values accompanying these programmes demonstrate that they are “not just niche fandom content any more”, says Godoy, making stars from this genre even more attractive for big brands. She points to recent work from the Thai actor and model Davika Hoorne, who made pop-culture history in 2023 as the first Thai ambassador for Gucci, and Thai actors Mile Phakphum Romsaithong and Apo Nattawin Wattanagitiphat, who are both ambassadors for Dior Men.
“Davika’s production company put out what I think is one of the top GL series, Claire Bell. They built original sets, the cinematography is very filmic and moody, and they set a new standard. Meanwhile, the 2025 romance series Shine with Mile and Apo pushes the genre into something more cinematic and historical,” says Godoy. Set in 1969 amid political unrest in Thailand, the show “is not just romance fantasy”, she says. “The costumes, the atmosphere, the references — all of it felt much more ambitious.”
Ooi of Echelon Talent believes the enthusiasm shown so far for queer romance shows is “extremely powerful” and “only the beginning”.
“The rise of fandoms around these shows reflects a larger shift in what modern audiences seek from stars and entertainment,” he says — and it’s what luxury brands are paying close attention to. “Today’s audiences are drawn not just to celebrity, but to emotional authenticity, vulnerability and connection.”