In sharing his process for creating Epicene, Kris Sowersby writes:
Describing things as “masculine” or “feminine” in design and typography is historically and culturally loaded. Language is powerful, typography makes language concrete. Language has a shared meaning and heritage. The typographic ancestry of “masculine” and “feminine” traces a direct bloodline to people like De Vinne and Loos. When they write “delicate and light” is feminine, “strong and bold” is masculine, they’re really saying “women are weak, men are strong”. It’s that simple. This language is corrupt and bankrupt in today’s society. Gender shouldn’t be used as a metaphor when better, simpler language is available.
The gendering of ornamentation seems borne of cultural amnesia or myopia: decorative fabrics and accessories are commonly worn by both men and women today, especially by non-Europeans; highly-decorated illuminated manuscripts were made when men dominated artistic production; and during the 18th century, lace, leggings, wigs and high heels were worn equally by men and women.
While attentive to history, Epicene is not a revival typeface. It is an experiment in modernising Baroque letterforms without muzzling their ornamental idiosyncrasy nor falling into the trap of gender codifications. It’s a firm statement that fonts have no gender.
All fonts are indeed epicene.
I am totally on board with fonts have no gender. I also believe fonts should support many languages as possible, including Vietnamese.