KATSEYE’s Victoria’s Secret Fashion Show debut has sparked an unexpected argument: Did the group get in the models’ way, or was the runway simply designed to accommodate a more elaborate performance? After the October 18 event in Los Angeles, some viewers criticized the four-member lineup for appearing to crowd the catwalk. But Korean entertainment outlet TenAsia offered a different way to examine the moment, comparing KATSEYE’s staging with TWICE’s performance in the same PINK segment a year earlier. The distinction matters because the criticism concerns not only what the singers did, but how the entire show positioned musicians, dancers and models. Importantly, the Korean report did not identify footage of a model stopping or colliding with a KATSEYE member.
Daniela, Lara, Megan and Yoonchae represented KATSEYE at the 2026 show, performing “Pinky Up” and “Animal” from the group’s EP WILD. According to Yonhap News Agency and HYBE x Geffen’s promotional coverage, the members entered from the audience seating area rather than starting on the main stage, bringing their choreography into the runway environment. Wearing customized pink-and-black corset-inspired outfits and miniskirts, they performed alongside backup dancers as models walked through the PINK presentation. The appearance marked KATSEYE’s first Victoria’s Secret performance, but it was also unusual within the group’s own history: with Sophia and Manon on hiatus, the act appeared as a quartet rather than its original six-member lineup.
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The performance quickly generated contrasting interpretations. Korean news agency Newsis highlighted KATSEYE’s energetic debut, while other Korean coverage emphasized the group appearing among the models and helping create a lively atmosphere. On social media, however, some viewers questioned whether the choreography occupied too much space, particularly during “Pinky Up.” Fashion Times UK reported criticism suggesting that the group and backup dancers sometimes appeared to compete with the models for attention. Other viewers praised the performance’s energy, styling and connection to the PINK segment. Those reactions should not be treated as a divide between Korean and international fans: they represent different coverage angles and individual audience responses rather than measured opinions across national audiences.
TenAsia’s October 20 analysis brought a more specific comparison into the conversation. During the 2025 Victoria’s Secret Fashion Show, TWICE members Nayeon, Jihyo, Momo and Tzuyu performed “This Is For” and “Strategy” in the PINK segment, making TWICE the first K-pop girl group to perform at the event. According to TenAsia, TWICE generally used the sides and rear of the runway, leaving the central walking area relatively clear for models. KATSEYE, by comparison, moved more actively through the central catwalk, with models passing between or behind members and their dancers. The outlet argued that these different staging choices helped explain why the two performances created different impressions, even though both groups delivered choreographed musical sets within the same fashion-show format.
The comparison does not establish that TWICE gave a better performance, and TenAsia explicitly cautioned against such a conclusion. The outlet noted that TWICE also faced criticism during its 2025 appearance, including complaints about some members’ live vocals. What differed was the principal subject of the discussion. For TWICE, the models’ walking space did not become the dominant controversy. For KATSEYE, the overlapping movements of singers, dancers and models became a focal point. TenAsia described moments when the runway looked crowded or the camera emphasized choreography while models were walking, but it did not identify a verified collision or a model being forced to stop. That makes “crowded staging” a more precise description of the reported criticism than a claim that KATSEYE physically prevented models from completing their walks.
The Korean analysis also placed responsibility for the visual result within the wider production. A fashion-show performance is not an independent concert inserted into an otherwise empty space. Its performers, runway routes, dancers, lighting and camera angles are coordinated as parts of the same presentation. TenAsia pointed out that country singer Megan Moroney drew similar complaints during the 2026 event, suggesting the issue was not limited to KATSEYE’s choreography. It also noted that Adam Selman oversaw the brand’s creative direction in both 2025 and 2026, although the precise reasons behind the different staging choices have not been publicly established. None of this proves that the production team made a mistake or removes all responsibility from performers; it simply means that a crowded-looking runway cannot automatically be attributed to the members alone.
The appearance was still a significant career moment for KATSEYE. Developed through a partnership between HYBE and Geffen Records, the global group has brought a K-pop-inspired performance model into the American pop market. Its third EP, WILD, debuted at No. 1 on the Billboard 200 in August, while “Animal” reached No. 24 on the Billboard Hot 100. Presenting “Pinky Up” and “Animal” at Victoria’s Secret therefore placed already established material in front of an audience following fashion as well as music. Whether the exposure generated additional streaming or sales cannot be determined from the performance footage or social media discussion alone, but the booking represented another major platform for the group’s increasingly visible international career.
The quartet appearance also came with an encouraging update for fans awaiting Sophia’s return. HYBE x Geffen confirmed on October 8 that Sophia will resume group activities during the first week of January 2027, after taking time away to prioritize her health and well-being. The agency said she would not participate in the remaining 2026 North American WILDWORLD tour dates or promotional activities. At the Victoria’s Secret event, Lara told E! News that the members were happy about Sophia’s return and proud of her decision to take the time she needed. She described Sophia as their sister and expressed excitement about performing together again. Manon, who has also been on hiatus, has no officially announced return date, and her absence should not be treated as evidence of a permanent departure.
For EYEKONS, the debate leaves two separate stories. One is the milestone of KATSEYE performing at a major American fashion event while continuing its activities as four members, with Sophia’s return now on the calendar. The other is a discussion about how runway productions balance choreography with the models they are presenting. TenAsia’s TWICE comparison offers a useful answer to the most heated version of the criticism: the available reporting does not establish that KATSEYE stopped a model from walking, but it does show why a more densely shared performance space could appear distracting to some viewers. The most revealing comparison is not which group deserved the stage, but how different staging choices changed what audiences noticed.