Recognize the genre shorthand
Many English-language fantasy lists give female names open endings such as -a or -ia and male names firmer endings such as -or or -en. Readers may recognize the signal, but it is a convention created by repeated use, not an elven law.
You can use that shorthand when quick recognition helps. You can also narrow it, reverse it, or drop it if the setting teaches readers another pattern.
Keep personality out of the suffix
A gentle man does not need a soft-coded name, and a woman who commands soldiers does not need a harsher one. Name the person through family, region, age, and social position. Personality belongs in what the character does.
If every woman receives a lyrical name while every man gets clipped consonants, the cast will feel sorted before anyone speaks. Variation within each group makes the culture sound inhabited.
Use generations and regions for stronger contrast
An old coastal name may sound different from a fashionable court name regardless of gender. These horizontal differences often tell readers more than dividing the entire language into two sets.
Write five names for each region, then check whether men and women still appear to belong to the same community. Shared stress or repeated sounds can hold the set together.
Leave room for neutral and chosen names
A culture may have names available to everyone, adult names chosen after a rite, or titles unrelated to gender. Record the rule in one sentence so the cast applies it consistently.
Names can also change category over time. That history is useful worldbuilding: an old masculine court name may become neutral in a border city two centuries later.