'Girlboss' Hypocrisy and Performative Feminism

Gaslight, gatekeep, girlboss.

The 2010’s stood as a profusion of burgeoning pop stars and political angst. Stars such as Rihanna, Katy Perry and Taylor Swift were dominating the music scene, and feminism was just a buzz word, thrown around and used loosely in relation to the inequality faced by white, straight, millennial women. Women of colour were pushed aside, whilst privileged, white women stood at the forefront of a movement which they only inserted themselves into once it directly affected them. Surface level feminism was quickly implemented into what felt like every piece of female directed media, and has now tarnished our view on what we choose to class as a feminist issue.

In 2014, the term ‘Girlboss’ defined what it meant to call yourself a feminist. The term was popularised by Sophia Amoruso, (CEO of fast-fashion company Nasty Gal) and it quickly became a symbol of female empowerment. Instead of striving for structural change within male-dominated business environments, the term was primarily used to uplift women in positions of power, filtered through an individualistic, and privileged viewpoint. Systemic inequalities (such as the gender pay gap and a lack of affordable child care) are far from a topic of discussion under the self-assured ‘Girlboss’ title. Amoruso’s book titled under the same name, faced criticism for promoting tone deaf views on female empowerment, and this was validated when Nasty Gal faced allegations of a toxic workplace, and ultimately filed for bankruptcy in 2017.

The hypocrisy of claiming to advocate for equality within the workplace, whilst firing pregnant employees, is astounding. Although this is an extreme instance of performative feminism, Amoruso’s behaviour follows numerous examples of influential figures furthering a false ideology of patriarchal issues. Fostering views on feminism that only highlight the challenges faced by upper class, white women, is not adequate to encourage change. To care about feminism means to educate yourself on encumbrances within environments surrounding the lower class, POC communities, single mothers etc. Every woman is susceptible to gender discrimination, but to emphasise issues regarding those of a higher privilege, is nothing short of performative.

Whilst women are expected to oblige and remain imperturbable to the ‘subordinate woman’ trope within society, performative feminism has taught us that it is quintessential for every woman to liberate themselves and break free from the subconscious understanding that women are unable to lead in male-dominated fields. Although this ideology might sound productive, it only insinuates that folding under the patriarchy is a choice. For a large majority of women, systemic bias impacts every aspect of their livelihood, including healthcare, living conditions, etc. The lack of emphasis on race, members of the LGBTQ+ community, and even those who aren’t able-bodied, has caused a scarcity of empathy and activism for those unable to rise above the systemic bias.

As of 2026, access to safe abortions is illegal in 13 American states. Texas, the largest state with a total abortion ban, saw 35,500 patients cross state lines to obtain an abortion in 2023, sometimes traveling as far as Washington or Massachusetts. The financial hardships are just another disparity within these famous, self proclaimed feminists, and those excluded from the movement. If Taylor Swift only speaks up on issues which affect her, does she really care about feminism, or dominating the charts over her male peers? If her activism excludes those below her on the social hierarchy, it’s hardly making a difference to the world around her. Understanding feminism beneath surface level requires an inquisitiveness for the world around you, as well as having empathy for those ‘inferior’. Intersectionality is vital to our comprehension of feminism; choosing to remain oblivious to the brutal treatment that POC women are subjected to is a privilege obtained by a large majority of people. It’s hardly an inconvenience for celebrities to educate themselves on the hardships endured by the less privileged, so why is their platform used to share nonsensical, shallow takes on the patriarchy? If anything, those with a surplus of resources are at an advantage to cultivating an understanding for the issues they could use their billions to combat.

During the 2010’s, social media saw celebrities often engaging in online discourse, appearing to consider their influence over their fanbase’s political views. Figures such as Taylor Swift and Beyonce were celebrating womanhood through writing empowering lyrics and giving electric performances that stood out immensely against their male peers. Whilst both artists remained at the forefront of the mainstream becoming of feminism, Beyonce was the only real pioneer out of the two. Taylor Swift is notorious for only speaking up on issues that directly affect her, and since she began labelling herself as a feminist in 2014, her activism has remained at a low effort. Celebrating your own victories in a male dominated field is inspiring, but it’s not feminism. Blocking your female peers from reaching chart heights, by releasing unnecessary variants of physical media is definitely not feminism. Taylor Swift is not only a powerhouse, but a business. Her earnings are a testament to the squeaky-clean image she has formed of herself, which has millions of young girls looking up to her. When her lyrics are predominantly linked to romance and female adolescence, it becomes an inevitable profit. Young girls deserve to have a role model. Taylor Swift writes music which a lot of girls can relate to, no matter their race or sexuality. But if Taylor Swift continues to place herself in these positions where she beams at the forefront of such an intersectional movement, she is expected to acknowledge her privilege, and inculcate her audience with empathy for those falling under various social identities.

If Taylor Swift only chooses to preach about feminism when she finds herself crumbling under the patriarchy, a wider political discussion is not welcome. She remains at the focus of mainstream feminism - for all the wrong reasons. In 2021, she began selling ‘Fuck the Patriarchy’ keychains from her merchandise store. Unsurprisingly, her activism then came to a halt. Commodifying feminist struggles without showing any understanding of complex oppression, is not feminism. In 2013, Beyonce’s self-titled album saw the artist champion female independence, black womanhood, and sexual empowerment. I am not using the difference in privilege to denounce Taylor Swift’s status as a feminist symbol, however, I do believe that Beyonce is an example of a ‘better’ feminist. Beyonce has made it clear in her music that female struggle is intersectional, and this is a crucial element of feminism that Taylor Swift continuously chooses to ignore.

The future must see more diverse takes on feminism being welcomed into mainstream media. To encourage wider education, we must give attention to those of different backgrounds and not disregard our own privilege. There is an element of ignorance that comes into play when people begin diminishing the raw and evocative lyricism of BIPOC artists. Doechii and Noname are two artists who blend vulnerability and sexuality in their music to create explicit poetry. It’s unpredictable, not vulgar. I do believe that a lot of white women are intimidated by confident, black women. Seeing so much empowerment in those of less privilege in society should not evoke anything sinister. So why are we not comfortable with black women singing about sex? If Sabrina Carpenter can do it, why can’t they?

In my opinion, black female artists rule the world. Holding the assurance to sing passionately about taboos in which radio audiences aren’t likely to understand, is liberating for any woman - no matter your race or sexuality. Due to historical stereotypes within society, confident black women are often demonised and labelled as ‘aggressive’ or ‘hostile’. For a black woman to embrace her culture, it challenges the social hierarchy which then targets her as a threat if she is in a position of authority. When a woman speaks freely about her sexuality, under the guise of her own gaze, it causes a stir within the insecure male population. If a woman flaunts her sexuality with emotion and humanity, she is not performing as an object, to satisfy men. When artists such as Brent Faiyaz, and Don Toliver, sing about their sex lives, no one bats an eyelid. Putrid lyricism is acceptable when it’s through the male gaze. However, if a woman sings about herself in a sexual manner, it’s deemed as ‘unladylike’, and she’s labelled as a whore. Female sexuality is only taboo when men aren’t the driving force of the conversation. If women speak about their own pleasure in a way that isn’t pornified and dehumanising, men become disgusted by it. They don’t like it when women hold power over their sexuality.

I truly believe that black female artists are some of the most unapologetic and authentic voices in music. White feminism has isolated BIPOC musicians and prevented their stories of black womanhood and oppression from reaching mainstream audiences. To eliminate shallow perspectives on feminism, we need to acknowledge those of a lower privilege and offer a platform for them to voice their own concerns and experiences. Since the 2020 Black Lives Matter movement, support for the Black community has flooded through social media in waves. Once it becomes a trend to be outspoken, that’s seen as an opportunity to gain respect from your fanbase. Although I agree that performative activism is sometimes better than choosing not to acknowledge the issues going on in the world, it’s clear when it comes from a place of natural inclination rather than to increase one’s social capital. Sharing a surface level understanding of feminism with an impressionable audience only benefits those who aren’t impacted by intersectional issues. Why tarnish your credibility by ignoring the struggles of those beneath you on the social ladder? If your work strictly appeals to white audiences, it is easy to profit from surface level feminism.

Greta Gerwig’s ‘Barbie’ is proof that white women love to place themselves at the centre of diverse issues. Following the film’s release in 2023, white feminism became difficult to escape due to the subtlety behind the patriarchal subject matter. Despite two of the lead roles going to mixed-race actors, this had no significance to the storyline. The ‘girl power’ element fixated on drawing in a stereotypically feminine, white audience. When your target audience are willing to pour money into your work, it’s a risk to begin writing for those who don’t relate to you. In recent years, we’ve seen a rise in media which uplifts BIPOC women, which is further pushing their experiences of womanhood into the mainstream. This is exactly what is needed for feminism to become more inclusive. If we provide more empathy for those with unconventional experiences, mainstream feminism will no longer divide us by privilege. After all, what is feminism if we don’t feel united?