This month we're celebrating our eternal muse: the barrier-breaking woman. Collectively and individually, on professional and personal endeavours, in ways both loud and quiet, women are changing the world.
Split into four parts, On Womanhood explores how just a few of the women we admire are moving and shaking, changing perceptions and blazing a trail in which others follow along the way.
So, what does part one hold? Three inspiring women – from non-profit charity founders to artists challenging the very concept of art – present their stories in their own words. Scroll on to meet Merida Miller, Jacqueline Mulvaney and Tina Pasotra.
Merida Miller
Founder of Project Fearless
It all started with a year of personal exploration and a scary stat. Launching in 2019, Merida Miller's non-profit organisation Project Fearless provides a safe space for young girls to explore their sense of self and find their voice, away from societal pressures and expectations. Here’s her story.
Project Fearless’ mission is to equip girls with the tools to succeed in any aspect of their lives by plugging the gap currently left by society. We want to enable more girls to get to the top of any ladder they wish to climb. We offer after school programs for girls aged 9-14 alongside mentorship roles for those aged 15-18. Our courses are designed for them to share experiences of stepping out of their comfort zones, find their voice, and create an impact in their communities. Our hope is they leave us more confident, knowing whatever path they chose, whatever the outcome may be, they are in control and can bounce back.
Project Fearless was born out of a year of personal exploration and a shocking statistic. In 2018, after much deep diving, I realised that I am the best me when I’m working with my hands, cheering people on and giving back. Around the same time I saw this Ypulse survey stat: “Between ages 12 and 13, the percentage of girls who say they’re not allowed to fail increases by 150%”. I’m constantly blown away by the great initiatives and communities there are out there for supporting women and I felt the need to create a space where girls can feel supported to try new things. Less “Great you like XYZ! Go into XYZ. We need more women in XYZ!” and more, “Did you know there is space for us all to make an impact? That no matter the size of your voice, you are enough?”
Sometimes it can feel like society is telling us that if we want to be recognised for something as women, we have to be the best. That there is only room for the best. And that plays into this perfectionist thinking we all can get wrapped up in, “I cant’ make a mistake, they’ll see I’m flawed and therefore wont promote me, like me, support me, sponsor me… you name it”. I think it’s incredibly empowering (and terrifying) to find something you’re really ‘bad’ at or completely new at and try it.
I read Enough As She Is by Rachel Simmons and it was so interesting to learn her view on “praise and achievement driven” tendencies in girls. I could totally relate. For so much of my life, and I still catch myself doing it, I have done things because of the praise that comes with it. I know Im not alone here – I know many women who have pursued careers or life paths because that what they were “good” at and they got praise for doing it.
I think the concept of leadership needs to be readdressed for all genders, not just women. Gender stereotypes affect us all and the more we feed into what certain roles must look like or feel like, the more we strengthen the divide and keep so many from leading authentically.
I think there’s a forever fluid and elusive definition of womanhood, which is beautiful and powerful in itself. I have to think of all the women on the Project Fearless team who embody womanhood. They are women from all over the world (who happen to be in Amsterdam), all defining success on their own terms. They are diverse, vulnerable, strong, beautiful, empowering, and fearless. Being fearless doesn’t mean being without fear, it means knowing that whatever comes your way by being unapologetically authentically you, you will get through it. Girlhood is about exploring and expressing yourself, finding your voice and how you want to use it.
Founder of Project Fearless
It all started with a year of personal exploration and a scary stat. Launching in 2019, Merida Miller's non-profit organisation Project Fearless provides a safe space for young girls to explore their sense of self and find their voice, away from societal pressures and expectations. Here’s her story.
Project Fearless’ mission is to equip girls with the tools to succeed in any aspect of their lives by plugging the gap currently left by society. We want to enable more girls to get to the top of any ladder they wish to climb. We offer after school programs for girls aged 9-14 alongside mentorship roles for those aged 15-18. Our courses are designed for them to share experiences of stepping out of their comfort zones, find their voice, and create an impact in their communities. Our hope is they leave us more confident, knowing whatever path they chose, whatever the outcome may be, they are in control and can bounce back.
Project Fearless was born out of a year of personal exploration and a shocking statistic. In 2018, after much deep diving, I realised that I am the best me when I’m working with my hands, cheering people on and giving back. Around the same time I saw this Ypulse survey stat: “Between ages 12 and 13, the percentage of girls who say they’re not allowed to fail increases by 150%”. I’m constantly blown away by the great initiatives and communities there are out there for supporting women and I felt the need to create a space where girls can feel supported to try new things. Less “Great you like XYZ! Go into XYZ. We need more women in XYZ!” and more, “Did you know there is space for us all to make an impact? That no matter the size of your voice, you are enough?”
Sometimes it can feel like society is telling us that if we want to be recognised for something as women, we have to be the best. That there is only room for the best. And that plays into this perfectionist thinking we all can get wrapped up in, “I cant’ make a mistake, they’ll see I’m flawed and therefore wont promote me, like me, support me, sponsor me… you name it”. I think it’s incredibly empowering (and terrifying) to find something you’re really ‘bad’ at or completely new at and try it.
I read Enough As She Is by Rachel Simmons and it was so interesting to learn her view on “praise and achievement driven” tendencies in girls. I could totally relate. For so much of my life, and I still catch myself doing it, I have done things because of the praise that comes with it. I know Im not alone here – I know many women who have pursued careers or life paths because that what they were “good” at and they got praise for doing it.
I think the concept of leadership needs to be readdressed for all genders, not just women. Gender stereotypes affect us all and the more we feed into what certain roles must look like or feel like, the more we strengthen the divide and keep so many from leading authentically.
I think there’s a forever fluid and elusive definition of womanhood, which is beautiful and powerful in itself. I have to think of all the women on the Project Fearless team who embody womanhood. They are women from all over the world (who happen to be in Amsterdam), all defining success on their own terms. They are diverse, vulnerable, strong, beautiful, empowering, and fearless. Being fearless doesn’t mean being without fear, it means knowing that whatever comes your way by being unapologetically authentically you, you will get through it. Girlhood is about exploring and expressing yourself, finding your voice and how you want to use it.
Jacqueline Mulvaney
Anthropologie Display Co-Ordinator
From the iconic hubbub of New York’s fashion scene to mastering displays at Anthro Bath, Jacqueline Mulvaney’s life experiences have shaped who she is today. Here she talks about keeping her artistic practice alive and informing, and been informed by, the next generation of women.
I ran my own business for the best part of 30 years. I was a maker specialising in both paper and textiles, travelling to the US regularly to show and sell my work. At the time the Crafts Council worked with small businesses to enable them to attend major trade shows, it was a fabulous experience and helped grow my business and give me invaluable export experience. In the UK I worked with a visionary American restaurateur who commissioned me to produce everything from large art installations to graphics and textiles.
I’m now the display co-ordinator at Anthropologie Bath. I create five windows a year, lead seasonal display updates throughout the store. The TLC is constant but I relish the challenge of making so many different installations, from the small and delicate to the large and imposing. There’s never a dull day.
Anthropologie’s display co-ordinators are predominantly female – we have a great team spirit, communicating regularly about work and life. I feel incredibly lucky to be supported by such an amazing team, one where gender is irrelevant as we all respect each other’s abilities and are there to help if anyone is struggling. We all recognise and champion the fact that the ability to produce what's required is genderless. I also value the fact that although I am significantly older than the rest of the DCs no one treats me differently. It’s brilliant to work with such young and talented minds.
Outside of work, I keep my own practice very much alive: I'm a printmaker who works with lino and screen printing. I'm currently working on a book called What Artists Eat All Day, a journey through food, art, drawing and everything in between. It's a project I have been planning for a long time, so it's exciting to be under way. A curation of my work is currently on show at Anthropologie’s King’s Road store gallery. Tools of the Trade exhibits mixed media drawings and prints based on the tools and utensils that make my practice possible.
I feel privileged to have witnessed my generation inform and be informed by the current generation of women. Undoubtedly, the workplace was different when I graduated and expectations could be a little proscribed but I feel my friends and I have worked tirelessly to show younger girls and women that their place is where they want it to be , not where they are told it should be.
Womanhood to me means valuing each other for our choices, whether work or lifestyle. It means not judging each other and supporting the next generation so that they can achieve their ambitions.
Anthropologie Display Co-Ordinator
From the iconic hubbub of New York’s fashion scene to mastering displays at Anthro Bath, Jacqueline Mulvaney’s life experiences have shaped who she is today. Here she talks about keeping her artistic practice alive and informing, and been informed by, the next generation of women.
I ran my own business for the best part of 30 years. I was a maker specialising in both paper and textiles, travelling to the US regularly to show and sell my work. At the time the Crafts Council worked with small businesses to enable them to attend major trade shows, it was a fabulous experience and helped grow my business and give me invaluable export experience. In the UK I worked with a visionary American restaurateur who commissioned me to produce everything from large art installations to graphics and textiles.
I’m now the display co-ordinator at Anthropologie Bath. I create five windows a year, lead seasonal display updates throughout the store. The TLC is constant but I relish the challenge of making so many different installations, from the small and delicate to the large and imposing. There’s never a dull day.
Anthropologie’s display co-ordinators are predominantly female – we have a great team spirit, communicating regularly about work and life. I feel incredibly lucky to be supported by such an amazing team, one where gender is irrelevant as we all respect each other’s abilities and are there to help if anyone is struggling. We all recognise and champion the fact that the ability to produce what's required is genderless. I also value the fact that although I am significantly older than the rest of the DCs no one treats me differently. It’s brilliant to work with such young and talented minds.
Outside of work, I keep my own practice very much alive: I'm a printmaker who works with lino and screen printing. I'm currently working on a book called What Artists Eat All Day, a journey through food, art, drawing and everything in between. It's a project I have been planning for a long time, so it's exciting to be under way. A curation of my work is currently on show at Anthropologie’s King’s Road store gallery. Tools of the Trade exhibits mixed media drawings and prints based on the tools and utensils that make my practice possible.
I feel privileged to have witnessed my generation inform and be informed by the current generation of women. Undoubtedly, the workplace was different when I graduated and expectations could be a little proscribed but I feel my friends and I have worked tirelessly to show younger girls and women that their place is where they want it to be , not where they are told it should be.
Womanhood to me means valuing each other for our choices, whether work or lifestyle. It means not judging each other and supporting the next generation so that they can achieve their ambitions.
Tina Pasotra
Multi-Disciplinary Artist
In a world often shaped by pre-determined boxes, Tina Pasotra is the opposite. Her artistic practice takes the form of film, dance, installation – whatever the subject calls for. She bucks the societal pre-conception of what a leader should be or look like. Here, she talks about the beauty and challenges of the creative sphere, and the impending release of her first narrative film, I Choose.
I’m a multi-disciplinary artist which means that I take the role of director, but always in collaboration with different art forms and artists. My creative practice has so far engaged with film, installation, dance, theatre, architecture, fashion, and music.
It can be hard for people to digest what you do if it doesn’t conform to their perception or definition of an art form. I think the arts, on the whole, are subjective. People have their own definitions based on what they believe the form to be. Some people would argue theatre belongs in a black box and deviating from that means it’s not theatre. I also think it’s somewhat harder for women to have their practice accepted for what it is. I’ve noticed the language: a woman’s work is ‘quirky’ or a bit ‘mad’.
Growing up I had no idea about the possibility of pursuing a career in the arts. It wasn’t something that was part of my immediate network. My mum did send me to dance classes when I was little, something she sadly wasn’t allowed to do herself. I then spent some time training in ballet and contemporary dance. Dance massively inspires my work and having an understanding of this form supports my creative practice.
I’m about to release my first short narrative film, I Choose. The film is inspired by the women I have met throughout life who have repeatedly accepted, yet desperately not wanted, things completely forced upon them. People often conflate forced and arranged marriage, believing they are the same thing. Arranged marriages can in fact be successful, but forced marriage is where there is a lack of consent. I Choose is about a woman who, despite adversity, makes a choice that comes from internal strength. I won’t say much more as the film is close to being finished, likely at the end of March.
National Theatre Wales (NTW) has been instrumental in supporting my growth as a director. In 2019, Kully Thiarai the former artistic director, launched Radical Creatures, a call-out for female artists to pitch a show as bold as possible and unfettered by barriers. I was a successful applicant with my concept for a show that fuses all the art forms I work with: architecture, fashion, film, movement and installation. This work (currently in development) is inspired by Audre Lorde’s The Master's Tools Will Never Dismantle the Master's House. With NTW, I’ve also been developing my relationship with the National Botanical Garden of Wales for my Bloom project.
As a woman, and as a woman of colour, I think the harsh reality is that when people in positions of power all look the same, it’s hard for people to accept you as the one in charge. It’s the microaggressions that I find to be interesting. How some people feel comfortable speaking to you in a way they would never address a white man or in some instances a white woman. It’s not something that is easy to openly address. A lot of the knowledge on structural oppression, whether it’s racism or patriarchy, isn’t spoken about in a way that’s easy to digest. However, when you do understand the weight of structural inequality, you realise these issues can’t be dismantled overnight; I see myself as part of a bigger picture, trying to shift change in the industry.
What does womanhood mean to me? That’s a huge question! I suppose womanhood changes over time considering what our bodies experience physically. it blows my mind and I often question how we remain balanced when biology has its way. I think a lot about women’s freedom and understanding how significantly different it is for women who don’t have the same access and opportunities. I know a lot of women who sacrificed so much in order to create change, my mum being one of them. I also think about the patriarchy that seems to have created a culture where kindness is seen as weakness, when in fact kindness is so incredibly humbling and beautiful to give and receive. A friend once described her aspirations to be steel wrapped in silk, it’s always stayed with me.
Multi-Disciplinary Artist
In a world often shaped by pre-determined boxes, Tina Pasotra is the opposite. Her artistic practice takes the form of film, dance, installation – whatever the subject calls for. She bucks the societal pre-conception of what a leader should be or look like. Here, she talks about the beauty and challenges of the creative sphere, and the impending release of her first narrative film, I Choose.
I’m a multi-disciplinary artist which means that I take the role of director, but always in collaboration with different art forms and artists. My creative practice has so far engaged with film, installation, dance, theatre, architecture, fashion, and music.
It can be hard for people to digest what you do if it doesn’t conform to their perception or definition of an art form. I think the arts, on the whole, are subjective. People have their own definitions based on what they believe the form to be. Some people would argue theatre belongs in a black box and deviating from that means it’s not theatre. I also think it’s somewhat harder for women to have their practice accepted for what it is. I’ve noticed the language: a woman’s work is ‘quirky’ or a bit ‘mad’.
Growing up I had no idea about the possibility of pursuing a career in the arts. It wasn’t something that was part of my immediate network. My mum did send me to dance classes when I was little, something she sadly wasn’t allowed to do herself. I then spent some time training in ballet and contemporary dance. Dance massively inspires my work and having an understanding of this form supports my creative practice.
I’m about to release my first short narrative film, I Choose. The film is inspired by the women I have met throughout life who have repeatedly accepted, yet desperately not wanted, things completely forced upon them. People often conflate forced and arranged marriage, believing they are the same thing. Arranged marriages can in fact be successful, but forced marriage is where there is a lack of consent. I Choose is about a woman who, despite adversity, makes a choice that comes from internal strength. I won’t say much more as the film is close to being finished, likely at the end of March.
National Theatre Wales (NTW) has been instrumental in supporting my growth as a director. In 2019, Kully Thiarai the former artistic director, launched Radical Creatures, a call-out for female artists to pitch a show as bold as possible and unfettered by barriers. I was a successful applicant with my concept for a show that fuses all the art forms I work with: architecture, fashion, film, movement and installation. This work (currently in development) is inspired by Audre Lorde’s The Master's Tools Will Never Dismantle the Master's House. With NTW, I’ve also been developing my relationship with the National Botanical Garden of Wales for my Bloom project.
As a woman, and as a woman of colour, I think the harsh reality is that when people in positions of power all look the same, it’s hard for people to accept you as the one in charge. It’s the microaggressions that I find to be interesting. How some people feel comfortable speaking to you in a way they would never address a white man or in some instances a white woman. It’s not something that is easy to openly address. A lot of the knowledge on structural oppression, whether it’s racism or patriarchy, isn’t spoken about in a way that’s easy to digest. However, when you do understand the weight of structural inequality, you realise these issues can’t be dismantled overnight; I see myself as part of a bigger picture, trying to shift change in the industry.
What does womanhood mean to me? That’s a huge question! I suppose womanhood changes over time considering what our bodies experience physically. it blows my mind and I often question how we remain balanced when biology has its way. I think a lot about women’s freedom and understanding how significantly different it is for women who don’t have the same access and opportunities. I know a lot of women who sacrificed so much in order to create change, my mum being one of them. I also think about the patriarchy that seems to have created a culture where kindness is seen as weakness, when in fact kindness is so incredibly humbling and beautiful to give and receive. A friend once described her aspirations to be steel wrapped in silk, it’s always stayed with me.