The Girl Economy of TikTok
A young woman in her twenties steps away to show off her outfit, the front-facing phone camera perched on the steps of a Brooklyn brownstone they do not own, Lana Del Rey’s “Margaret” playing softly atop the softened sounds of footsteps taken in Rothy’s Mary Janes. Within the realm of TikTok, a seemingly endless digital landscape is dominated by videos of “Hot Girl Walks” in color-coordinated activewear, “Girl Math” rationalizing what might seem like impulsive financial choices, and “Outfit of the Day” displays adorned with Sandy Liang’s signature bows and thrifted schoolgirl silhouettes dominating the “For You” page, amassing millions of views. No longer confined to the history books’ depictions of bra-burning and “Vagina Monologues,” feminism finds few forms of expression in the digital age. These trends, and the creators behind them, are actively redefining feminism’s boundaries, challenging preconceived notions of identity and empowerment, changing what it means to be a girl.
Since its rapid ascent to in popularity in 2020 during the COVID-19 pandemic, the short-form video hosting platform TikTok has emerged as one of the largest social media platforms, boasting 150 million users in the United States alone (Lee). Renowned for its highly personalized algorithm, which draws from a user’s viewing history, engagement, location, audio preferences, and an array of data-encroaching tactics, TikTok has become both a source of contention and a catalyst for community building. Through interactions with similar video content, users are brought together under the umbrella of the “For You” page, often referred to as the FYP, which provides a seemingly endless stream of videos, taking users deeper into distinct “sides” of TikTok. These “sides” such as “Cottagecore,” highlighting rural fantasies and more domestic dreams, “Alt TikTok,” with more absurdist humor, and “Straight-tok,” which is more influencer and dance based, are entirely shaped by a user’s viewing habits and interactions on the platform. As the COVID-19 pandemic prompted self-reflection, it also brought forth a transformation in feminist discourse. By the late 2010s and early 2020s, traditional, corporatized “girl boss” feminism, characterized by professional success equating activism exemplified by Sheryl Sandburg’s “Lean In” philosophy and Elizabeth Holme’s feigned progressivism, began to wane. In its place emerged more inclusive and interpretive iterations of feminism, aligning with TikTok’s emphasis on hyper-individuality. This gave rise to “Bimbo TikTok” or “BimboTok,” characterized by a “collective performance of hyperfemininity” (Krijnen et al.). Breaking free from societal scrutiny, BimboTok fully embraces self-determined choices and a sex-positive outlook, cleverly subverting and satirizing sexualized aesthetics, effectively liberating themselves from the patriarchal and male gaze. BimboTok championed diversity, welcoming “girls, gays, and theys” into the community (Chlapecka), portraying the “bimbo” as a figure akin to a left-leaning political advocate, engaging in anti-racist and anti-capitalist feminist activism as an inherent part of its community interactions and philosophy (Krijnen et al.), In stark contrast to the earlier “girlboss” ethos of the 2010s, BimboTok’s ideology inherently prioritized inclusivity, breaking free from the racial, class, and cis-gendered constrains that previously defined girlboss feminism. In the wake of TikTok’s meteoric rise during the COVID-19 pandemic, it has not only redefined the landscape of social media, but also ushered in a transformation in feminist discourse. The platform’s personalized algorithm and the emergence of distinct “sides” has amplified the diversity of voices and perspectives within the feminist movement, sometimes exposing users who would might not otherwise come across feminist thought or activism. Moreover, TikTok’s role in nurturing inclusive and hyper-individualistic iterations of feminism, exemplified by “BimboTok,” has marked a departure from the corporate girlboss feminism of the 2010s, emphasizing self-determination, sex positivity, and the further dismantling of traditional gender and societal norms — a profound shift in the feminist narrative for the digital age.
In the demise of the girlboss era, the endeavor to definitively characterize girlhood within the realm of feminist activism has become increasing elusive. The emerging era of TikTok feminist discourse has introduced novel concepts and aesthetics revolving around the aspirational ideal of “that girl,” with a profound emphasis on meticulously curated self-care rituals (Chen and Zeng) and an elusive state of bliss attainable solely through tonally neutral aesthetics. Notably, the hashtag #thatgirl has garnered a staggering 16.2 billion views on TikTok as of the time of this writing. These videos often feature women meticulously cleaning and organizing trays of berries and vegetables in impeccably tidy refrigerators, close-up shots of skin and haircare products in minimalistic packaging, and photo slideshows showcasing influential TED talks and annual goals. The resurgence of wellness culture encourages the women of TikTok to aspire to the best version of themselves, but with a caveat — it must be done in a visually appealing manner (Moody). However, the stream of content epitomizing That Girl can be profoundly empowering for those who may not align perfectly with the aesthetics of a meticulously curated existence. This interpretation of girlhood does not hinge on one’s achievements or their adherence to outside, societal standards of femininity; at times, it resides in the simple pleasures of self-care, whether that entails an extensive skincare regime or weekly preparation of fresh fruits and vegetables, in front of or behind a phone camera (Uhlendorf). The indirect focus on tapping into inner girlhood and embracing personal expressions of femininity momentarily silences external expectations, permitting individuals to concentration on self-reflection as a form of escapism. It, in essence, romanticizes the real of intrapersonal interpretations of girlhood and self-care. In this evolving landscape, TikTok and its users have redefined the contours of girlhood and feminist activism, dismantling the once-dominant girlboss archetype. Through novel concepts like “That Girl,” centered on curated self-care and self-defined imagery, TikTok has fostered a resurgence of wellness culture that encourages women to aspire to their best selves. Yet, in the midst of this meticulously crafted existence online, TikTok has also provided a sanctuary for those who do not confirm to such ideals, allowing them to embrace a girlhood defined by self-care, self-expression, and the pleasures of simple rituals — ultimately elevating intrapersonal interpretations of girlhood and self-care as forms of empowering escapism from the patriarchal outside world.
Similarly, the “soft living” trend represents a departure from girlboss feminism in favor of prioritizing rest and tranquility, relinquishing toxic productivity and stress while embracing self-care. The movement, popularized by Black creators and influencers on TikTok, challenges conventional notions of emotional strength and forced resiliency, work ethic, and business success as the ultimate markers of identity (#softlife). It rejects the girlboss narrative that associates feminist liberation with capitalistic achievements, distancing itself from the emotional labor tradtionally expected within a patriarchal and domestic context. “Soft living” has notably carved out a distinct niche within the realm of Black girlhood. Some critics may argue that the aspiration for a stress-free existence is nothing more than an unrealistic and anti-feminist daydream, while others view it as a direct act of resistance against capitalism and corporate culture (Taylor). In reimagining girlhood through “soft living” and similar trends, TikTok has become a platform where individuals can challenge conventional notions of what it means to be successful as a woman, differentiating self-worth from traditional notions through the importance of well-being and self-care (Castelin and White). These movements not only reflect a rejection of girlboss feminism, who covertly rejected champions of these emerging trends, but also serve as a profound testament to the evolving landscape of feminist discourse in the digital age.
In the ever-expanding realm of TikTok, where progressive and creative niches thrive, the enduring influences of patriarchy and capitalism seep in and persist, inevitably giving rise to pockets of sexism, misogyny, and the male incel ideology creeping in on otherwise memeified content (Ging). These elements collectively converge under the overarching banner of the “manosphere” (Hava and McLamb). The term “manosphere,” while broad, traces its origins back to the men’s liberation movement of the 1970s and 80s, a response to second-wave feminist movements, in an attempt to reaffirm men’s preconceived roles in society (Men’s Movements). Over time, the manosphere has evolved into its contemporary form, largely propelled by the popularization of web 2.0, which facilitated the spread of extremist views across blogs, forums, and social media platforms through figureheads like Joe Rogan and Andrew Tate (McCollough). However, within this tumultuous digital landscape, Gen Z, celebrated for its acerbic wit and dry humor, refuses to countenance online hatred, particularly sexism and misogyny. Drew Afualo, an emblematic figure among these creators, boasting 7.9 million followers on TikTok, exemplifies the power of Gen Z’s humor as a potent instrument of feminist activism on the app. On TikTok, she leverages the platform and audience to confront and condemn hateful behaviors head-on. Her content often features sharp retorts to the seemingly scripted responses that frequently accompany attacks on fragile masculinity online. As she aptly points out, “men who complain about “gold diggers” have no gold…you worried about other men’s money? That’s crazy. Stack your own bread before you worry about somebody else’s (Afualo). In this online battleground, Afualo’s snarky comebacks effectively flip the script on misogynistic and hateful rhetoric, turning the tables on those who attempt to wield it as a weapon. This dynamic mirrors the ethos of BimboTok and a growing trend overall on TikTok, where creators opt to disengage from unpaid emotional labor when confronted by those deliberately uninformed with the aim to inflict harm. Afualo’s unapologetic presence on the platform and her rapid-fire responses to the predominantly male backlash she encounters in response to her content underscore the efficacy of this approach in combating the pervasive misogyny found on TikTok. Ultimately it succeeds in reflecting the harmful behavior and rhetoric back onto its perpetrators. Through humor and wit, Afualo and others challenge and dismantle the toxic elements of the “manosphere’s” pervasive online presence, reshaping TikTok’s discourse and opening up new avenues of feminist activism subversive to traditional pathways.
In the kaleidoscopic world of TikTok, where creativity knows no bounds, the digital age has given feminism a new canvas on which to redefine itself. Our exploration of the platform’s diverse trends, voices, and perspective reveals that TikTok has not only transformed the landscape of social media as we know it, but has also catalyzed a profound, user-generated shift in feminist discourse. Its personalized algorithm and distinct pockets of content have amplified the diversity of feminist perspectives to be more inclusive than ever, reaching users who might not have encountered feminist though or activism otherwise. In essence, TikTok serves as a symbol of the digital age’s power to constantly be reshaping and redefining feminism and girlhood. As it continues to evolve, it empowers individuals to challenge established notions of identity, empowerment, and girlhood, transcending the boundaries imposed by patriarchy and capitalism. The transformative potential of the digital age on feminist thought and activism is vividly reflected and ever-evolving in TikTok’s ever expanding and ever empowering platform.
