Yvonne Renée Davis

Beauty Is in the Eye of the Molder

We have all heard it said that beauty is in the eye of the beholder. There is even that old song, "Everything Is Beautiful," reminding us that beauty shows up in its own way. The beholder is the one looking at you. It is what other people see and decide is beautiful.

But what about you? What about the one doing the shaping?

The molder is the person who sees herself and knows what makes her beautiful, what makes her strong, and what makes her special. The molder is the author of her own life. She gives structure to who she is. She decides how she adorns herself and how she cares for her body, her health, and her wellness. The molder represents the power of the self. And before a beholder can behold you, you must first be able to mold yourself.

The molding starts young. Think of a little girl with a lump of clay in her hands. She might be ten, pressing her thumbs into it, curious about what she can make. By then, she may have heard "You're so pretty" enough times to notice when nobody says it. She can enjoy hearing it and still ask, "What do I see in myself? What do I want to shape?" I want her to know, while that clay is still soft in her hands, that she gets a say in who she becomes.

Every woman gets to decide how she wears her hair. She can wear hers naturally today, put on a wig tomorrow, or wear a weave or extensions next week. The beholder can have an opinion. I'm the molder.

When we wait for a beholder, we give our power away. We wait for someone else to see us and approve of us. That is a different frame of mind, and we need to stop waiting. We have to mold ourselves first and approve of ourselves. Then, when a beholder comes along and finds us beautiful, we don't have to buy into it. It can be flattering to be seen as beautiful, and we can appreciate that affirmation. But if no one beholds us, then we mold ourselves. Because molders attract molders. Like attracts like, and it is rooted in confidence.

To mold something is to shape it with your own hands, through steady pressure, patience, and intention. Clay does not take its form all at once. It is worked over time. And once it is set, a mold holds its shape. Molding yourself is both creating who you are and holding on to that identity.

A Different Space and a Different Pace

At sixty-one, I train in a different space and at a different pace. Whether I am traveling in Cap Cana or working out at my gym at home, I am not putting too much pressure on myself. I am simply being consistent. Changes in the body come more slowly now, and they definitely do not happen overnight. It takes time.

I am not trying to get rid of all my fat because a woman should have some curves. I am building strength so that ten years from now, twenty years from now, or however many years the Lord gives me, I can still be agile, mobile, strong, and free.

Passing the Mold Forward

Recently, I met three young ladies at the gym, all sixteen. One was lifting really heavy, and the other two just wanted to learn. We started talking, and I asked if they wanted to train together. They jumped with excitement. We have trained together since, and we will be back at it again.

The reward for me is as great as it is for them. We talked about getting rid of the word fat because no one should be defined by it. Instead, we talked about building lean muscle so they look their best at sixteen and stay consistent at twenty, thirty, forty, and fifty. We also talked about how, one day, if they marry and become moms, they can still be strong and athletic. Knowing their parents trust me, a near stranger, to train them gives me even more motivation.

My work with them is about more than keeping myself consistent or setting an example. It is about instilling in them the importance of molding themselves.

Making the Modifications

Molding also means making modifications. Think of a construction site. When molding is installed in a house, sometimes a modification has to be made because something no longer works or is not up to code. That is how we should look at ourselves, our bodies, and how we live.

Modification doesn't have to mean plastic surgery or a facelift. If someone feels she needs that, it is her choice, but I have not had it done myself. The modifications I mean are the ones that elevate you and raise your value. Sometimes a modification is simply getting more sleep at night. Recently, I got a little dizzy during my Romanian deadlifts and hip thrusts because I lift pretty heavy. My modification involved adjusting my breathing and drinking more water.

That process takes time. You can rush it the artificial way, and that is your choice, or you can modify bit by bit, body part by body part, mindset by mindset.

A 2025 study in the Journal of Health Psychology by Marmara, Hosking, and McLean found that, among women, planned physical activity was linked to greater well-being through body appreciation.

Being the molder does not mean you become the mold of everyone else. Your goal is to break the mold for yourself. If you have observed something in another woman's mold that inspires you, there is nothing wrong with adopting it. Just take it for yourself and make it authentic to you. That is your trademark. Trademark yourself.

The MOLDER

So, what does it take to mold yourself? I think of it this way:

M is for Mental Acuity. It starts in the mind. Some days, you do not feel like getting up and getting out to work out, but something always sparks that energy. The molder finds that spark.

O is for Obligation to Self. You owe it to yourself to care for your body, your health, and your wellness because no one else can mold you.

L is for Love of Self. Every woman should give herself permission to want to look, feel, and know that she is beautiful and to love herself. People have a tendency to try to put a hood over your lamp. But if you put a hood over a lamp that is turned on, eventually it will burn through and burst into flames. Yes, there is a little vanity in it, and vanity is not just for the young. I am not talking about vanity of the spirit or being haughty. I am talking about the desire to love oneself authentically, without pretending to be something you are not.

D is for Discipline. Consistency without too much pressure. Showing up again and again.

E is for Everlasting Evolution. The body changes slowly, and the molding never ends, whether you are sixteen or sixty-one.

R is for Regal. Carrying yourself with dignity and strength while remaining agile, mobile, and free.

How to Become a Molder

• Start with your mind. On days when you don't feel like it, find your spark, get up, and go.
• Give yourself permission. Want to look, feel, and know that you are beautiful, and love yourself.
• Make one modification at a time. It might mean more sleep, more water, or better breathing when you train.
• Be consistent, not perfect. Show up again and again without putting too much pressure on yourself.
• Change your words. Drop "fat" and speak about building strength and lean muscle.
• Borrow inspiration, then make it yours. Take what inspires you from another woman's mold and make it authentic to you.
• Pass it on. Encourage a younger woman to mold herself, too.

Before the Beholder

The world will always have its beholders. People will look, and they will decide what they think is beautiful. But long before anyone beholds you, you have the power to mold yourself. That is where real beauty begins.

Beauty is in the eye of the molder. It is what you mold yourself to be.

So, I ask you: What will you mold in yourself starting today?

By Yvonne Renée Davis, MS, MA, PC

There is a moment most women can name if you ask them honestly. Someone with a little more power asks for something, and your mouth says yes before your mind has finished hearing the question. You feel a small flush of warmth. You were picked. Then, somewhere around Tuesday of the following week, the warmth is gone, and you are living inside a decision you never actually made.

I have watched this in newsrooms, in boardrooms, in delegations across dozens of countries, and in my own life. The setting changes. The reflex does not, and it does not resolve with a promotion. I have seen it in a twenty-six-year-old coordinator and a fifty-four-year-old executive vice president in the same week. The only difference was the size of what the yes cost.

So let me say it plainly, to the ones just starting and the ones three decades in. Your yes is not a vote. It is not a ballot you cast to stay in good standing. It is currency, and you hold a limited supply. Every time you spend it to be accepted, you are trying to buy something acceptance cannot sell you, which is value. Being chosen answers someone else's need in the moment. Being valued is what you are worth over time.

Scene 1: Friday, 4:40 p.m.

Simone is twenty-six, a program coordinator, good at her job, and everyone says so. Her vice president, Marcus, stops at her desk as she packs up for the weekend.

Marcus: Simone, quick one. The gala committee needs a lead. I thought of you right away. You're so organized, and honestly, the board notices people who step up.

Simone: Of course. I'd love to.

Marcus: You're a lifesaver. Kickoff is Monday.

Simone already owns the quarterly grant report, due in three weeks. For six months, she has been trying to finish her certification in program evaluation, the credential that would move her into the role she actually wants. None of that came up in the forty seconds it took her to agree.

Sunday night, she calls Denise, a mentor who has been in the field for thirty years.

Simone: I said yes to the gala.

Denise: Okay. What did you say yes to?

Simone: Leading the committee.

Denise: No. What did you say yes to?

Simone: I guess... I said yes to him thinking of me first.

Denise: And what does that pay?

Simone: It felt good.

Denise: For how long?

Simone: About until I got to my car.

Denise: So you traded your certification for a feeling that lasted from your desk to the parking lot.

Simone: That's not fair.

Denise: It isn't fair. It's accurate. Let me ask you something. If nobody on that board ever found out you were asked, would you still have said yes?

Simone: No.

Denise: Then that wasn't a yes. That was an audition. Simone, you already have the job.

Monday morning, before kickoff, Simone goes back.

Simone: Marcus, I want to revisit Friday. I answered too fast. I'm carrying the Q3 grant report, and I'm finishing my evaluation certification by December, which I believe makes me more useful to this organization than the gala does. I can't lead the committee and do all of it well. I can sponsor follow-up, about four hours a week, if someone else takes the lead.

Marcus: Oh. I figured you'd want visibility.

Simone: I do want visibility. I want it for the work I'm building here.

Marcus: Fair enough. Let me talk to Jordan.

That is the whole scene. No drama, no burned bridge. What Simone did not understand on Friday is that Marcus needed a name, and hers was the closest one. The warmth she felt was his relief. She had mistaken it for her value.

Why That Happens: The Audition Nobody Announced

If that scene felt familiar, here is why. None of it is a character flaw. It is training, and it is reinforced. Carol Gilligan's work documented decades ago how girls learn to quiet what they know in order to stay in relationship with the people around them, and that habit does not end at graduation. It follows us to work, where it gets rewarded until it looks like personality.

The economists Linda Babcock, Lise Vesterlund, and Laurie Weingart gave the pattern its name: non-promotable work. The committees, the event planning, the note-taking—everything that keeps an organization running and does nothing to advance the person doing it. Their findings are blunt. Women are roughly forty-eight percent more likely to volunteer for it. And here is the number that should end the conversation about whether this is simply a habit women need to break: managers are about forty-four percent more likely to ask a woman in the first place, and that holds whether the manager is a man or a woman. Estimates put the gap at something near two hundred additional hours a year. A full working month, unbilled.

Put those findings side by side, and you see what actually happened at Simone's desk. She learned early that agreement keeps her in the room. Then she arrived at work, where agreement is exactly what gets asked of her, and the yes she gave was treated as proof of her worth. She was performing for a role she already held.

Seniority does not retire the habit. It refines it. At mid-career, the audition stops sounding like eagerness and starts sounding like leadership: I am the only one who can hold this together; it will be worse if I decline. At the executive level, it wears its best suit and calls itself duty. Same reflex, higher stakes, and by then a whole organization is built on the assumption that you will say yes. If being chosen is the only payment, it was never an opportunity. It was an audition.

Scene 2: Twenty-Eight Years Later

Now watch the same forty seconds at the other end of a career. Renata is fifty-four, a senior vice president, three decades of reputation behind her. The chief executive catches her after a board meeting.

CEO: Renata, the integration task force. I need someone the board trusts, and frankly, there is no one else I would put in front of them. You are the steady hand here.

Renata: Send me the roster. I will get started this week.

Fourth task force in two years. Each framed as indispensability, none of them in her compensation review, while the client vertical she proposed eighteen months ago, the one that would carry her name past her tenure, has not moved beyond a deck. She mentions it, half joking, to Denise.

Renata: I don't have time for my own strategy. I'm running everyone else's.

Denise: Why did you take the task force?

Renata: Because if I don't, it goes badly, and I'll be cleaning it up in six months anyway.

Denise: That is a reason. Is it the reason?

Renata: He said there was no one else he would put in front of the board.

Denise: There it is. Renata, you have twenty-eight years and a title on the door, and he bought you with the same sentence Marcus used on a twenty-six-year-old.

Denise: You are not auditioning for the job anymore. You are auditioning to stay irreplaceable. That audition has no ending, because the day you become replaceable is the day the applause stops.

Renata does not decline outright. She is too senior for that to be free, and she knows it. She names the trade instead, in writing.

"I will chair it through the integration close in March. In exchange, I need the vertical proposal on the Q2 agenda with real budget attached. I can carry one of these well. Not both."

That is not a softer no. That is a no with a price tag, which at her level is the only kind anyone respects. And it only works because she was genuinely prepared for him to say no back. Early on, you audition to be let in. Later, you audition to stay essential. Neither one ends on its own.

Let Me Be Honest About the Cost

I will not pretend every no lands that softly. Hannah Riley Bowles and her colleagues have shown that women who advocate for themselves face social penalties; men asking the same way do not, and women of color carry an added layer of that tax. A no has consequences, and anyone who says otherwise has not had to deliver one with a mortgage, a supervisor, and a reputation on the line.

There is a harder objection, too, and it deserves a straight answer. When you decline, the task does not evaporate. It usually lands on someone with less power than you. Which is why a no must be more than personal: if you are senior, yours is incomplete unless it comes with a question about who the work should belong to, a rotation, or a line in somebody's job description. Otherwise, you have not cleared a room. You have moved the furniture into a smaller one down the hall.

And the longer you have been saying yes, the more your yes has been priced into how the place runs. Renata's first no lands harder than Simone's, not because she has less standing but because she has more history of agreement. That is a reason to start, not a reason to keep agreeing.

So the goal is not a reflexive no. That is only the audition turned inside out. The goal is a deliberate yes. Stewardship is an old word and a good one: what you have been given—your time, your gifts, your attention—you are responsible for spending well. A yes spent on purpose builds something. A yes spent for approval simply leaves the account.

Nobody Ever Gives You the Sentence

You have been told to set boundaries. You have been told to say no. You have probably been told it by someone charging good money to say it. What almost no one does is hand you the actual sentence, the one you have to produce in real time, out loud, while a person with power over your career is standing at your desk waiting.

That gap is why the advice never takes. Conviction is not the missing piece. Language is. So here is the language, and it works at twenty-six and at fifty-four. What changes with seniority is not the method; it is the size of what you are protecting.

Step 1. Put Space Between the Ask and the Answer.

The audition lives in the half second after the question. Take that half second back. You are not being evasive; you are being responsible.

"Let me look at what I'm carrying and get back to you by ten tomorrow."

Step 2. Find Out What You Are Actually Being Offered.

Visibility and labor are not the same thing, and they are often dressed alike. Ask who will see the work and how it connects to what you were hired to deliver.

"What does success look like on this, and who will it be reported to?"

Step 3. Price It Before You Pay It.

Every yes is paid out of something. Write down, literally, what this one will cost: which hours, which evenings, which goal gets pushed to next quarter. If you cannot name what it displaces, you have not decided yet.

Step 4. Run the Audition Test.

Ask yourself Denise's question. Would I say yes if no one ever learned I was asked? If the answer is no, the only thing you are being paid in is the feeling of being picked, and that currency does not hold its value.

Step 5. Say the No in One Breath.

No apology essay, no list of reasons for someone else to argue with. A clean no is a courtesy to both of you.

"I'm not able to take that on and do it well."

"That isn't something I can commit to right now."

Step 6. Offer a Counter Only If You Mean It.

A conditional yes can be powerful, as Simone showed. It can also become the audition wearing a nicer outfit. Offer the piece you actually want to own, and attach a trade.

"I can take X if Y comes off my plate. Which would you prefer I keep?"

Step 7. Sit in the Silence Afterward.

The discomfort that follows a no is not evidence that you were wrong. It is the feeling of a muscle you have not used in a while. Do not rush to fill the pause with a retraction.

Step 8. Build in the Room Before Someone Else Fills It.

A no clears space, and space does not stay empty. Within twenty-four hours, put the thing you protected on your calendar: the certification class, the proposal, the rest. If you do not claim the room, the next request will.

The NO Makes Room

A no is not a door slammed in someone's face. It is a room cleared in your own house. It is the space where the certification gets finished, where the vertical you have carried in your head for eighteen months finally gets built, where the business gets started, where the marriage gets attention, where you finally hear your own voice again.

And if you are reading this at fifty or sixty, thinking it arrived too late for you: it did not. The room is not smaller because you came to it later. It is the only room you have left to build in, which makes it the most valuable real estate you own.

Your life gets built in the space you refuse to rent out.

So stop auditioning. You were already in the room. Now decide what you will build there.