Invention Stories

Diverse Voices: Women Inventors

Throughout American history, women with diverse backgrounds and interests created inventions that change our lives every day.

Montage of photos of 8 women inventors

Top row: Marion O'Brien Donovan, Tara Astigarraga, Madison Maxey, Marilyn Hamilton. Bottom row: Michelle Khine, Marjorie Stewart Joyner, Alexis Lewis, Ellen Ochoa

Introduction

If you had to name an inventor, would it be a woman? Or did you first think of a man like Thomas Edison or Alexander Graham Bell? Women haven’t always had equal opportunities to be inventors, or received as much recognition. But throughout American history, women with diverse backgrounds and interests created inventions that change our lives every day.

The stories featured here offer a glimpse into the rich world of women inventors, past and present.

Exhibitions

Title logo for Picturing Women Inventors exhibition
Long hallway with exhibition on both walls.

Picturing Women Inventors is presented in both English and Spanish. © Smithsonian Institution

Picturing Women Inventors (ongoing)

At the National Museum of American History, Lower Level

If you had to name an inventor, would it be a woman? Like their male counterparts, women inventors represent all segments of American society, but their stories are often overlooked or undervalued. Picturing Women Inventors highlights the distinctive motivations, challenges, and accomplishments of exceptional 20th- and 21st-century inventive women who are diverse both personally and professionally. Presented in bold wall murals, with text in English and Spanish, the exhibition illustrates the creativity of women inventors while inspiring young people (especially girls) to see themselves as future inventors.

Picturing Women Inventors is organized by the Lemelson Center for the Study of Invention and Innovation, and was developed in collaboration with the United States Patent and Trademark Office and made possible with the support of Lyda Hill Philanthropies IF/THEN Initiative and Ericsson.

Women included in Picturing Women Inventors at the National Museum of American History: Patricia Bath; Theresa Dankovich; Marion O’Brien Donovan; Marilyn Hamilton; Grace Hopper; Marjorie Stewart Joyner; Stephanie Kwolek; Alexis Lewis; Lisa Lindahl, Hinda Miller, and Polly Palmer Smith; Ellen Ochoa; Amy Prieto; Charlotte Cramer Sachs​

 

Poster showing the women featured in Picturing Women Inventors

Picturing Women Inventors will be available as a set of eight posters in 2021. Courtesy of SITES

Picturing Women Inventors (ongoing)

Poster Exhibition

In collaboration with the Smithsonian Institution Traveling Exhibition Service, Picturing Women Inventors is also available as a series of eight posters that explores the inventions of 19 highly accomplished American women. Astronauts, computer pioneers, and businesswomen join athletes, engineers, and even teenagers in this remarkable group of inventors. Ideal for classrooms or other learning environments, the poster exhibition also comes with curriculum material developed by Smithsonian educators at the Lemelson Center. The poster exhibition includes most of the stories featured in the museum installation, along with additional historic and contemporary women inventors. To order, please visit https://s.si.edu/3dupTWc .

The Picturing Women Inventors poster exhibition is organized by the Smithsonian Institution Traveling Exhibition Service in collaboration with the Lemelson Center for the Study of Invention and Innovation, and was developed in collaboration with the United States Patent and Trademark Office and made possible with the support of Lyda Hill Philanthropies IF/THEN Initiative and Ericsson.

Women included in the Picturing Women Inventors poster exhibition: Tara Astigarraga; Patricia Bath; Ayah Bdeir; Cynthia Breazeal; Theresa Dankovich; Marilyn Hamilton; Grace Hopper; Marjorie Stewart Joyner; Michelle Khine; Stephanie Kwolek; Alexis Lewis; Lisa Lindahl, Hinda Miller, and Polly Palmer Smith; Madison Maxey; Ellen Ochoa; Amy Prieto; Sharon Rogone; Kavita Shukla; Mária Telkes​

Grid of 24 images of women inventors and their inventions

Picturing Women Inventors (ongoing)

Smithsonian Learning Lab

This online resource for kids features objects from the collections of the National Museum of American History, with informative stories about women inventors and the technologies they create. 

View looking into the Inventive Minds gallery

A view of the Inventive Minds: Women Inventors exhibition. © 2018 Smithsonian Institution; photo by Hugh Talman, ET2018-17109

Inventive Minds: Women Inventors (2018–2020)

Inventive Minds Gallery, Lemelson Hall of Invention, National Museum of American History

Inventive Minds is a changing exhibition gallery that introduces museum visitors to the Lemelson Center’s mission to foster an appreciation for the central role of invention and innovation in the history of the United States. In our ongoing work to document American inventors and increase our understanding of the inventive process, the Lemelson Center works with the museum's archivists and curators to collect, preserve, and share the historical records of inventors and innovators from all segments of American society. 

Through first-person videos, artifacts, and archival materials, visitors to Inventive Minds learn about the traits that successful inventors share—insatiable curiosity, keen problem-solving skills, tenacity, and flexibility in the face of failure—and explore the creative spirit of American invention.

From September 2018 through December 2019, the Inventive Minds gallery features a selection of stories illustrating the creativity of women inventors over more than a century. The exhibition was updated with new inventors' stories in April and August 2019.

Women included in Inventive Minds: Women Inventors at the National Museum of American History: Patricia Bath; Theresa Dankovich; Marion O’Brien Donovan; Marilyn Hamilton; Grace Hopper; Marjorie Stewart Joyner; Margaret Knight; Stephanie Kwolek; Alexis Lewis; Lisa Lindahl, Hinda Miller, and Polly Palmer Smith; Ellen Ochoa; Amy Prieto; Sharon Rogone; Charlotte Cramer Sachs; Laura Shepherd; Madam C. J. Walker; Cindy Whitehead; Woman’s Building, 1893 World’s Columbian Exposition, designed by architect Sophia Hayden

Tara Astigarraga

Astiagarraga seated at table, smiling at camera

“Women bring strong skills and unique perspectives to projects.”

Tara Astigarraga

Astigarraga sitting at her desk in front of her computer

Tara Astigarraga in her office at IBM, 2020. Courtesy of Lori & Erin Photography

Tara Astigarraga, a member of the Choctaw Nation, studied Spanish linguistics and communications in college and planned to become either a bilingual teacher or a social worker. An internship at IBM changed all that, sparking a passion for software engineering.

Astigarraga speaking at a podium with slide on the screen

Tara Astigarraga speaking at NASA, 2019. Photo by Alexis Astigarraga

Flowchart diagram

Drawing from Astigarraga’s US Patent 10,586,447 for a smart traffic signal system, 2020. Courtesy of USPTO

With more than 75 patents to her credit, she has invented storage, networking, security, and blockchain solutions. For her inventions and her mentorship of Native Americans and women pursuing careers in science, technology, engineering, and math (STEM), Astigarraga was named an IBM Master Inventor.

Read more about Tara Astigarraga: Eric Atkisson, "Conquering Impostor Syndrome," USPTO, https://www.uspto.gov/learning-and-resources/journeys-innovation/field-stories/conquering-impostor-syndrome

Source for quote above: “How This IBM Master Inventor Brings STEM Education to Native American Communities,” IBM Careers Blog, March 12, 2018, https://www.ibm.com/blogs/jobs/2018/03/12/how-this-ibm-master-inventor-brings-stem-education-to-native-american-communities/.

Patricia Bath

Patricia Bath stands amongst a group of students during a Lemelson Center Innovative Lives program in 2000.


“The most important part [is] having faith and belief in the power of your own ideas.”

Dr. Patricia Bath

Enabling the blind to see was the greatest joy of Dr. Patricia Bath (1942–2019), eye surgeon, professor of ophthalmology, inventor of the Laserphaco Probe for the treatment of cataracts, and founder of the American Institute for the Prevention of Blindness. An independent thinker, she has been a trailblazer for women and African Americans in the medical profession, being the first to attain many of the highest academic honors and appointments in her field.

Dr. Bath in lab coat with microscope

Dr. Patricia E. Bath in her Los Angeles home office, 1994. Courtesy of Eraka Bath, MD

It was in 1981 that she first conceived of an invention that would use a laser to remove cataracts, a cloudiness that forms in the lens of an eye, causing blurry or distorted vision, or even blindness. Doctors have treated cataracts with traditional surgery or, more recently, ultrasound, to remove the clouded lens. An artificial lens can then be inserted. But Bath envisioned a way to make the surgery faster, easier, more accurate, and less invasive (with a much smaller incision) by using lasers.

Line drawings from patent showing laser, optical fiber, etc.

Figure from Dr. Bath’s US Patent 4,744,360, 1988. Courtesy of USPTO

Learn more about Patricia Bath's life and work >>

Source for quote above: Inventive Minds: Patricia Bath, 2015, https://youtu.be/8DzsdHsAKjg

Ayah Bdeir

Bdeir standing behind table with littleBits components displayed

“I am inspired by empowering people to invent.”

Ayah Bdeir

Ayah Bdeir sitting on floor, surrounded by littleBits

Ayah Bdeir with littleBits. Photo by Mike Senese for Make Magazine. Courtesy of Ayah Bdeir

Ayah Bdeir grew up in Lebanon. As a child, she often took apart (and reassembled) her family’s electronic equipment so she could understand how it worked. After earning an engineering degree in Beirut, Bdeir moved to the United States for graduate study at the MIT Media Lab. She began an “experiment to make engineering and inventing more fun.” Her prototypes became littleBits, a system of color-coded, magnetic, electronic building blocks. Bdeir says her littleBits blur the boundary between a toy and a tool kit, so makers of all ages can explore the connections between art and engineering through invention.

Composite image showing 2 views of small piece of cardboard with battery and wiring

Prototype of littleBits module. Courtesy of Ayah Bdeir

Three hands holding up connected littleBits

littleBits LED Matrix Code Kit. Courtesy of Ayah Bdeir

Source for quote above: “Ayah Bdeir: Innovation, Invention from Mouths and Hands of Babes | CFI.Co,” accessed August 17, 2020, https://cfi.co/editors-picks/2020/05/ayah-bdeir-innovation-invention-from-mouths-and-hands-of-babes/.

Cynthia Breazeal

Breazeal posing with rounded robot

Theresa Dankovich

Theresa Dankovich sits in profile at her desk. She is smiling at the camera and wearing a sleeveless, blut-red-and gray top. She has long, dark, curly hair.

“It’s not just to make this really cool product, but also to help improve people’s lives.”

Theresa Dankovich

Theresa Dankovich invented germ-killing water filters as a graduate student and co-founded her company Folia Water in 2016 to scale up production. Folia Filters (US Patent 9,611,153) are made of thick paper embedded with silver nanoparticles, which are lethal to  microbes. The filters were originally distributed in Safe Water Books—each book provided a year of safe drinking water for a family. Dankovich’s team has field tested her inexpensive filters with users in South Africa, Ghana, Honduras, Bangladesh, Kenya, and Haiti. “I saw an opportunity to simply listen to the people . . . and to deliver designs that fit with the culture,” she notes.

A woman in her kitchen in South Africa pouring water through Folia Water filter, 2016

A woman in South Africa using Folia Water filter, 2016. Photo courtesy Folia Water

In response to COVID-19, Dankovich used the same low-cost antimicrobial paper to create an antiviral 3-ply face mask. Used as a substitute for the familiar blue material on the outer layer of a mask, the Folia paper stops microbes from growing on the surface most touched by users. The 75% wood-based paper from sustainable sources that is used in the masks can be manufactured on existing standard paper mills or coating machines.

Dankovich also has a patent application pending for microwaveable paper food packaging embedded with metal nanoparticles that absorb microwave radiation and convert it into heat. Surrounding the entire food portion with the nanoparticle-infused packaging provides better browning and crisping results than the typical “sleeve” included in some microwaveable foods.

Source for quote above: Inventive Minds: Theresa Dankovich, 2017, https://youtu.be/Icxxzhmu-fE

Marion O’Brien Donovan

A baby holding a block in one hand lies on a table and looks up at Marion O’Brien Donovan

“I went to all the big names that you could think of and they said, ‘we don’t need it—no woman has asked us for that . . .’ so I went into manufacturing myself.”

Marion O’Brien Donovan

Marion O’Brien Donovan (1917–1998), a college-educated Connecticut homemaker, continually sought better ways to organize her home and take care of her children.

A reprint of a newspaper article about Marion O’Brien Donovan’s inventive career. The headline reads, “Inventor Makes Chores Hassle-Free,” with the subhead, “First the disposable diaper, now a new way to floss teeth.” Note: Donovan did not invent the disposable diaper; she invented a waterproof reusable diaper cover, which she called The Boater.

“Inventor Makes Chores Hassle-Free,” Greenwich News, 4 March 1993. Marion O’Brien Donovan Papers, Archives Center, National Museum of American History, AC0721-0000057-01. © Smithsonian Institution

The Boater

Frustrated with frequently having to change her baby’s soaked cloth diapers, clothing, and bedding, Donovan became determined to find a better way to keep infants dry. She used a section of her bathroom shower curtain for her first prototype of a diaper cover that would prevent leaks. That experiment led to her creation of the Boater, a reusable diaper cover made from surplus nylon parachute cloth, which went on sale at Saks Fifth Avenue in 1949. She sold the Boater—her first successful invention—for $1 million in 1951 and went on to create numerous products intended to make everyday tasks easier and more efficient.

A detailed instruction sheet for using the Boater, illustrated with photographs of Marion O’Brien Donovan putting a Boater on a baby. Text includes: “Dear Mother, After three years’ research, I finally perfected the diaper boat that really keeps baby and baby’s clothes absolutely dry, and saves on laundry bills! I call it Boater because it is shaped like a boat—even to the decks which cover the edges of the diaper and which keep baby out of most of his wetness—and like any good boat, it does not leak!”

Instruction sheet for the use and care of the Boater diaper cover, undated. Marion O'Brien Donovan Papers, 1949-1996, Archives Center, National Museum of American History, AC0721-0000029. © Smithsonian Institution

Blue vertical paper brochure with a drawing of a baby wearing a diaper and holding a rag doll in the air with one hand. A small stylized sailboat is in the upper right corner. Text includes: “More affection for and from baby with revolutionary Boater. New nylon diaper cover. Now you can be sure of absolutely dry bundling clothes and bedding with this amazing Boater. Brilliantly fashioned to five comfort to baby—bind-proof, leak-proof, it has plenty of freedom for action.”

Advertisement, “More affection for and from baby with revolutionary Boater,” undated. Marion O'Brien Donovan Papers, 1949-1996, Archives Center, National Museum of American History, AC0721-0000027. © Smithsonian Institution

A baby holding a block in one hand lies on a table and looks up at Marion O’Brien Donovan, who is diapering the baby, using her waterproof, reusable diaper cover. She is looking down at the snaps in the cover that allow it to be adjustable to the baby’s size without the use of safety pins. She is smiling slightly and is wearing a V-neck dress and a triple strand of pearls. A framed photo of an older woman wearing a large hat is visible on a table over Donovan’s left shoulder.

Marion O’Brien Donovan putting the "Boater,” her reusable diaper cover, on a baby, around 1950. Marion O’Brien Donovan Papers, Archives Center, National Museum of American History, AC0721-0000028. © Smithsonian Institution

The Big Hang-Up

One of Donovan's later inventions was the Big Hang-Up, a closet organizer for hanging “30 to 40 slacks, skirts, shorts, belts, scarfs, jewelry” in a compact space. Donovan researched several manufacturers of small clothespins before finding ones that worked for her design.

Marion O’Brien Donovan smiles at the camera. She is standing behind 2 Big Hang-Up organizers and is placing a clothespin on one garment to attach it to the rack. A backlit beige curtain is behind her and the organizers hang from a horizontal metal pole. A few clothespins are attached to the cords that suspend the organizer from the pole.

Marion O’Brien Donovan demonstrating the Big Hang-Up closet organizer, undated. Photo by Steven Begleiter. Marion O’Brien Donovan Papers, Archives Center, National Museum of American History, AC0721-0000044. © Smithsonian Institution

A black-and white ad for “The Big Hang-Up” closet organizer. On the left side is a line drawing of pants, boots, belts, jackets, and skirts hanging from the Big Hang-Up. On the right is a description and instructions for use of the device. It reads, in part, “Increase the hanging space of your present closets by 70%. The Big Hang-Up . . . is a wire rack that holds 30 to 40 slacks, skirts, shorts—belts, scarfs, jewelry, too. For men—slacks, belts, ties, etc.”

Big Hang-Up ad, undated. Marion O’Brien Donovan Papers, Archives Center, National Museum of American History, AC0721-0000018. © Smithsonian Institution

A typewritten letter, dated 27 September 1977, from Büro-Fürrer AG in Switzerland to Marion O’Brien Donovan, in response to Donovan’s inquiry about a source for small clothespins to use with her closet organizer. Two clothespins are taped to the letter; one is yellow and about 1 inch long, the other is red and about 1.5 inches long.

Letter from Büro-Fürrer in Switzerland to Marion O’Brien Donovan, regarding a source for small clothespins to use with the Big Hang-Up closet organizer, 1977. Marion O’Brien Donovan Papers, Archives Center, National Museum of American History, AC0721-0000041. © Smithsonian Institution

DentaLoop Floss

In the 1990s, Donovan invented the DentaLoop, a loop of dental floss with flat and fluffy sections to clean thoroughly between teeth. Donovan claimed that the pre-cut loops were easier to use than the typical method of winding long lengths of floss around the fingers.

4 foil packets of DentaLoop floss, 2 with blue printing and 2 with orange-brown printing. Each packet reads “One pre-cut patented DentaLoop floss in drops of mint ready to yse” on one side and “To use: slip fingers inside loop and floss around. From Marion Donovan Assoc. P.O. Box 112-G, Greenwich, CT 06831” on the reverse side.

Samples packets of DentaLoop Floss, 1991. Marion O’Brien Donovan Papers, Archives Center, National Museum of American History, AC0721-0000045. © Smithsonian Institution

Advertising photo of 3 packages of DentaLoop floss. 2 packages stand on end and the other is flat on the table and opened to show the floss. One package holds a round container of floss, billed as a Carry-A-Round pack for pocket or purse. All packages advertise that they hold 60 pre-cut loops of the blue, circular floss, with one fluffy half and the other traditional floss.

DentaLoop Floss in commercial packaging, around 1992. Marion O’Brien Donovan Papers, Archives Center, National Museum of American History, AC0721-0000048. © Smithsonian Institution

Black-and-white DentaLoop Floss brochure, titled “This is the new DentaLoop Floss.” 2 line drawing show a woman’s hands manipulating the circular floss. The text reads, “DentaLoop is floss made in a circle—one side of the circle is regular flat floss and the other floss side is soft and velvety. Because it’s a circle, DentaLoop is easy to use simply by putting one’s fingers inside the loop and—presto! the flossing begins!”

DentaLoop Floss brochure, undated. Marion O’Brien Donovan Papers, Archives Center, National Museum of American History, AC0721-0000050-01. © Smithsonian Institution

A typewritten form on Marion Donovan Associates letterhead, requesting feedback on DentaLoop Floss, described as “two flosses in one loop, fluffy blue and regular white,” and Donovan’s FlossLoops, described as “one type of regular white floss in one basic loop.” The survey was sent to dental professions and the questions ask for feedback on patients’ and professionals’ reactions to the flosses. Questions include: Which types of patients find the DentaLoop helpful/useful?

Customer satisfaction survey for different types of floss loops. Marion O’Brien Donovan Papers, Archives Center, National Museum of American History, AC0721. © Smithsonian Institution

Learn more about Marion O'Brien Donovan's life and work >>

Source for quote above: Excerpts from “Not for Women Only with Barbara Walters,” April 1975, https://youtu.be/j-YtYOKt6T0.

Marilyn Hamilton

Hamilton playing tennis in a wheelchair

Grace Hopper

Grace Hopper, wearing her navy uniform, standing in profile to the camera. She has her right hand on one of the many dials that run across the top of the Mark I computer. She is looking at a section of the computer with many gears to move the punched tape code through the machine.

“Getting frustrated only stops you.”

Grace Hopper

When World War II began, Grace Murray Hopper (1906–1992) was a PhD mathematician teaching at Vassar College. She joined the US Navy in 1943 and applied her math skills to writing code for the Mark I, a new electromechanical calculator at Harvard’s Cruft Laboratory. Hopper’s instructions for running complex computations were punched into paper tapes, like the segment from “Problem L” seen here. (Problem L calculated mathematical tables that had applications in radio, sound, and frequency modulation.) Hopper was one of the first woman programmers. In her lifelong computing career, she pioneered ways to make communication between humans and computers more user-friendly.

A young navy ensign stands with his back mostly to the camera and next to Grace Hopper, wearing her navy uniform and standing in profile to the camera. She has her right hand on one of the many dials that run across the top of the Mark I computer. She and the ensign are looking at a section of the computer with many gears to move the punched tape code through the machine.

Lieutenant (j.g.) Grace Hopper and US Navy Specialist I, Third Class, Durward White inspecting the Mark I’s sequence mechanism, 1944. Grace Murray Hopper Papers, Archives Center, National Museum of American History, AC0324-0000036. © Smithsonian Institution

A long strip of paper, about 3 inches wide. The upper and lower edges have regular rows of perforations. The center of the tape has punch holes carrying the program code. The words “Prob L” and “Tape R4A” are stamped at the top of the strip, and regularly-spaced red vertical lines have been drawn across the tape and numbered 870, 880, 890, 900, 910, and 920.

A segment of punched tape code for Problem L, run on the Mark I around 1945. Problem L calculated mathematical tables that had applications in radio, sound, and frequency modulation. Grace Murray Hopper Papers, Archives Center, National Museum of American History, AC0324-0000028-19. © Smithsonian Institution

A typewritten sheet of paper delineating the work assignments on the Mark I computer for Problem L, which calculated mathematical tables that had applications in radio, sound, and frequency modulation. The last line states: computed, designed, coded, babied, nursed, pleaded with and mothered by Lt. (j.g.) Grace Murray Hopper, USNR.

A lighthearted summary of the distribution of work on Problem L, run on the Mark I around 1945. Problem L calculated mathematical tables that had applications in radio, sound, and frequency modulation. Grace Murray Hopper Papers, Archives Center, National Museum of American History, AC0324-0000015. © Smithsonian Institution

A round green metal badge, about 1.5 inches in diameter. The words “Cruft Laboratory Harvard University” are printed around the outer edge, and the words “Staff No. 62” are printed in the center of the badge.

Grace Hopper’s Cruft Laboratory ID badge. © Smithsonian Institution; 89.12792

Source for quote above: domer1987, “Oral History Interview of Captain Grace Murray Hopper by Angeline Pantages,” Domer1987’s Blog (blog), August 12, 2010, https://domer1987.wordpress.com/2010/08/12/oral-history-interview-of-captain-grace-murray-hopper-by-angeline-pantages/.

Marjorie Stewart Joyner

A middle-aged Marjorie Stewart Joyner. The image is cropped from a larger group photo which appears to have been taken at an honorary or celebratory event. Joyner has short, curled hair, is wearing a corsage, and looks straight into the camera. She is not smiling.

“If I've set an example for other people—not just black people, not just poor people, not just women—I want it to be that you shouldn't be limited in what you try to do."

Marjorie Stewart Joyner

Marjorie Stewart Joyner (1896–1994) was the first African American graduate of Chicago’s A. B. Molar Beauty School. She opened her own salon in 1916 and trained further with Madam C. J. Walker, a pioneer of the modern African American hair care and cosmetics industry. Within three years, Joyner became the national supervisor of more than 200 Walker beauty schools. She was also an inventor. Frustrated with the time-consuming method of curling or straightening hair one iron at a time, she patented a permanent waving machine with multiple curling irons, heated by electricity, to style entire sections of hair. She also developed Satin Tress, a preparation that relaxed tight curls.

First page of drawings from US Patent 1,693,515 received by Marjorie Stewart Joyner on 27 November 1928. Figure 1 shows a floor-standing machine with a suspended hood at the top. Numerous wires and hair clips dangle from the hood. Figure 2 is a detail of the rolling base for the machine.

Marjorie Stewart Joyner received US Patent 1,693,515 for her permanent waving machine in 1928. Courtesy of US Patent and Trademark Office.

3 hairstyling instruments in a row. A metal permanent rod with a wooden handle is at the left. A metal straightening iron with two hinged tongs and wooden handles is in the center. An all-metal curling iron with 2 narrow tine-like handles and 2 tweezer-shaped tongs is at the right.

Permanent rod, straightening iron, and curling iron used by Marjorie Stewart Joyner, an African American hair stylist, in her beauty salon in Chicago from the 1920s to the 1970s.  Joyner represented Madame C. J. Walker hair care products and founded and taught at Chicago's United Beauty School. © Smithsonian Institution.

Metal heating coil with V-shaped end supports. The rectangular center section contains the heating coil that was attached to a gas pipe. The gas connection fitting extends from the center bottom of the rectangular section.

This metal heating coil was attached to a gas line to heat hair curling and straightening instruments. The coil was used by Marjorie Joyner, an African American hair stylist, in her beauty salon in Chicago from the 1920s to the 1970s.  Joyner represented Madame C. J. Walker hair care products and founded and taught at Chicago's United Beauty School. © Smithsonian Institution.

An overhead view of a beauty school classroom. 4 women, 1 man, and 1 little girl are having their hair styled. 2 women are having manicures. 2 women and 1 man are sitting at a desk, reading, and 1 woman appears to be taking notes while watching a manicurist. The room has a high ceiling and very tall windows, and photos and illustrations of hairstyles are hung on the walls.

Foust-O’Bannon vocational school beauty culture class, Louisville, KY, late 1940s. © Smithsonian Institution; AHB2018q001838

Source for quote above: Christi Parsons, “63 Years Later, Inventor Glad She Made Waves,” Chicago Tribune, November 3, 1989, https://www.chicagotribune.com/news/ct-xpm-1989-11-03-8901270983-story.html.

Michelle Khine

Khine sitting on a metal stool in her lab

“I didn’t fit into any of the parameters that most people would think of as an inventor.”

Michelle Khine

Khine with a group of students in blue lab coats pretending to shrink wrap one student

Michelle Khine (left) and her graduate students jokingly shrink wrap Himanshu Sharma in their lab, 2013. Courtesy of Michelle Khine

Biomedical engineer Michelle Khine knew that parts of the world with limited healthcare often had drugs to treat disease but not the capability to diagnose it early. So she adapted her favorite childhood toy—Shrinky Dinks—into a low-cost device for medical diagnostic tests.

Hand wearing a rubber glove holding a small rectangular plate with many depressions

One version of Khine’s Shrinky Dinks device has microwells for growing stem cells. From US Patent 9,880,173, courtesy USPTO

Khine first created patterns on Shrinky Dinks sheets with a laser printer. When she baked the Shrinky Dinks, the ink left ridges that she used as a mold, creating channels to hold small amounts of bodily fluids, like blood or saliva, for testing. Khine’s inexpensive miniature devices make diagnosing treatable diseases more accessible and affordable.

Khine sitting next to a table with an educational toy box next to her

Michelle Khine and her student researchers are also inventing toys to inspire kids to conduct science and become inventors. Courtesy of Michelle Khine

Khine receiving award

Michelle Khine was inducted into the National Academy of Inventors in 2017. Courtesy of Michelle Khine

Source for quote above: Michelle Khine and Kimberly A. Macuare, “The NAI Fellow Profile: An Interview with Dr. Michelle Khine,” Technology & Innovation 19, no. 4 (June 10, 2018): 765–71, accessed July 29, 2020, https://doi.org/10.21300/19.3.2018.765.

Margaret Knight

Detail of Figure 1 of Margaret Knight’s original patent for a machine to make square-bottom paper bags show 6 geared, intersecting rollers on a metal frame. A horizontal bed and an articulated arm move the paper through the bag-making process.

“As a child, I never cared for things that girls usually do; . . . I was always making things.”

Margaret Knight

Growing up in New England manufacturing towns, Margaret Knight (1838–1914) was familiar with industrial machines. “As a child,” she recalled, “I never cared for things that girls usually do; . . . I was always making things.” While working for a manufacturer of envelope-style paper bags, she invented, prototyped, and tested a machine to make more practical square-bottom bags. But when she applied for a patent, she discovered that an unscrupulous man had seen her design and patented it in his name. She sued, and presented her notes, patterns, drawings, and models to refute the impostor’s claim that no woman could create such a complex machine. Knight received her patent and many more in her lifetime—including one represented in the model here, for an improvement to her original bag machine. “I’m only sorry I couldn’t have had as good a chance as a boy,” she maintained, “and have been put to my trade regularly.”

Figure 1 of Margaret Knight’s original patent for a machine to make square-bottom paper bags show 6 geared, intersecting rollers on a metal frame. A horizontal bed and an articulated arm move the paper through the bag-making process.

Figure 1 from US Patent 116,842, “Paper-Bag Machine,” issued to Margaret Knight, 1871. Courtesy US Patent and Trademark Office

Figure 2 of Margaret Knight’s second patent for an improved paper bag making machine shows 2 sets of 3 gears attached by articulated arms and springs to a frame and horizontal bed where the paper is moved through the bag making process.

Figure 2 from US Patent 220,925, “Improvement in Paper-Bag Machines,” issued to Margaret Knight, 1879. Courtesy US Patent and Trademark Office

Margaret Knight’s patent model for an improved paper bag making machine shows 2 sets of 3 gears attached by articulated arms and springs to a wooden frame and horizontal bed where the paper is moved through the bag making process.

Model for US Patent 220,925, “Improvement in Paper-Bag Machines,” issued to Margaret Knight, 1879. © Smithsonian Institution; SIA-86-6161-000004

Source for quote above: “A Lady in a Machine Shop.” Woman’s Journal, December 21, 1872: 463. Quoted in Anne L. MacDonald. Feminine Ingenuity: How Women Inventors Changed America, 51. New York: Ballantine Books, 1992.

Stephanie Kwolek

Kwolek with large spool of yellow Kevlar fiber

“To invent, I draw upon my knowledge, intuition, creativity, experience, common sense, perseverance, flexibility, and hard work.”

Stephanie Kwolek

Kwolek at her desk

Stephanie Kwolek at her desk in the DuPont Pioneering Research Lab, 1982. Courtesy of Hagley Museum and Library

“When I joined DuPont in 1946,” chemist Stephanie Kwolek remarked, “women who got jobs in the lab would stay only a few years. . . . They were not promoted as rapidly as the men. But there were some of us who decided to stick it out, and I was one.” Assigned to research extra strong and stable polymers in 1964, Kwolek turned to solutions in which all the molecules line up in one direction—like a string of pearls, as she often described it. Her experiments resulted in the invention of Kevlar, an incredibly strong, stiff, and lightweight synthetic fiber that has broad applications, from bullet-resistant vests and military helmets to fencing gloves.

Stephanie Kwolek holds a spool of yellow Kevlar thread in her right hand and has pulled out a thread and stretched it about 16 inches with her left hand. She has short gray hair and is wearing a gray patterned shirt and pearl necklace under a black jacket. A larger spool of Kevlar fiber, a rope, gloves, and a helmet are displayed on a table in front of her.

Stephanie Kwolek with a display of Kevlar products, part of her Innovative Lives presentation at the Lemelson Center in 1996. © Smithsonian Institution; photo by Jeff Tinsley

A 3/4 view from overhead of a Kevlar army helmet. The helmet is covered in tan, green, and brown camouflage-patterned cloth and the words “Tiger Woman” have been written in all capital letters on the top of the helment.

Model 8 Army EM helmet worn by Mary Rhoads during the Persian Gulf War. © Smithsonian Institution; photo by Cassie Mancer, AHB2011q19935

Fencing glove worn by Ibtihaj Muhammad during the 2016 Rio Olympic Games . The glove is white and blue and made of 50% Kevlar, 25% metal, and 25% cotton. The glove has suede leather palms and fingers for added protection and Velcro at the cuff to secure the glove to the wrist. There are multi-colored stamps throughout the surface.

Fencing glove worn by Ibtihaj Muhammad during the 2016 Rio Olympic Games. Muhammad is an American saber fencer and the first Muslim American woman to wear a hijab while competing for the United States in an Olympics. USA Fencing won the bronze medal in the team competition, earning Muhammad the distinction of becoming the first woman Muslim American athlete to earn a medal at the Olympics. © Smithsonian Institution; photo by Joyce Bedi

Source for quote above: “Stephanie Kwolek, Kevlar,” Invention & Technology Magazinehttps://www.inventionandtech.com/content/stephanie-kwolek-kevlar?page=full.

Alexis Lewis

Alexis Lewis with travois (detail)

“Inventors are basically anybody and everybody who’s ever tried to solve a problem.”

Alexis Lewis

Alexis Lewis with travois

Alexis Lewis with travois. Courtesy of Alexis Lewis

In 2011, twelve-year-old Alexis Lewis was inspired to invent after reading about children who became lost when their families fled the famine in Somalia. She adapted a traditional Native American sled, called a travois, by adding wheels to create a simpler way to transport families and their belongings.

Historic photo of Native Americans with traditional travois sled

Lewis modeled her invention on the travois used by Native Americans to transport people and belongings. Photo by Norman A. Forsyth, early 1900s, Photo Lot 90-1, number 295, National Anthropological Archives, Smithsonian Institution

Figure from patent showing travois design and use

Alexis Lewis received US Patent 8,979,095 for her rescue travois. Courtesy of USPTO

Two small children riding in the travois while a third child pulls it.

Trying out the rescue travois. Courtesy of Alexis Lewis

Alexis continues to invent—she has a patent pending for an emergency smoke filtration kit that can be thrown to someone trapped in a burning building—and she is inspiring other young inventors through invention education.

Football shaped container holding mask

3-D printed prototype of the smoke filtration mask container, tested with professional firefighters. Courtesy of Alexis Lewis

Figure from patent application showing person throwing smoke kit to someone on the second floor

Lewis’s patent application illustrates throwing a smoke filtration kit to someone trapped in a burning building. Courtesy of USPTO

Source for quote above: “Teenage Inventor Alexis Lewis Thinks That Kids Have the Solutions to the World’s Problems.” Smithsonian Magazine, July 21, 2015, https://www.smithsonianmag.com/innovation/teen-inventor-alexis-lewis-wants-kids-to-invent-solutions-to-worlds-problems-180955933/?no-ist.

Lisa Lindahl, Hinda Miller, & Polly Palmer Smith

Hinda Miller and Lisa Lindahl wearing Jogbras running

“This was made by women for women.”

Hinda Miller

Lisa Lindahl was one of millions of Americans who started jogging as part of the running and fitness boom that swept the United States in the 1970s. But as much as she loved running, it was painful because supportive running bras didn't exist. Lindahl teamed up with her childhood friend, costume designer Polly Palmer Smith, and Smith's colleague Hinda Miller to solve that problem. They deconstructed two men’s athletic supporters and sewed the pieces into a prototype sports bra they called “Jogbra.” Lindahl and Miller first sold their invention through mail orders and quickly expanded into a successful company.

Hinda Miller (left) and Lisa Lindahl sit at a skirted trade show table in 1981. The 2 women are looking at each other and smiling. A half-torso mannequin is on the table, modeling a Jogbra. Other Jogbra Inc. merchandise, including gloves, track suits, bras, shorts, and one-piece running outfits, is displayed on the table and behind them on the booth walls, along with large photographs of women wearing some of the gear.

Hinda Miller (left) and Lisa Lindahl at a trade show in 1981. Jogbra, Inc. Records, Archives Center, National Museum of American History, AC1315-0000027. © Smithsonian Institution

Prototype of the original Jogbra on a half-torso mannequin. The prototype was made from two desconstructed men’s athletic supporters that were then sewn together onto a wide elastic band, with two narrow pieces of stockinette straps sewn onto the elastic band and the athletic supporters.

Hinda Miller and Lisa Lindahl deconstructed two men’s athletic supporters and sewed the pieces into the prototype sports bra seen here, 1977. Gift of Hinda Miller. © Smithsonian Institution; photo by Hugh Talman, ET2015-01156

Hinda Schreiber Miller (left) and Lisa Lindahl were photographed running for a promotional flyer for the Jogbra. The are both wearing running shorts and Jogbras and their hair is blowing back from their movement. The flyer reads, “Get Ready for a Run on Jogbra,” identifies the names of the two women, and lists the company name and contact information in Burlington, Vermont.

Jogbra inventors Hinda Schreiber Miller (left) and Lisa Lindahl were featured on this promotional flyer, about 1978. Jogbra, Inc. Records, Archives Center, National Museum of American History, AC1315-0000026. © Smithsonian Institution

A photocopy of 4 line drawings for the design of the original Jogbra, with front, side, and back views, as well as depictions of the pattern pieces. The drawings are on business stationery, with Polly Palmer Smith printed at the top and Costume Designer, 27 St. Marks Place, NYC, NY 10003, printed at the bottom. The drawings include instructions and a list of materials from which the Jogbra could be made. The drawing is undated, and someone has written across the top, “Don’t Lose. I don’t have another.”

Working with her friend Lisa Lindahl, costume designer Polly Palmer Smith drew some of the first designs for the Jogbra. Jogbra, Inc. Records, Archives Center, National Museum of American History, AC1315-0000012. © Smithsonian Institution

Source for quote above: Lemelson Center oral history interviews with Lisa Lindahl, Hinda Miller, and Polly Palmer Smith, March 2020

Madison Maxey

Maxey bent over a workbench using tools

“I felt like it was the right time to finally make my dreams come true.”

Madison Maxey

Maxey bent over a workbench using tools

Madison Maxey using a temperature sensing tool on an e-textile, 2018. Photo by Luke Fontana, courtesy of Madison Maxey

Madison Maxey has always loved making things—from clothing to stretchy inks that conduct electricity. She started sewing when she was eight years old and began her design career by interning in the fashion industry. She has since broadened her exploration of how technology and design can work together through innovations in electronic textiles (e-textiles). Maxey and her company, LOOMIA, create fabrics that act like circuit boards for innovative products that range from medical wearables for monitoring patients to heated ski gear.

Person flexing a piece of e-textile

The LOOMIA Electronic Layer works like a soft, flexible circuit board to add heating, lighting, and sensing to car seats, medical apparel, outdoor gear, and more. Courtesy of LOOMIA

Two shoe insoles with heating wires

Illustration from Madison Maxey’s patent application for a flexible heating element for shoes, clothing, and other soft goods, 2018.

Source for quote above: “How She Got There: Madison Maxey, CEO and Co-Founder of Madison Maxey,” Her Campus, accessed August 31, 2020, https://www.hercampus.com/money-career/how-she-got-there/how-she-got-there-madison-maxey-ceo-and-co-founder-madison-maxey.

Ellen Ochoa

Official astronaut portrait photo

"I've seen the uplifting impact of diversity in STEM, and of women in leadership roles."

Ellen Ochoa

Ochoa in plane cockpit

Ellen Ochoa training at Vance Air Force Base, Houston, 1993. Courtesy of NASA

Ellen Ochoa studied physics in college and played the flute in the marching band. She earned a PhD in electrical engineering, got a job at NASA, and dreamed of going to space. Although she was not selected for the astronaut program on her first try, she didn’t give up, and became an astronaut in 1991. When she flew aboard the Space Shuttle Discovery in 1993, she was the first Latina in space—and she took her flute with her. She went to space three more times, became the director of NASA’s Johnson Space Center, and applied her training to inventing devices that help scientists analyze images from space.

Ochoa looking out space station window

Ochoa on the International Space Station, 2002. Courtesy of NASA 

Source for quote above: “Ellen Ochoa Speaking Bio and Videos: The Lavin Agency Speakers Bureau,” https://www.thelavinagency.com/speakers/ellen-ochoa.

Amy Prieto

Amy Prieto in her lab at Colorado State University. She is smiling at the camera and holding a tiny prototype battery with long wire leads. Assorted chemical experimentation equipment is visible in the background. She has shoulder length, curly, sandy blonde hair and wears glasses.

Sharon Rogone

Sharon Rogone, smiling at the camera. She is holding an assortment of unidentified papers. She has curly blonde hair and is wearing a sleeveless navt blue dress. This image has been cropped from a larger photo depicting her and her business partner Kenneth Croteau.

“Whatever you needed to do, you had to make up for yourself, because there weren’t products out there.”

Sharon Rogone

As a neonatal intensive care unit (NICU) nurse for more than 25 years, Sharon Rogone understood the needs of premature babies. Standard infant medical supplies were impractical for her tiny patients, so Rogone began inventing specifically for preemies. She started Small Beginnings in 1995 to create and market masks, diapers, pacifiers, and additional necessities that she and other nurses invented.

Advertising card depicting four products for preemies developed by Sharon Rogone and her company, Small Beginnings, Inc. Clockwise from upper left: Bili-Bonnet phototherapy mask, Bebeonkers oral suction device, Lil’ and Nu’ Pacee pacifiers, and Cuddle Buns Diapers preemie and ultra-preemie. The mask and suction device are pictured in use on babies, the pacifiers stand on their own, and a woman’s hands hold a diaper.

Advertising card for Sharon Rogone’s “Fantastic Four” products for premature babies, undated. Records of Small Beginnings, Inc., Archives Center, National Museum of American History, AC0940-0000080. © Smithsonian Institution

Bili-Bonnet

Rogone designed a mask that protected babies’ eyes from the harsh lights used to treat jaundice caused by high levels of bilirubin, a yellow-colored pigment in blood. The Bili-Bonnet was made of soft foam with an attached stretchy cap that prevented the mask from slipping during treatment.

A watercolor sketch of a baby’s head and shoulders in profile. The baby is wearing a mask over its eyes to protect it during phototherapy treatments for jaundice. The mask is secured with a stretchy net cap of gauze that fits over the baby’s head.

Illustration of a baby wearing a Bili Bonnet, undated. Records of Small Beginnings, Inc., Archives Center, National Museum of American History, AC0940-0000088. © Smithsonian Institution

A small eye mask for an ultra-preemie baby. The mask is made of gray foam with Velcro tabs and a rolled up gauze bonnet.

Ultra-Preemie BiliBonnet phototherapy mask, around 2000. Gift of Small Beginnings Inc. © Smithsonian Institution; photo AHB2014q052658

A pink piece of paper, about 8.5 inches wide and 3.25 inches high, with instructions for placing the mask over a baby’s head and eyes. An illustration of a teddy bear is in the upper right corner.Text includes: Small Beginnings . . . Products conceived and developed by nurses. . . . “Warning: Products should be applied by trained professional. Slippage of mask could result in exposure of eye to light or possible nasal obstruction. Continued observation of infant is necessary.”

Records of Small Beginnings, Inc., Archives Center, National Museum of American History, AC0940-0000082. © Smithsonian Institution

Diapers

As late as 1990, there was not an acceptable diaper on the market for extremely premature infants. Nurses were forced to cut diapers in half to accomodate ultra-premature infants. Rogone and Small Beginnings developed a line of disposable diapers in a range of sizes for preemies.

Side-by side photos of disposable diapers for premature infants. On the left is Sharon Rogone’s prototype d.aper and a commercial version from 2007 is on the right. Both show an inner absorbent layer surrounded by soft gauze-like material.

Sharon Rogone’s first prototype disposable diaper for premature infants, 2003 (left) and a disposable diaper for premature infants, 2007. © Smithsonian Institution; AHB2010q45690 and AHB 2014q052669

Pacifiers

The buttlerfly-shaped "Lil' Pacee" pacifier for premature infants was developed by four neonatal nurses and nurse practitioners. The Lil' Pacee pacifier is made of soft medical grade silicone and has six ventilation holes. Testing ensured that the products were safe. The force required to pull a suspended, weighted pacifier through the opening in the metal frame seen below, for example, was evaluated to eliminate choking hazards.

Side-by-side photos of the “Lil' Pacee”15A pacifier for premature infants, in its original packaging. The text on the package image on the right reads, in part, “Patent #4,909,253 . . . Developed by 4 neonatal nurse practitioners, this newborn pacifier is made of 100% silicone and is designed for the pre-term infant 24 weeks gestation to 32 weeks gestation.” The pacifier is visible through the packaging in the second image.

“Lil' Pacee”15A pacifier for premature infants, around 2000. © Smithsonian Institution; AHB2014q52801 and AHB2014q052802 

A metal platform attached to 4 spindly legs lays on its side on a table. To the right is a green pacifier attached by wire to a 5-pound blue barbell. In use, the pacifier would be placed above the opening in the stand’s platform, with the barbell suspended below. If the weight of the barbell caused the pacifier to fall through the opening, it was deemed a choking hazard.

Pacifier choking test stand, around 2000. The force required to pull a suspended, weighted pacifier through the opening in the metal frame seen here was evaluated to eliminate choking hazards. © Smithsonian Institution; AHB2014q52688

Listen to a two-part podcast with Sharon Rogone >>

Source for quote above: “Prototype Online Podcast: Sharon Rogone Invents for Preemies, Part 1,” Lemelson Center, 2007, https://invention.si.edu/podcast-sharon-rogone-invents-preemies-part-1-2.

Charlotte Cramer Sachs

Charlotte Cramer Sachs stands in an interior doorway. A vase of flowers and paintings on the wall are visible over her left shoulder. Her hair is pulled back tightly into a bun and she wears an abstract print dress comprised of wavy diagonal lines. The photo is black-and-white.

"It’s like opening another window in your life when you become involved in something creative and new.”

Charlotte Cramer Sachs

Charlotte Cramer Sachs (1907–2004) was born in Germany and came to the United States in 1924. Her creative talents extended to art, languages, music—and invention. She received her first patent in 1940 for a combination key and flashlight.

As a single working mother in the 1940s, Sachs experienced firsthand the demands on the growing number of women who worked outside the home. Her line of instant cake and muffin mixes helped save time and ease wartime food shortages. She revealed her delight in inventing in the name of her company—Joy Products. 

Illustrated cake mix box, with an aqua background and an drawing of a slice of yellow cake with white frosting. Wording on the box includes “Joy Vanilla Cake Mix. Simply add water & bake. Makes 12 cup cakes, loaf cake, or single layer. .Ingredients: Cake flour, sugar, dextrose, vegetable shortening, egg, non-fat dry milk solids, vanillin, lecithin, carotene, baking powder, salt. Made by Cramer Products Co., New York.”

Product box, Joy vanilla cake mix, 1947. Charlotte Cramer Sachs Papers, 1905-2002, Archives Center, National Museum of American History, AC0878-0000026-01. © Smithsonian Institution

Typeset sheet of letter size paper, titled “Joy cake mixes. Take the making out of baking.” Wording includes, “They help fill the national need. Distinguished household economics authorities pronounce this product a ‘natural’ especially in these ‘hour-scant’ days where women are pressed so badly for time, yet must feed the family the best in balanced foods—like Joy mixes.”

Informational sheet, “Joy Cake Mixes—‘Take the Making out of Baking,’” undated. Charlotte Cramer Sachs Papers, 1905-2002, Archives Center, National Museum of American History, AC0878-0000012-01. © Smithsonian Institution

Source for quote above: Roberta Fleming Roesch, “Housewife Finds Time For Two Careers,” King Features Syndicate (KFS), July 3, 1961, from the Charlotte Cramer Sachs papers, Box 1, Folder 3, Archives Center, National Museum of American History, Smithsonian. 

Laura Shepherd

Detail of a photo of 14-year-old Laura Shepherd kneels behind her soapbox derby car, holding her trophy, which is resting on the car.

“I told my dad I’d like to try it.”

Laura Shepherd

The first All-American Soap Box Derby was held in 1934. The competition opened to girls in 1971, and the Junior Division for children 10–12 years old was created in 1976. Junior competitors built their cars from authorized kits, an innovation in derby racing. 

Eleven-year-old Laura Shepherd started racing in 1992 and built “Lightning Laura” in 1993; she went on to win more than 20 races. In constructing her car and personalizing the basic components provided in the kit, Shepherd demonstrated some common traits among inventors—curiosity, persistence, imagination, problem solving, and a childhood passion for tinkering and building.

14-year-old Laura Shepherd kneels behind her soapbox derby car, holding her trophy, which is resting on the car. Her father stands behind her, with one hand on the trophy. They are at the top of a hill and the soapbox derby downhill course is visible at the right.

Laura Shepherd and her father Larry pose with “Lightning Laura” and Laura’s fourth-place trophy from the All-American Soap Box Derby, 1995. © Smithsonian Institution; photo AHB2015q007134 

Side view of “Lightning Laura” soapbox derby car. It has a white fiberglass body and solid wheels. The car bears the words “Akron Suburban Champ Lightning Laura” and racing number 202. and is covered with various stickers, including Dairy Queen, Heath, and Continental Airlines.

“Lightning Laura” soap box derby car, built by Laura Shepherd, 1993. Gift of Laura Shepherd and Larry Shepherd. © 2018 Smithsonian Institution; photo ET2018-05525 by Hugh Talman

Source for quote above: “Laura Shepherd Soap Box Winner," unattributed newspaper clipping, undated, NMAH image AHB2015q007137.

Kavita Shukla

Shukla holding product packages

“I really love pursuing things and doing things that make me feel creative.”

Kavita Shukla

While visiting her grandmother in India, twelve-year-old Kavita Shukla accidentally drank contaminated water. Her grandmother brewed a spice tea for her so she wouldn’t get sick.

Shukla as a small child in her grandmother’s home

A young Kavita Shukla visiting her grandmother in India. Courtesy of The FRESHGLOW Co.

Back at home, Shukla wondered how that tea worked and started an experiment to find out. When she applied the spices to fruits and vegetables, they stayed fresh longer.

High-school-age Shukla in a chemistry lab

Kavita Shukla won a Lemelson-MIT Program high school invention apprenticeship in 2002. Photo by Donna Coveney, courtesy of Lemelson-MIT Program

She then embedded the spices in paper that could be placed with the produce and patented the idea during her senior year of high school.

Shukla hopes that her all-natural product—FreshPaper—will help end food spoilage and waste, especially in areas where refrigeration isn’t available.

Learn more about Kavita Shukla in her interview with the US Patent and Trademark Office.

Shukla posing in front of product display table

Kavita Shukla at a farmers market in Washington, DC, 2014. Courtesy of The FRESHGLOW Co.

Drawing showing uses of FreshPaper in refrigerator, fruit bowl, berry carton, and salad bag

Uses of FreshPaper. Courtesy of The FRESHGLOW Co.

Source for quote above: “Fighting Food Waste with Paper and Spice | Carnegie Council for Ethics in International Affairs,” accessed August 13, 2020, https://www.carnegiecouncil.org/publications/archive/policy_innovations/innovations/00304.

Mária Telkes

Mária Telkes seated at a desk

“Each new house is another experimental stepping stone toward the use of the sun as a fuel resource.”

Mária Telkes

Cover of Popular Science magazine with drawing of solar house

The solar heating system designed by Mária Telkes was featured on the cover of Popular Science, March 1949. Courtesy of Google Books

Born in Hungary, Mária Telkes (1900–1995) immigrated to the United States in 1925 after completing her PhD in physical chemistry. She was nicknamed the “Sun Queen” for her work on solar energy, inventing solar stoves and a solar-powered distiller to desalinate sea water. In the 1940s, she worked with architect Eleanor Raymond on a solar-heated house. Photovoltaic panels were still experimental, so the house was built with large windows backed with black metal sheets. Sunlight heated the sheets and fans circulated the warmed air around bins filled with a chemical salt. The salt melted and stored heat until the temperature around the bins cooled. Then the salt recrystallized, slowly releasing the absorbed heat.

Telkes and architect Raymond looking at plans outside solar house

Mária Telkes (left) with architect Eleanor Raymond outside MIT Solar House in Dover, Massachusetts, 1949. Courtesy of MIT Museum

Exterior of solar house

MIT Solar House in Dover, Massachusetts, designed by Mária Telkes, 1949. Courtesy of MIT Museum

Source for quote above: Quoted in “The House of the Day After Tomorrow,” MIT Technology Reviewhttps://www.technologyreview.com/2010/06/22/202508/the-house-of-the-day-after-tomorrow/.

Madam C. J. Walker

A sepia-toned 3/4 profile studio portrait photograph of Sarah Breedlove Walker, known as Madam C. J. Walker. She is wearing a shawl with tassels adorning the neckline, fastened with a brooch, and she wears drop earrings with matching necklace and a brooch.

“Don't sit down and wait for the opportunities to come . . . get up and make them!”

Madam C. J. Walker

Sarah Breedlove McWilliams Walker (1867–1919), known professionally as Madam C. J. Walker, was born to parents who were once enslaved. She started life as a farm laborer and laundress, but became a pioneer of the modern African American hair care and cosmetics industry. 

Seeking to remedy her own hair loss, she invented a system of hair and scalp hygiene and treatment. She incorporated her company in 1911, and it grew into a successful international business that made her a millionaire. An innovator, entrepreneur, activist, and philanthropist, Walker once advised, "Don't sit down and wait for the opportunities to come . . . get up and make them!"

Listen to a two-part podcast with A'Lelia Bundles, Madam C. J. Walker's great-great-granddaughter >>

A sepia-toned 3/4 profile studio portrait photograph of Sarah Breedlove Walker, known as Madam C. J. Walker. She is wearing a shawl with tassels adorning the neckline, fastened with a brooch, and she wears drop earrings with matching necklace and a brooch.

Madam C. J. Walker, Scurlock Studio, around 1912. Scurlock Studio Records, Archives Center, National Museum of American History, AC0618-001-0000033. © Smithsonian Institution

An orange metal sign with black lettering, reading “Authorized Agent (highlighted in yellow). Mme. C. J. Walker’s System and Preparations.” Mme. C. J. Walker’s is written in cursive across the diagonal of the sign, from lower left to upper right. The other words are written in block letters.

Shop sign advertising “Madam C. J. Walker’s System and Preparations,” 1920s. © Smithsonian Institution; photo 2014-4967 

Source for quote above: A’Lelia Bundles, On Her Own Ground: The Life and Times of Madam C. J. Walker. New York: Scribner, 2001: 153.

Cindy Whitehead

Head shot of Cindy Whitehead, wearing a skate helmet, from her identification card for Marina Del Rey Skatepark

“When I started in the ’70s, female skateboarding was still taboo and I was the only girl at the skatepark. I had to block out negative comments and stand my ground. I got sick of hearing, ‘She’s pretty good for a girl.”’

Cindy Whitehead

Cindy Whitehead turned pro in her teens and became a top-ranked skater. After retiring from competition, she reinvented herself as a sports stylist. In 2013, she created her brand of skateboards and apparel for girls and women, “Girl is NOT a 4 Letter Word.” Proceeds from GN4LW support micro-grants and nonprofits that encourage girls in skateboarding. 

Listen to a podcast with Cindy Whitehead and Robin Logan >>

Laminated identification card for Marina Del Rey Skatepark, with a yellow background, No. 21198, Cindy Whitehead’s name, and expiration date of 10 July 1981. A headshot of Whitehead wearing a helmet is on the left of the card; on the right is the name of the park depicted with curving lines suggesting a skate ramp. The word “membership” has been crossed out and replaced with the handwritten word “coke.”

Skate card, Marina Del Ray Skatepark, used by Cindy Whitehead, around 1981. Gift of Cindy Whitehead. © Smithsonian Institution; photo AHB2016q007339

Skateboard helmet has a black matte finish with "Girl [/] is [/] NOT [/] A 4 letter [/] Word" in gold with a gold heart and a pink skull on the left side of the helmet. "XS" is printed in gold on the front of the helmet. The helmet consists of a black styrofoam core with pink foam inserts and a black nylon chin strap with a black plastic buckle.

Skateboard helmet designed by pro skateboarder Cindy Whitehead, from the first manufacturer's run by XS Helmets, 2015. Whitehead was one of a few female vert skaters in the late 1970s and ’80s and was the only woman on the Sims Skateboards team at the time. Whitehead used her skate background to create the “Girl Is Not a 4 Letter Word” brand, which supports women in action sports. © Smithsonian Institution; photo by Hugh Talman, et2016-04864

A watercolor painting on white Bristol board, drawn by Cindy Whitehead while designing her "Girl Is Not a 4 Letter Word" skateboard. The painting depicts a royal blue stylized outline of a skull, with red oval eyes, a red triangular nose, and diagonal short red lines for teeth, with a horizontal red line crossing the teeth.

This watercolor painting on white Bristol board was drawn by Cindy Whitehead while designing her "Girl Is Not a 4 Letter Word" skateboard, 2013. The drawings were an important part of her inventive process and demonstrate Whitehead’s creativity as well as her distinctive style. © Smithsonian Institution; AHB2013q105489

Source for quote above: Tracy Ramsden, “Female Skateboarding Might Just Be the Coolest Thing Ever.” Marie Claire, May 15, 2017, https://www.marieclaire.co.uk/entertainment/people/female-skateboarding-506580.

Woman’s Building, 1893 World’s Fair

A three-quarters profile head-and-shoulders halftone of architect Sophia Hayden, 1892. She has her hair up in loose waves and wears a high-collared dress, with buttons to the neckline and V-shaped pleats from the shoulders, and a brooch at her throat.

“[The Woman’s Building] is the result of careful training in classical design and is the expression of what I liked and felt.”

Sophia Hayden

Full length portrait photo of Hayden holding a T-square

Sophia Hayden, architect of the Woman’s Building at the 1893 World’s Columbian Exposition, in 1888, when she was an architecture student at Massachusetts Institute of Technology. She was the first woman to receive a degree in architecture from MIT. Courtesy of MIT Museum, Public domain, via Wikimedia Commons

The 1893 World’s Columbian Exposition in Chicago was a showcase for the latest achievements of American society. A record number of inventions by women were included throughout the fair and in a separate Woman’s Building—designed by architect Sophia Hayden, the first woman graduate in architecture from the Massachusetts Institute of Technology.

Still, prevailing attitudes about women’s traditional roles in the home permeated the fair. Most of the invention prizes awarded to women were for domestic technologies, and the press described Hayden’s building as “lyric,” “feminine,” and “delicate.” 

A lithograph of a watercolor painting of the Woman’s Building at the World’s Columbian Exposition held in Chicago in 1893. The building is longer than it is wide, has two stories, a glass atrium roof, a colonnade on the first story, and observation decks atop the second story at each end. A pond with steps up to the promenade in front of the building sits in front of the building. Some vegetation and two mostly-bare slim tree trunks are visible in the right foreground.

The Woman's Building at the World's Columbian Exposition, Chicago, Orcutt Co. Lithographers, 1893. Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History, AC0560-0000057. © Smithsonian Institution 

Embossed cover of the guidebook to the World’s Columbian Exposition held in Chicago in 1893. The cover is brown, with gold lettering and illustrations of the main exposition building and reflecting pool and an ornate border. Text: “World’s Columbian Exposition at Chicago. 1492–1892. 1893” The exposition opening was delayed from its original date of 1892 to the following year.

Guidebook, World's Columbian Exposition, Chicago, 1893. Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History, AC0560-0000058. © Smithsonian Institution

A stereograph card with mounted double photos of the interior of the Woman’s Building at the1893 World’s Columbian Exposition. Each photo shows part of the first floor of the building, with walls covered in paintings, several flat glass display case on the floor, sculpture, plants, and ionic columns. The second story mezzanine with open balcony is also visible. The side-by-side photos are meant to be viewed through a steroscope to evoke a 3-D view.

Stereograph, interior of the Woman’s Building by B. W. Kilburn. Larry Zim World’s Fair Collection, Archives Center, National Museum of American History, AC0519-0000132. © Smithsonian Institution

A small rectangular guidebook, printed in blue ink on white paper. The front cover has a line drawing of the Administration Hall and reads, “Souvenir and Visitors Guide to the World’s Columbian Exposition and Chicago. Compliments of Park Gate Hotel. European Plan.”

Souvenir and Visitors Guide to the World’s Columbian Exposition and Chicago, 1893. Larry Zim World’s Fair Collection, Archives Center, National Museum of American History, AC0519-0000136. © Smithsonian Institution

A color engraving of the Woman’s Building at the 1893 World’s Columbian Exposition, printed on an oblong promotional piece from the Union Pacific railroad. The text gives the location, size, and cost of the building, some details of what will be displayed inside, and identifies the building’s designer as Sophia Hayden.

Union Pacific souvenir print of Woman’s Building, 1893. Larry Zim World’s Fair Collection, Archives Center, National Museum of American History, AC0519-0000083. © Smithsonian Institution

Source for quote above: Sophia Hayden's Architect’s Report, April 1894, quoted in Jeanne Madeline Weimann, The Fair Women. Chicago: Academy Chicago, 1981: 150.