There are more than 130 woman magazines in circulation worldwide. Most of them are featuring portraits of healthy (mostly young), beautiful and charismatic females advertising commercial products, services, know-how and live-how ideals. Undoubtedly, ever since the invention of the daguerreotype, what makes a successfully marketable portrait/cover is the physiognomic beauty and the emissive femininity of the featured cover girls. So inextricably linked are the face on the cover with the commercial output of a magazine that in colloquial language, we affluently use the term: “The Face of this or that magazine”…But how can a face speak of one’s identity? Is there any chance that the female face, under this context of branded femininity, is just empty of idiosyncratic substance? Is there a chance that the female face has become just another decorative element in the illustrator’s palette, there to sublimate a constructed beauty cannon for the masses and nothing else? If not, what is inherent in a face that could speak volumes about a woman’s identity? Is it a half Mona-Lisa-type of smile, a grim expression, a squirm or just the shape of her nose? To reexamine these Post-Renaissance, but still current questions and partake in the discussion in society around portraiture, femininity, gender, consumer culture and identity construction, I shot candid portraits of anonymous women in various places around the globe. I then proceeded with digitally compositing props around these women, in order to embed to them a false, quasi-semantic, quasi-purposeful identity.