The more women are modernized by increasing their professional level and their participation in public life, the more they also care about their visual image, to the point of incurring obsessive pathological compulsions such as anorexia, bulimia or addiction to the consumption of products Rejuvenating and other articles of beauty and fashion. Which is a contradiction, because rationalism, work and professionalism marry very poorly with ritualism, glamor and spectacularism. This book explores such a paradox, trying to uncover the secret keys that are hidden behind the scenic mask of the female image. For this, the means are used as a pretext according to a double metaphor. The stockings allude to the female image as a whole, for they constitute a second skin much more purified and select that covers mortal flesh to redeem and enhance it, reflecting before the mirror a distinctive and unique, distant and spectacular image. Thus, the female figure unfolds into two half-symmetrically opposed halves. On the side of the stage, the mirage reflects the body politic, youthful, bright and spectacular, which is staged before an expectant audience. And on the other side of the mirror, the natural body that matures, wrinkles and ages, hidden from others in the secret of their intimacy. Hence the double identity, public and private, that each woman learns to construct and represent. But, in addition, the averages allow to remember that the feminine image is constructed to be exhibited only half, in order to leave in suspense and to keep under control the latent exhibitionist will. Just as a woman should not look at her legs directly, but only through veiled looks through intermediary means, nor can the feminine image be explicitly provocative, which would reveal her secret strategy stripping social ambitions that to succeed must Remain hidden. Hence, the image itself, like the media itself, is nothing more than a screen of distraction, with which you can divert or modulate attention avoiding to engage with uncomfortable or embarrassing reactions. This turns the feminine image into what Goffman called a participation screen: an interface or contact surface that allows to separate and unite at the same time the two halves of the double feminine identity, regulating the contradictions that occur between its body politic and Its natural body in order to control the interactive relationships that link each woman with her social environment.