Advertising’s ‘Glossy Magazine Girl’ – plucked, waxed, purged and shrunk to perfection – has intervened on women’s relationships to their bodies. Though women’s bodies that have passed through these cosmetic rituals are abundant in advertising, they are not witnessed labouring to produce this effect. What is seen instead is a singular and controlled perspective, a magical product naturalized by the advertisement’s frame. The advertising lens has become a powerful tool for bodily control. Womanhours turns the power of the lens against itself: the labours of plucking, waxing, purging and shrinking, usually hidden from view, are presented for all to see. These works reveal the intractable, comic ‘failures’ in the face of the demands placed on the everyday performance of female gender. The choice of self-portraiture is informed by Louis Wacquant’s ‘carnal sociology’, where the researcher embodies themselves as the research object, experiencing a social world from within, rather than observing it from the outside. Womanhours’ personal engagement also aims to establish solidarity with other women compelled to endure these rituals.