The award-winning AMC series Mad Men (Matthew, Weiner, 2007-2015) continually foregrounds acts of tracing, copying, and imitating, from the use of tracing paper in the art department to the installation of the Xerox machine in the office. Indeed, the show itself is an imitation, simulating the aesthetics and culture of 1960s Manhattan. Yet, on another level, Mad Men has offered a critical commentary on the act of imitating that revolves around images of women. Mad Men draws considerable attention to images of women, especially in advertising, and it does so with a self-consciously critical tone. The series undercuts nostalgia for the images of women it presents by highlighting the sexism embedded in these images, and by showing the troubling impact of images on the lives of the characters. Yet, my interest here is not with the women who are already bound up in established images of women, like Joan (Christina Hendricks), Betty (January Jones), and Megan (Jessica Paré). What interests me is how Peggy (Elisabeth Moss), the new girl, comes to be indoctrinated into the culture of images and simulation, transforming from plain secretary to stylish copywriter. Although some critics like Sara Rogers, Kim Akass, and Janet McCabe have argued that Peggy successfully avoids selling out to the advertising culture around her, these readings of Peggy ignore the aesthetic changes Peggy undergoes which develop in tandem with her professional advancement. As Peggy becomes further immersed in the world of images as the show progresses, she remakes herself according to those images. In this way, Peggy's fraught journey through the advertising world parallels her aesthetic journey of making herself over.