In my article I show how a very particular identity was created for women during the period of Franco's Spain. I will draw upon a varied range of materials from official discourses, particularly the Sección Femenina (the women's branch of Falange); the Álvarez Enciclopedia and other texts such as songs, poems and the popular press. Following Foucault (1980: 30) I analyse an identity based on oppressive discourses whose power 'reaches into the very grain of individuals, touches their bodies and inserts itself into their actions and attitudes, their discourses, learning process and everyday life'. The nationalistic stress of this discourse is one that encourages women to create a new image of Spanish femininity that should be 'different' from the liberated portrayal of women coming from Europe, mainly through the path of growing tourism. The language of these discourses is somehow baroque, elaborated, energetic and highly dramatic. It tries to seek attention through an unnecessary and badly misorientated dramatism. It is cryptic and manipulative and claims to be poetical, but its main intention is to confine women indoors and to make them look at the world through the curtains or from a closed window. On the other hand it made women feel they were the representation of a unique matriarchal nationalism making them appear as the heroines of an essentialist national metaphor: women mothers of the nation. Inherent in Franco's equation of women = femininity = nation is a contradiction that defines women as 'indoor heroines' and bases nationalism in a naturalised representation of gender where women are a gendered representation of this nationalism.