Women`s self-fashioning and performativity effectively functioned to camouflage their ambition and assertiveness in pursuing their political aims; lurking under the mask of conformity to and compliance with Victorian/Edwardian expectations was the beginning of the destruction of women`s roles. Self-fashioning and performativity endowed women with a multiplicity that was not confined to a single identity but conferred social identities on women in both the public and political spheres, resisting patriarchal gender codification. Vida, the main protagonist, adopts actresses` methods of self-fashioning and performativity by disguising herself as a miserable heroine of melodrama in order to unite herself with women of other classes and transform her agony into a negotiating point for obtaining women`s right to vote. Vida`s body becomes a venue to overcome class differences among women and a locus for achieving better legal status for women. Her versatility demonstrates the multi-faceted features of the modern woman and the possibility of women`s active involvement in political actions in the public sphere. Vida`s multiplicity of social identities, attained through self-fashioning and performativity, offer Edwardian society an opportunity to include other genders and classes in the political space after the fin de siecle moment. Vida`s conversion to a suffragist is a conversion that society must undergo as well. The Convert, published at a critical point in time with regard to political change, needs to reflect the change society must make in order to be just to all genders and classes.