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Self-celebration is an increasingly popular notion. And from a fashionista's point of view, few fantasies compare with the idea of plunging headlong into an exquisite designer wardrobe, getting your hair and makeup expertly done, and having your glorious image immortalized by a caring professional (to say nothing of being able to have that final portrait digitally enhanced).

The concept of vanity portraiture is ages old, and many well-heeled fashion mavens still turn to painters to have their images captured on canvas. Disparate Canadian artists such as Brenda Bury, Hilary Cooper, Vivian Reiss and Gerda Neubacher regularly turn out inspired impressions of stylish subjects. But a painted portrait could cost from $10,000 to $30,000. Still, for those who can afford it, it's well worth the expense as a special gift of love, or perhaps to mark a monumental birthday.

Photography is a more affordable way of formally capturing yourself at a certain point in time. While I'm regularly shot for various media purposes, it really has been ages since I posed for a personal portrait - one I'd be interested in hanging in my home, or at least giving to my mother. So when I heard that Toronto twins Joanna and Jessica Foster and their friend Kate Van de Mark had started a new high-fashion portrait business geared to women in their prime, I couldn't resist exploring the experience.

The enterprise is called Iconic You (http://www.iconicyou.com). The trio's goal is to capture your inner icon and (for about $1,800) create an image you would be proud to share with friends and family. "But it's all a collaborative effort," Joanna Foster stresses.

The creative process began with a consultation, in which we discussed the kind of portrait I was after. I wanted to go for something simple, classic and dramatic. Joanna suggested a "film noir" approach with a vintage vibe. The idea appealed. I was instructed to bring a couple of my favourite outfits and accessories, but expert stylist Costa Pavlou would be on hand with a huge stash of goodies for me to choose from.

Since this team prefers to shoot on location - any location of the subject's choosing - we borrowed the traditionally elegant home of a friend for the occasion.

Within minutes of arriving at the shoot, I was at the kitchen table, being primped and primed by pros from the Marc Anthony salon: Marilisa, who complied with my wishes and gave me an exceptional blow dry, and Amelie Russell, who understood exactly what I meant when I requested a "smoky" eye, applying plenty of black eyeliner just the way I like it, and individual false lashes to perfection. I looked in the mirror and liked what I saw - not always the case when you have an unfamiliar hairdresser and makeup artist working on you.

I was dying to wear my own slinky black Joeffer Caoc dress, but Costa had brought such an eclectic array of clothes and accessories from some of the best stores in town - Hazel, Corbo, Studio Labiri and Divine Decadence - that I just had to play dress-up.

The black two-piece Miu Miu architectural number jumped out at me. We teamed it my patent Dior pumps and a spectacular pendant from Toronto jewellery designer Rita Tesolin. I felt pulled together, chic and ready for my close-up.

A veteran poser like me knows a thing or two about lighting. The ladies had an ultra-dramatic effect in mind - one that would feature lots of contrast. But I cringed when I checked out the initial shot: The shadows on my face made me look hard and my nose, large to begin with, looked even more pronounced.

The "film noir" fantasy would have to go if I wanted an image of myself that I could live with. I asked them to blast the light. A few test shots later, we found the angles that flattered.

By this time, I was feeling like a total diva, but the team was sympathetic and accommodating, intent on getting a shot that would please me. This approach was refreshing: I've posed for countless photographers, who, as talented as they may be, are mainly concerned with pleasing themselves first. It was great to feel as though I had some control here. And even if I didn't know exactly what I wanted, I certainly knew what I didn't want.

The one thing I learned from the experience is that by this stage of the game, I know who I am and how I want to project myself. I eschewed all of the team's attempts to get me to wear flouncy gowns, precious little hats and ruffles of any sort.

With all those fabulous clothes to choose from, it was easy to hone in on the things I knew would work with my body: Clean, simple, modern lines really did play best. We attempted three diverse shots, in three different outfits, with Costa helping me work the various looks. His direction was invaluable.

Often, it's difficult to know just how to angle your body. Within a couple of hours, our work was done and we quickly reviewed all the shots, choosing several possibilities that Joanna would then proceed to "doctor."

The next day, I was e-mailed a few of the shots that had been digitally "cleaned up." I liked my face in one particular shot but didn't like the position of my body. And I have a lazy eye: One looked bigger than the other. "No problem," Joanna said. Within minutes, she corrected my eye and transposed my head from the one shot where I liked my face onto another, more flattering shot of my body. Were we creating a monster? Hey, it happens in the world of fashion magazines all the time!

I like my final portrait. When I look at the shot, I'm satisfied, proud to see that 56-year-old familiar face staring back at me confidently, pleased with herself.

Okay, so we altered things a tad just to make me happy. But isn't that what vanity is about?

Jeanne Beker is the host

of FashionTelevision and the

editor-in-chief of FQ magazine