At the meeting point we will talk about the series The Cable Girls and the arrival of rural women in the city in the 1920s. Did they have independence? Could they access education? What rights did women have in those years?

We will talk about the discussions on women’s rights before and after the Second Spanish Republic, the intense debates around the adoption of the female vote. Could the cable girls have come in?

In the 1920s Puerta del Sol was a place very frequented by poets, artists, painters, writers who were erased from Generation 27. They were studying at the Royal Academy of Fine Arts of San Fernando. What happened to their careers when the coup and civil war broke out? Why don't you remember them like Lorca or Buñuel?

We arrived at what was the tallest building in Europe and the place where Sara, Carlota, Lydia, Marga and Angels of The Cable Girls, worked and suffered an era marked by the Republic and the war. What really happened to the telephonists who lived those years in a besieged Madrid?

We stopped at the Chicote Museum, Madrid’s first cocktail shop, opened in 1931. A key location because here was shot the series The Time Between Seams : in fiction, this bar is the setting that Sira Quiroga — under her alias Aris Agoriuq — frequented to get information, going from being a seamstress to an international spy during the war. This was really happening! During the war, Chicote was a nest of real spies. They came here because it was the place where the correspondents of the international press, like Ernest Hemingway, were concentrated, and they knew that between drink and drink the best leaks of the city were exchanged.

This stop was the Lyceum Femenino, an institution created by and for women in 1926 to "advance the clock of Spain". Important issues such as voting rights and abortion rights were discussed here. But it was, above all, a meeting place of pioneering women of the artistic avant-garde who aggrandised the culture of Spain and the world.

In front of the building occupied by La Falange until the 1970s, we will talk about institutions such as the Women’s Section and its indoctrination on women to build the “national spirit”. We will analyze the trajectories of all the women left at the mercy of the Franco dictatorship, their struggles and resistances.

In this last stop we will talk about Gran Vía as a showcase of the 1950s, about the women who worked in the department store like Ana Rivera, the protagonist of Velvet. What happened in those years with women who sought a little freedom and independence? We will talk about the Board of Women's Protection, a Francoist institution to morally reform "fallen" or "at risk of falling" women. Finally, we will review the topics seen on the road to think about the importance of feminism in the fight for historical memory