This article uses textual and discourse analysis to examine how Annie Clark, who records and performs under the alias St. Vincent, problematized the electric guitar’s gendered address by designing a Signature Collection for Music Man, a subsidiary of equipment manufacturer Ernie Ball. It first contextualizes the industrial efforts to make the electric guitar more accessible to girls during Clark’s adolescence and their limitations. It then analyzes Clark’s promotional strategies for the collection. Most branding opportunities available to female music industry professionals interested in extending their commercial shelf life often affirm conventionally feminine modes of creative self-expression, such as fashion and cosmetics. Clark’s guitar challenges such gender essentialism by highlighting her own virtuosity as a queer musician, songwriter, and producer while giving players a different set of tools with which to create new sounds.