Revenge of the housewives
The Housewife returns: not to clean up, but to settle the score
By Raffaella Vogt
A tale as old as time, the archetype of the “housewife” has long been dismissed as a relic of the past and a punchline in sitcoms. Yet, beneath this outdated label lies a complex symbol still relevant to the modern woman. Popularized in the 1950s, a time when cash was king and the American Dream defined ultimate success, the term “housewife” was used to pigeonhole women into a place of submission. The term “housewife” is charged with shoulds and should nots, serving as the new hallmark of seemingly necessary domesticity. With their husbands working to afford white picket fences and mortgages, housewives were left to handle long existing post-war expectations and responsibilities. Though the archetype has become long antiquated by the 2020s, its mark has not been forgotten. Across all modern media, the traditional expectations of women to care, provide, and serve has remained a facet of womanhood. Percolate’s Revenge of the Housewives reclaims the power in femininity through a contemporary lens, deconstructing the stereotype to reveal its true meaning: a woman at the center of power.
From the moment I stepped onto the set, it was clear this shoot wasn’t just about aesthetics. During hair and makeup, I had the opportunity to ask the models for their thoughts on the subject matter. Our conversation revealed that to them, this shoot was more than just a visual statement; it was a reclamation and reckoning. “Getting ready and being able to chat during hair and makeup helped me better understand the vision and get into character,” the models nodded in agreement. They all expressed how this project allowed them to process the expectations of what it means to be a woman in both the past and present, while also subverting expectations, embracing the power within them. Inside the vibrantly teal studio, kitchen staples were scattered across a contrasting white tablecloth: Eggo waffles, bright fruit, and silverware were stacked like props in a theatrical play. The models entered the space and began taking control, touching, holding, rearranging. Their patterned dresses and pearls nodded to mid-century tradition, but the bold, modern makeup twisted the nostalgia into something far more unique. Amy Winehouse’s “Back to Black” hummed softly in the background. It felt like quiet revenge.
As with any path to reclamation, both visually and creatively, there was also frustration. Creative energy is electric, but it can run short at times. Still, this crew made space for it. Nina and Acacia, the creative hand and heart, shared a fluid, open communication style that shaped every aspect of the set. Everyone in the room was able to give feedback, prompting ideas to buzz in the studio. The environment was light, collaborative, and anti-hierarchical, much like the vision the team was chasing. That, more than any aesthetic reference, was the most revolutionary thing about this shoot and made me realize that this is what empowering and reclaiming control was meant to look like.
As a society, we have been taught for decades that femininity is supposed to be soft, submissive, fragile. But on this set, femininity felt loud. Defiant. Kind of dangerous. Truthfully, it felt right. Revenge of the Housewives is a reclamation staged in pearls and pastels behind a table once meant for serving. It asks what happens when women don’t just leave the kitchen, but redefine what that space and their place within it mean entirely. In every prop, in every shot captured, the message was clear: revenge isn’t about destruction, it’s about flipping the script and bringing change. In this version of the story, the housewife doesn’t wait for permission. She already owns the room.
Credits
Starring: Hana Kopp, Brianna Hernandez, Jaci Baker-Green
Photography: Nina Corso
Styling: Acacia Blyth
Creative Direction: Acacia Blyth, Ben Stratton
Hair & makeup: Nina Corso, Acacia Blyth
Production assistants: Pheobe Bryar, Jack Smart