In front of Nicolas Aristidou’s lens, the only witness is the mirror.

Between luxury and isolation, ‘Housewife’, the photographer’s new editorial, comes to life.

Far from the iconography of the American housewife, the protagonist, played by the magnetic Lonneke te Kloese, moves in a scene she herself has orchestrated. Ennui, that deeply literary and French sentiment, transforms inaction into a deliberate pose.

The images evoke the rushes of an unedited film, suspended between the atmospheres of Buñuel’s Belle de Jour and the geometric solitude of Edward Hopper’s paintings, but without any nostalgic patina.

Ciprian Mastica’s styling is narrative. The woman is dressed for an evening that will not happen, for a meeting that will not take place. We observe her, standing in a corner, her gaze absorbed, as she clutches a pastel green watering can: she wears a golden jacket that captures the cold light, transforming a domestic gesture into a fragment of everyday surrealism.

Boredom materialises in her posture. She is reclining on a leather sofa in a pose that echoes classical odalisques, but emptied of any sensual charge. It is a total abandonment to “nothing to do”.

The beauty look, created by Alicia Hosdey for the make-up and Yulia Pantiukhina for the hairstyling, emphasises this duality: red lipstick and oversized crystal earrings speak of worldliness, while Lonneke’s gaze remains fixed, almost glassy, absorbed in an inaccessible thought.

‘Housewife’ tells how, surrounded by material beauty, we can still seek meaning, or at least a diversion. And if entertainment does not come, all that remains is to dress for the occasion and wait, impeccable, in the silence of one’s living room.