entrepreneurs whose public personas rely on the mechanisms of neoliberal capitalism , monetizing their traditional lifestyles through sophisticated online marketing strategies . This paradox highlights a critical tension within the subculture : while tradwives advocate for a return to traditional roles , they utilize modern capitalist tools to spread their views and sustain their lifestyles ( Rottenberg & Orgad , 2020 ).
Tradwives such as @ gwenthemilkmaid ( 67k followers on Tiktok ) and Jasmine Dinis (@ jasminedinis , 145k on Instagram ) have successfully turned their devotion to the traditional role of a housewife into lucrative business ventures . One could argue that the community even relies on ‘ entrepreneurial women ’ using their
using their social media platforms to promote and support the lifestyle of the traditional wife as an attractive and valid identity , alongside offering classes , guidebooks and merchandise ( Sykes , & Hopner , 2023 , p . 7 ). Paradoxically , rather than rejecting the frameworks of neoliberal capitalism , the realm of paid employment , or what might be viewed as feminist achievements , tradwives are intricately intertwined with and owe much to these very structures ( Rottenberg & Orgad , 2020 ). Their aesthetic is inherently commercial while being rooted in the same advertising strategies that were once used by corporations to sell domesticity to women as an idyllic retreat from the workforce . This nostalgic return , while appearing to reject modern values , is deeply dependent on them . Tradwives are
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