Klismaphilia (sometimes spelled Klysmaphilia) describes those who are sexually aroused by the introduction of liquids into the rectum and colon via the anus. It is a paraphilia that often involves the use of enemas. Dr. Joanne Denko , an early investigator of the fetish, coined the term klismaphilia in 1973 to describe the activities of some of her patients.
Klismaphiliacs can gain satisfaction through enema fantasies, by actually receiving one, or through the process of eliminating steps to receiving one.
Klismaphilia is practiced by both men and women. However, as with most paraphilias, men are more likely to be klismaphiliacs. They may also gain pleasure from a large, water distended belly or the feeling of internal pressure.
Often, klismaphiliacs report discovering these desires after a chance administration of an enema sometime in their childhood, but others report discovering these feelings later on.
Klismaphilia is practiced both heterosexually and homosexually. The paraphilia may be used as a substitute or as an auxiliary by its practitioners for genital sexual activity.
Usually, klismaphiliacs engage in their deviant behaviour secretly. Klismaphiliacs may also try to get others to administer enemas under the pretense of being constipated. If this is the case they will probably try to conceal the pleasure they receive from these administrations.
Klismaphilics are rarely ‘treated’ for their condition, since most have no desire to be “cured”. Health treatment for klismaphilia is typically only focused on ensuring the techniques employed and chemicals used are not harmful to the practitioner. In certain cases cramps produced by the chemicals used in enemas have led to hospitalisations, in some instances the effects can even be life-threatening.
Plushophilia is a paraphilia involving stuffed toy animals. Plushophiles are sometimes called plushies, although this term (plushies) can also refer to non-sexual stuffed toy animal enthusiasts, and to stuffed toy animals in general.
Plushophilia is sometimes assumed to be a practice common within furry fandom, due in part to a 2001 article by Vanity Fair that linked various members of the furry community with plushophilia.
A 1998 survey of 360 members of the furry community suggested less than one percent attested to being plushophiles.
Pornography and sexual activity involving animal anthropomorphism (including plushophilia and paraphilias involving fursuits and cartoon animals) is known in the furry fandom community as “yiff” (and sexual acts as “yiffing”).
Anne Lawrence has proposed that sexual arousal that depends upon imagining one’s self as plush or “representations of anthropomorphic animal characters in animated cartoons” be termed autoplushophilia.
Paraphilic interests that involve being in another form have been referred to as erotic target location errors.
Salirophilia is a sexual fetish or paraphilia in which erotic pleasure is gained from soiling or disheveling the object of one’s desire, usually an attractive man or woman. It may involve tearing or damaging their clothing, covering them in mud or filth, or messing up their hair or makeup. The fetish does not involve harming or injuring the subject, it simply consists of ruining their appearance.
Salirophilia is related to wet and messy fetishism, bukkake, omorashi, mysophilia, urolagnia and coprophilia, but extends to other areas such a forcing the partner to wear torn or poorly fitting clothing and other actions that make them appear unattractive.
The fetish sometimes manifests itself in the defacing of statues or pictures of attractive people, especially celebrities or fictional characters. It is common to refer to the practice involving ejaculating on a photo as “facepainting”. The fetishist finds this sexually exciting, rather than mere vandalism. They sometimes form collections of defaced art for future enjoyment. A video of the fetishist ejaculating on a picture of someone or a photo depicting the result is known colloquially as a “tribute”.
The term comes from the French for soiling, salir. In cases where the fetish is obsessive it is called saliromania. It is frequently confused with salophilia, an attraction to salt or salty things (especially body sweat) that derives from the Latin for salt, sal.
Mysophilia refers explicitly to soiled or dirty material or people. Mysophiliacs may find dirt, soiled underwear, faeces, or vomit to be sexually arousing.
It is possible (although not necessary) for people with mysophilia to be aroused by unclean locations, such as alleyways, dirty rooms, filthy toilets; wearing the same clothing for many days at a time; or not bathing, sometimes for a few days, or possibly even weeks.
Emetophilia is a paraphilia in which an individual is sexually aroused by puking or observing others vomit. This is commonly referred to as a vomit fetish or puke fetish. Some emetophiles put their perversion of choice into practice by actually doing the technicolour yawn, often on a sexual partner.
Vomiting as a sex act is sometimes called a Roman shower, after the commonly held but mistaken belief that regurgitating food was an integral part of Roman feasts. In this urban myth ancient Romans are alleged to have thrown up after binge eating so that they could return to their feasts to eat more!
Some emetophiles find the act of chundering arousing; for them, the sequence of “spasm, ejaculation, relief” in retching is erotically charged. Other emetophiles are aroused by seeing, hearing, and/or smelling others heaving up their guts.
Some puke fetish enthusiasts desire a partner who will barf on them, while others wish to induce hurling in a partner, or even to force them to throw up. Wanting to be vomited on may be related to a desire to be dominated, while wanting to make someone else puke may stem from a desire to dominate the partner and it can be seen as a form of erotic humiliation. Emetophiles may have any combination of these desires at any time.
Constriction clothing fetish, or compression garment fetish, is a sexual fetish that revolves around a fixation upon tight clothing, and/or people dressed in tight garments. Clinical definitions of a constriction sexual fetish would require that a subject be fixated on tight garments to the extent that they are a recurrent (or exclusive) stimulus for sexual gratification.
A compression clothing fetishist may be aroused by the sight of a person wearing a tight garment, or by wearing the garment themselves, which might be because of the look achieved by wearing it or the way it feels while it is being worn (and this type of subject can also become arousel by seeing someone in tight clothing and imagining how it feels). Others with a compression clothing fetish may be aroused by the sight of such garments, even without wearing them and in the absence of other people wearing them, and may also derive pleasure from collecting them.
Separate from constriction fetishes as a paraphilia are compression garments worn to enhance appearance, such as tight jeans or other eye-catching clothing. The difference is whether, for the person concerned, the clothing is the focus of a sexual fetish, or is merely appreciated and found pleasing.
Clothing that limits the wearer’s movement is particularly popular among bondage enthusiasts and is a common place of bondage-related fetish fashion. Such restrictive fashions, among others, includes corsets, collars, and hobble skirts. As many restrictive items of clothing belong to women’s fashion, in the past male restrictive clothing fetishists can have had problems in obtaining and using this type of item without being labelled as transvestites. Fortunately a recent fashion for compression sportswear to ‘enhance performance and recovery’ has opened up new possibilities for non-cross dressing males who wish to indulge in this fetish. There is little evidence that compression sportswear is particularly effective as an aid to improved athletic performance and its popularity is more down to its fetish status than its efficacy. Some compression sportswear fetishists also like to be locked inside sports bags, as a way of combining sportswear and bondage fetishes. The British spy Gareth Williams whose dead body was found locked inside a North Face sports bag at a British intelligence ‘safe house’ in 2010, was allegedly an enthusiast for this type of activity.
The training corset and bondage corset have also become staples of fetish wear, particularly among professional dominants. A submissive or slave may also be forced to wear a tightly laced corset as a form of punishment or simply restriction. And the masochistic practice known as tightlacing creates a particular type of pleasure for the wearer. In the 1980s, pop music performers such as Madonna and Cyndi Lauper reintroduced and popularized the corset as a daring outerwear garment. This influence continues to the present day in both fetish and mainstream fashion.
A hobble skirt is a long, tight skirt, extending below the knees and often ankle length, it is so tight that it is difficult to walk in. When used as fetish clothing, it is often made of latex or PVC and sometimes corseted, to increase the restriction. Such skirts were briefly a mainstream fashion in the 1910s; however, they were soon abandoned as impractical. They were revived in the 1950s by John Willie and others, as a bondage/fetish style.
Spandex fetishism is a fetishistic attraction to people wearing stretch fabrics or, in certain cases, to the garments themselves, such as leotards. One reason why spandex and other tight fabrics may be fetishised is that the garment forms a “second skin,” acting as a fetishistic surrogate for the wearer’s own skin. Wearers of skin-tight nylon and cotton spandex garments can appear naked or coated in a shiny or matte substance like paint. The tightness of the garments may also be seen as sexual bondage. Another reason is that nylon-spandex fabric (preferred by many spandex fetishists) is often produced with a very smooth and silk-like finish, which lends a tactile dimension to the fetish – as well as a visual one. There is a sexual attraction to leotards and other dance related clothing. And might be extended to the related fetish for gymnasts and the clothing they wear.
Likewise, although compression sportswear allegedly boosts athletic performance, it is mainly worn for its sexual allure. It is claimed the tightness of compression sportswear increases blood circulation and thus prevents Delayed Onset Muscle Soreness (DOMS) by quickly eliminating body chemicals produced during exercise. In fact, most athletes who don compression clothing after a workout do so because it makes them feel horny and renders them more attractive to sexual partners and potential sex partners who share their fetish. Around the world compression sportswear fetishists hang out in gyms (which they find sexually alluring), and they also enjoy perving out in shop chains such as Britain’s Sports Direct.
In comic books, superheroes, superheroines, and supervillains are generally depicted as wearing costumes made of spandex or a similar material. The superheroines always wear skintight, very flashy and bright-coloured costumes that usually cover only just enough of the body to be presentable. Fantasies involving superheroes or the wearing of superhero costumes are commonly associated with spandex fetishism, and more recently with compression sportswear fetishism.
Oculolinctus, also known as “worming” or eyeball-licking fetish, is the paraphilic practice of licking eyeballs for erotic gratification. According to recent and erroneous media reports, the practice became popular in Japan earlier this year, where it is referred to as “Gankyū name purei”. Videos featuring this fetish have been posted on websites such as YouTube for at least seven years, and until now hadn’t attracted much attention beyond a small core audience with an interest in this particular form of fetishism.
While the practice definitely exists, its alleged popularity among Japanese teenagers is a hoax based on a titillating story that originated on a youth culture website. Under the attention grabbling headline of “The perverted play of eyeball-licking is a hit among primary schoolers” (“Shogakusei ni gankyuname hentai purei ga dairyuukou” in the original Japanese), the piece was first posted on Bucchi News on 7 June 2013. The fake story was picked up by other sites, and spread quickly in a variety of languages, and within couple of weeks it had been featured by supposedly reputable English language news media outlets including The Guardian and ABC News.
Those who have fallen for the hoax write that worming became popular among Japanese teens in 2013, and has caused a significant rise in eye infections! LOL! The Guardian reported that eyeball-licking was “the thing you graduate to when kissing gets boring”, and that it had become popular after it was featured in a music video by Born, a Japanese emo band. Other reports featured stock pictures of Japanese schoolchildren wearing eye-patches allegedly because they’d caught conjunctivitis after allowing themselves to be wormed.
The worming sensation has been described as akin to toe-sucking (but in my opinion it is not quite as much fun as this other fetish). The high number of nerve-endings in the cornea make eyeballs extremely sensitive. However, there are health risks associated with the practice because the tongue is coated with a film of micro-organisms, which can potentially cause eye infections, including conjunctivitis and chlamydia. There are also slight risks of corneal abrasion and ulcers.
Closing the eyelids when having the eyeball licked reduces the health risks associated with worming but doesn’t entirely eliminate them. It also lowers the level of sensation experienced by the partner who is having their eyeball licked.
Agalmatophilia (from the Greek agalma ‘statue’, and -philia love) is a paraphilia involving sexual attraction to a statue, doll, mannequin or other similar figurative object.
The attraction may include a desire for actual sexual contact with the object, a fantasy of having sexual (or non-sexual) encounters with an animate or inanimate instance of the preferred object, the act of watching encounters between such objects, or sexual pleasure gained from thoughts of being transformed or transforming another into the preferred object.
Agalmatophilia may also encompass Pygmalionism (from the myth of Pygmalion), which denotes love for an object of one’s own creation. Some Pygmalionism enthusiasts – known as bread doll fanciers – like to construct dolls from bakery products that once made are used for sexual purposes.
Agalmatophilia became a subject of clinical study with the publication of Richard von Krafft-Ebing’s Psychopathia Sexualis. Krafft-Ebing recorded an 1877 case of a gardener falling in love with a statue of the Venus de Milo and being discovered attempting to fuck it.
An important fantasy for some individuals is being transformed into the preferred object (such as a statue) and experiencing an associated state of immobility or paralysis. Such fantasies may be extended to role-playing, and the self-coined term used by fetishists who enjoy being transformed into what appears to be a “rubber doll” or “latex doll”.
Sexualised life-size dolls have extensively featured in the work of famous art photographers such as Hans Bellmer, Bernard Faucon, Helmut Newton, Morton Bartlett, Katan Amano, Kishin Shinoyama, and Ryoichi Yoshida.
Agalmatophilia features prominently in Luis Buñuel’s L’Âge d’Or (the female protagonist sucks a statue’s toe) and in Tarsem Singh’s 2000 thriller movie The Cell. The movie centres on a serial killer named Carl Stargher (played by Vincent D’Onofrio) who drowns his victims (all young women) and then bleaches their bodies so they resemble dolls. He then masturbates while hanging himself above them.
Muscle worship is a social behaviour, usually with a sexual aspect (a form of body worship), in which a participant, the worshiper, touches the muscles of another participant, the dominator, in sexually arousing ways, which can include rubbing, massaging, kissing, licking, “lift and carry”, and various wrestling holds.
The dominator is almost always either a bodybuilder, a fitness competitor, or wrestler—an individual with a large body size and a high degree of visible muscle mass. The worshiper is often, but not always, skinnier, smaller, and more out of shape. Muscle worship can include participants of both sexes and all sexual orientations.
The amount of forceful domination and pain used in muscle worship varies widely, depending on the desires of the participants. Sometimes, the dominator uses his or her size and strength to pin a smaller worshiper, forcing the worshiper to praise the dominator’s muscles, while in other cases, the worshiper simply feels and compliments the muscles of a flexing dominator.
Male and female bodybuilders offer muscle worship sessions for a price in order to supplement their low or nonexistent income from bodybuilding competitions. Paid sessions sometimes involve sexual gratification, even when well-known competitors are involved, they offer fans the chance to meet in person and touch a highly muscular man or woman.
Muscle Worship is a widespread practice amongst gay men since they sometimes view bodybuilders as sexual objects, and bodybuilding is common in the gay community. Some gay websites offer paid for muscle worship sessions with well-known male bodybuilders. Some bodybuilders enjoy the practice and get sexually aroused by it, and therefore engage in it for the sake of the thrill.
The 2001 documentary film Highway Amazon chronicles the life of female bodybuilder Christine Fetzer and shows several of her clients engaging in muscle worship. More recent documentaries covering the practice include the American Beauty segment of an HBO’s Real Sports with Bryant Gumbel #160, and Channel Five’s 2007 Muscle Worship documentary (part of their Real Lives series), profiling in depth the lives of female bodybuilders Lauren Powers and Gayle Moher.
Muscle worship engenders a specific type of pornography, often produced professionally, but also web cam sessions, an underground erotic literature, and specific Internet discussion forums like the #gaymuscle IRC channel. A (possibly fictional) account of muscle worship by H. A. Carson combines it with infantilism.
The entry for wrestling in The Encyclopedia of Unusual Sex Practices lists sthenolagnia (“sexual arousal from displaying strength or muscles”) and cratolagnia (“arousal from strength”) as paraphilias associated with the practice of wrestling for erotic purpose. There appear to be no studies about these proposed concepts; Anil Aggrawal’s 2008 monograph does not go beyond defining the terms, with the same meaning, in a list of over 500 similarly terse definitions encountered in the scientific and lay literature. The British tabloid The Sun listed sthenolagnia second in the Top five freaky fetishes after doraphilia. The Sun describe it as a “condition” where men find “hugely sexually attractive… mega-bronzed muscle-bound ladies in those weird bodybuilding competitions”, and who also “like to be wrestled, lifted up and even carried around by their big iron-pumping dreamgirls”.
Animal role-play encompasses both non-sexual and erotic sexual role-play (when it may also be called pet-play, pony play, ponyism, kitten play, or pup play). In its erotic sexual role-play form, one or more of the participants takes on the role of a real or imaginary animal in character, including appropriate mannerisms and behaviour, and sometimes a partner will act as another animal, or, in a sexual context, may take the role of rider, trainer, or caretaker (or even breeding partner).
The principal theme of animal role-play is usually the voluntary transformation of a human being to animal status, and focus on the altered mind-space created. The most common examples are probably canids (pup, dog, wolf), felines (cat, kitten, lion) or equines (pony, horse). Animal roleplay is also used in a BDSM context, where a person may be humiliated by being treated as an animal.
Animal role-play is influenced by costuming, fiction, myth and legend, role-play and psychodrama in their various aspects. Some of the earliest published images of animal play (especially pony play) are to be found in the work of John Willie, primarily in BIZARRE magazine published from 1948 to 1959. The first commercial manifestation of this fetish appears to have been created by Simon Benson the founder of the Petgirls website.
Non-sexual animal roleplay, or therianthropy, was a common and integral part of ritual in many tribal cultures both in recent and past times, where a member (or members) of the tribe would take the role physically and often spiritually, of an animal that was either revered, or hunted. Examples of the former include many of the American Indian tribes and Arctic native peoples, examples of the latter are evidenced by cave paintings. In 1911 Julia Tuell photographed the last Animal Dance (“Massaum”) performed by the Northern Cheyenne of Montana.
Like much of erotic play and role-play, animal role-play in an erotic or relational context is entirely defined by the people involved and by their mood and interests at the time of play. It ranges from the simple imitation of a vocal whinnying of a horse to the barking, panting or playful nudging of a puppy, or playful behaviour of a kitten, to crawling around on all fours and being fed, or petted, by hand,to the greater extremes of dressing up as a pony in modified horse tack, masks, prosthetics and temporary bondage based body modification.
Public participation in human animal role-play is varied. A couple could inconspicuously role-play a silly but loving pet play scene in public, but it would look like one partner is merely stroking the other’s neck innocently to the casual observer. In the case of many convention-going furries and some BDSM fetishists, one partner may wear a dog collar with a leash attached.
The reasons for playing such a character or animal can vary as much as the actual physical manifestations and intensity of the play. Some people enjoy being able to “cut loose” into a different, or more dynamic personality (e.g., Were-creatures or Catgirls). In some cases, pet-play is seen as a loving, quiet cuddling time where there is no need for verbalizations and the simple act of stroking, rubbing and holding the other partner is satisfying or reassuring in and of itself. For others, there may be a spiritual side to it. Some feel closer to their animal totem, while others may identify with something akin to a deeper side or part of their own psyche For still others, there is the experience of power exchange set up in a context or structure which they can accept.
While not widespread, erotic human-animal role-play is still enjoyed by a sizable number of people. However, it is still primarily identified with BDSM practice, or as being associated with furry or other alternative lifestyle activities.
Autozoophilia is sexual arousal that depends on acting out or imagining one’s self as an animal. Paraphilic interests that involve being in another form have been referred to as Erotic Target Location Errors (ETLEs), and autozoophilia would represent an autoerotic form of zoophilia.
It should be pointed out that each type of play can focus on a certain “strength” of an animal character. Pony play often involves the practice and training that a horse owner or trainer would put their horse through to learn how to walk, canter, etc., as modified for human limbs. Puppy play often can involve BDSM related discipline. Cow Play often involves fantasies of lactation and impregnation. The usual limits of safe, sane and consensual apply to role-play as much as any other activity between humans who accept and respect their partner’s interests and limits. For most, this does not include bestiality.
Note: Just because one partner is playing the “pet” does not necessarily make them the passive or submissive play partner in the scene. For example, if the form of pet play is for the meek and timid wife to “transform” into a werewolf or mischievous anime catgirl, she may take the upper hand and dominate the partner.
Some people believe that they have certain animal ‘instincts’ and through animal role-play can let them out. This is especially true in the BDSM communities, where some people ‘live’ as their chosen animal 24/7. This type of mentality goes beyond role-play and becomes a full lifestyle for the parties involved. There are also ‘hybrids’. These are humans who live part-time as one type of animal, and part-time as another.
There is a growing trend in the BDSM scene for animal role-play, especially pup and kitten play. Playing the role of a pup or kitten is one of giving over complete control over to another, while the ‘Master or Handler’ expects only unconditional love and obedience from his/her animal.
Pony play is sometimes referred to as “The Aristotelian Perversion,” in reference to legend that Aristotle had a penchant for being ridden like a horse. Ponies (people involved in pony play) generally divide themselves to three groups, although some will participate in two or perhaps all three:
Cart ponies: ponies who pull a sulky with their owner.
Riding ponies: ponies who are ridden, either on all fours or on two legs, with the “rider” on the shoulders of the “pony” (also known as Shoulder riding). Note that a human back is generally not strong enough to take the weight of another adult without risk of injury, so four-legged “riding” is generally symbolic, with the “rider” taking most of their weight on their own legs.
Show ponies: ponies who show off their dressage skills and often wear elaborate harnessess, plumes and so on.
A documentary film Pony Passion was produced by British pony play club De Ferre in 2003 showing their club’s activities and Born in a Barn, a 2005 documentary film, depicted the lives of several pony-play enthusiasts.
Puppy play or dog play is where at least one of the participants acts out canine mannerisms and behaviours, it is sometimes associated with leather culture. The dominant role is taken by a “Handler”, “Trainer”, “Master”, or in the case of someone who still identifies as canine, an “alpha”. The submissive may be considered a “pup” or a “dog”. Unlike other forms of animal role-play, it is not uncommon for two or more pups to play together as equals, fight for dominance, or play where one is clearly the “alpha”. Puppy play is often about being playful, mischievous, and instinctive. In relation to other BDSM play, a “puppy” who is “unowned” or “uncollared” can be referred to as a “stray”. Other elements rooted in BDSM play involve bondage and restriction with collars, leashes, cages, and hoods, the submissive’s hands are often covered in mitts, both sexual and non-sexual services are requested, and “training” may take place in order to teach commands. The submissive may be asked to bark, kiss/lick the dominant’s foot/shoe, and eat like a dog.
In kitten-play the person assumes the less serious role of a pet that keeps some independence and – as part of the fantasy – might retaliate against the partner trying to tame him or her.