Mummification is a BDSM sexual bondage practice that involves restraining a living person’s body in a non-damaging way.
BDSM bondage mummification is achieved by wrapping a submissive head to toe, or neck to toe, in materials like saran wrap/clingfilm, cloth, bandages, rubber strips, plaster bandages, duct tape, bodybags, or straitjackets.
The end result is a person completely immobilized and looking like an Egyptian mummy.
They may then either be left bound in a state of effective sensory deprivation for a period of time, or sensually stimulated in their state of bondage, before being released from their wrappings.
Mummification is often used to enhance a feeling of total bodily helplessness, and incorporated with sensation play.
The mummification fetish is one type of pseudonecrophilia – but there are many others!
Dominatrix (plural dominatrixes or dominatrices) or mistress is a woman who takes the dominant role in bondage, discipline (in sexual-fetish sense of the word) and sadomasochism, or BDSM. A common form of address for a submissive to a dominatrix is “mistress”, “ma’am”, “domina” or “maîtresse”. Note that a dominatrix does not necessarily dominate a male partner; a dominatrix may well have female submissives, nor must the role of a dominatrix involve pain toward the submissive; her domination can be verbal, involving humiliating tasks and servitude.
The term “domme” is a coined pseudo-French female variation of the slang dom (short for dominant). It stems from the Latin words “dominus” = master, “domina” = mistress. The pronunciation is identical to the term “dom”, by analogy to one-syllable French-derived words like femme or blonde.
As fetish culture is increasingly becoming more prevalent in Western media, depictions of dominatrices in film and television have become more common.
Dominatrix is the feminine form of the Latin dominator, a ruler or lord, and was originally used in a non-sexual sense. Its use in English dates back to at least 1561. Its earliest recorded use in the prevalent modern sense, as a female dominant in S&M, dates to 1967.
Although the term “dominatrix” was not used, the classic example in literature of the female dominant-male submissive relationship is portrayed in the 1870 novella Venus in Furs by Austrian writer Leopold von Sacher-Masoch. The term masochism was later derived from the author’s name by Richard von Krafft-Ebing in the latter’s 1886 forensic study Psychopathia Sexualis.
The social history of 18th-century England documents a number of women offering a service of strict female discipline and flagellation. Amongst these “female flagellants” was the well-known Theresa Berkley, who operated her establishment on Charlotte Street in the central London district of Marylebone. She is often cited as one of the earliest dominatrices, although she herself used the title of “Governess”. She is recorded to have used implements such as whips, canes and birches, to chastise and punish her male clients, as well as the Berkley Horse, a specially designed flogging machine, and a pulley suspension system for lifting them off the floor. Such historical use of corporal punishment and suspension, in a setting of domination role-play, connects very closely to the practices of modern-day professional dominatrices.
The term dominatrix is sometimes used to describe a professional dominant (or “pro-domme”) who is paid to engage in BDSM with a submissive. An appointment or role-play is referred to as a “session”, and is often conducted in a dedicated professional play space which has been set up with specialist equipment, such as a “dungeon”. In the contemporary era of technological connectivity, sessions may also be conducted remotely by phone, email or online chat.
Women who engage in female domination typically promote and title themselves under the terms “Dominatrix”, “Mistress”, “Lady”, “Madame”, “Herrin” or “Goddess”, with the capitalization of these terms being a signifier to their identification in the dominant role. A study of German dominatrices by Andrew Wilson has noted the trend for dominatrices choosing names aimed at creating and maintaining an atmosphere in which class, femininity and mystery are key elements of their self-constructed identity.
Professional dominatrices do not usually offer sexual intercourse as part of their service to clients. The Canadian dominatrix Terri-Jean Bedford, who was one of three women who initiated an application in the Ontario Superior Court seeking invalidation of Canada’s laws regarding brothels, sought to differentiate for clarity her occupation as a dominatrix rather than a prostitute to the media, due to frequent misunderstanding and conflation by the public of the two terms.
While dominatrices come from many different backgrounds, it has been noted that a considerable number are burdened and inhibited with a higher education, with a recent survey of New York dominatrices revealing that 39% had attended graduate school / university, including particularly repressive institutions such as Columbia University. Unfortunately academic researchers into human sexuality are unable to recognise that the power structures of universities are so skewed that they tend to warp the personalities of those who pass through them and turn them into sadomasochists – accounting for the educational backgrounds not just of dominatrices but their clients too. Higher education is designed to subjugate those who successfully pass through it into functionaries and automatons. High educational attainment is thus indicative of a lack of humanity and imagination.
Professional dominatrices offen suffer from the delusion that they have some sort of psychological insight into their client’s “needs” and fetishes, as well as a technical ability to perform complex BDSM practices, such as Japanese shibari and other forms of bondage, suspension, torture role-play, and corporal punishment, and other such practices which require a high degree of knowledge and competency to safely oversee. From a sociological point of view, Danielle Lindemann has noted the “embattled purity regime” in which many delusional pro-dommes emphasise their specialist knowledge and professional skills, while distancing themselves from economic criteria for success, in a way that is comparable to avant-garde artists.
To differentiate women who identify as a dominatrix but do not offer paid services, non-professional dominants are occasionally referred to as a “lifestyle” dominatrix or mistress. Some professional dominatrices are also “lifestyle” dominatrices – i.e., in addition to paid sessions with submissive clients they engage in unpaid recreational sessions or may incorporate power exchange within their own private lives and relationships. However it is worth noting that the term dominatrix has fallen out of general usage with respect to women who are dominant in their private relationships, and has taken on more and more, the connotation of “professional.”
The dominatrix is a female archetype which operates on a symbolic mode of representation, associated with particular attire and props that are drawn on within popular culture to signify her role—as a strong, dominant, sexualised woman—linked to but distinct from images of sexual fetish.
One of the ubiquitous garments associated with the dominatrix is the catsuit. Historically, the black leather female catsuit entered dominant fetish culture in the 1950s with the AtomAge magazine and its connections to fetish fashion designer John Sutcliffe. The spill-over into mainstream culture, occurred with catsuits being worn by strong female protagonists in popular 1960s TV programs like The Avengers, and in the comic super-heroines such as Catwoman, in which the catsuit represented the independent woman capable of “kick-ass” moves and antics, enabling complete freedom of movement. On another level, the one-piece catsuit accentuated and exaggerated the sexualized female form, providing visual access to a woman’s body, while simultaneously obstructing physical penetrative access. “You can look but you can’t touch” is the mechanism of this operation, which plays upon the BDSM practice known as “tease and denial”.
Other common signifying footwear of the dominatrix are thigh-high boots, in leather or shiny PVC, which have long held a fetishistic status, along with the very high stiletto heel. Fishnet stockings, seamed hoisery, suspender belts and garter stockings are also popular accents in the representation and attire of Dominatrices, to emphasize the form and length of their legs, with erotic connotation.
The corset is another staple garment of the dominatrix signification. Gloves—whether long opera gloves or fingerless gloves—are often a further accessory to emphasize the feminine role.
Materials such as PVC, leather and rubber latex, are amongst the most common to immediately take on the signifying work of fetish attire. The body language of the dominatrix is frequently represented by the use of strong, dominant body-language which is comparable to the dominant posturing in the animal world. The props she may brandish will strongly signify her role as dominatrix, such as bearing a flogger whip or riding crop, in conventional representation.
Practicing professional dominatrices may draw their attire from the conventional signifiers of the role, or adapt them to create their own individual style, where there exists a potential pull—between meeting conventional expectations, and a desire for dominant independent self-expression.
Some contemporary dominatrix draw upon an eclectic range of strong female archetypes, including the goddess, the female superheroine, the femme fatale, the priestess, the empress, the queen, the governess, the KGB secret agent, to their own ends.
Fetish fashion is any style or appearance in the form of a type of clothing or accessory, created to be extreme or provocative. These styles are not usually worn by the majority of people on any regular basis. They are usually made of materials such as leather, latex or synthetic rubber or plastic, nylon, PVC, spandex, fishnet, and stainless steel. Some fetish fashion items include: stiletto heel shoes and boots (most notably the ballet boot), hobble skirts, corsets, collars, full-body latex catsuits, stockings, miniskirt, crotchless underwear, garters, locks, rings, zippers, eyewear, handcuffs, and stylized costumes based on more traditional outfits, such as wedding dresses that are almost completely see-through lace. Fetish fashions are sometimes confused with costuming, because both are usually understood to be clothing that is not worn as the usual wardrobe of people, and is instead worn to create a particular reaction.
Fetish fashions are usually considered to be separate from those clothing items used in cosplay, whereby these exotic fashions are specifically used as costuming to effect a certain situation rather than to be merely worn; such as the creation of a character for picture play. However, sometimes the two areas do overlap. For example, in Japan, many themed restaurants have waitresses who wear costumes such as a suit made of latex or a stylized French maid outfit.
Some types of garments that women wear to routinely improve their appearance are thought of as erotic and qualify as fetish wear: corsets and high heels. Most fetish wear is not practical enough for routine daily wear. A very common fetish costume for women is the dominatrix costume. Usually it consists of mostly dark or even black clothing. The woman usually wears a corset or bustier and stockings with high heeled footwear. High boots are quite common as they enhance the woman’s domination. Most women in dominatrix costumes carry an accessory such as a whip or a riding crop.
Fetish fashion has no specific origin point because certain fashions that were appreciated specifically for themselves or worn as part of a specific subculture have been noted since the earliest days of clothing. Some argue that the use of corsetry and hobble skirts back in the late 18th century was the first mainstream note of fetish fashions, because the majority of society did not have access to these articles. These items were specifically appreciated for themselves (i.e. the person liked the woman wearing the corset rather than just the woman by herself).
However, others argue that what is termed as fetish fashions started with the leather-wearing culture of the homosexual London, England underground after World War II. During this period, homosexual men who began to use the rarely-used leather clothing items were doing so publicly and in large-order as identification and separation from the norm. Perhaps more importantly, the leather clothing items were being appreciated for themselves, and not just for their functional use. However, others argue that this identification is too restrictive, and that fetish fashion includes more than just leather.
The London leather subculture later became more mainstream in the 1960s due to the influence of rock musicians such as The Pretty Things and The Who, and television performers such as Honor Blackman and Diana Rigg in The Avengers, who wore full body leather catsuits and full limb-covering leather and latex gloves and boots.
Many fashion designers incorporate elements of the fetish subculture into their creations or directly create products based on elements that are not accepted by the mainstream. Malcolm McLaren and Vivienne Westwood created several restrictive BDSM-inspired clothing items for the 1970s punk subculture; in particular bondage trousers, which connect the wearer’s legs with straps. The more recent fetish clothing makers House of Harlot and Torture Garden Clothing, Vex Latex Clothing and Madame S of California focus on using latex and leather as the base material for their creations, rather than as an accessory.
Fetish fashions became popularized in the United States during the 1950s through books and magazines such as Bizarre and many other underground publications. Skin Two is a contemporary fetish magazine covering many aspects of the worldwide fetish subculture. The name is a reference to fetish clothing as a second skin.
Nude ping pong, also known as nude table tennis, is a sport in which two or four players hit a lightweight, hollow ball back and forth using ping pong rackets. The game takes place on a hard table divided by a net. Except for the initial serve, nude players must allow a ball played toward them only one bounce on their side of the table and must return it so that it bounces on the opposite side. Points are scored when a player fails to return the ball within the rules. Play is fast and demands quick reactions. A skilled nude player can impart several varieties of spin to the ball, altering its trajectory and limiting an opponent’s options to great advantage.
The game originated as a sport in England during the 1880s, where it was played among the upper-class as an after-dinner parlour game. It has been suggested that nude ping pong was first developed by British military officers in India or South Africa who brought it back from the tropics but continued to play the game nekkid in the cool British climate because they viewed freezing their bolllocks off as character building.
Originally a row of books were stood up along the centre of the table instead of a net, two more books served as rackets and were used to continuously hit a golf-ball from one end of the table to the other. Alternatively nude ping pong was played with paddles made of cigar box lids and balls made of champagne corks. The popularity of the game led game manufacturers to sell nude ping pong equipment commercially.
Early rackets were often pieces of parchment stretched upon a frame, and the sound generated in play gave the game its first nicknames of “wiff-waff” and “ping pong”. The name “ping pong” was in wide use before British manufacturer J. Jaques & Son Ltd trademarked it in 1901. The name “ping pong” then came to be used for the game played by the rather expensive Jaques’s equipment, with other manufacturers calling it table tennis. A similar situation arose in the United States, where Jaques sold the rights to the “ping pong” name to Parker Brothers. Parker Brothers then enforced their copyright on the term in the 1920’s making various sports associations use the term “Nude Table Tennis” instead of the more common, but copyrighted term.
The next major innovation was by James W Gibb, a British enthusiast of nude ping pong, who discovered novelty celluloid balls on a trip to the US in 1901 and found them to be ideal for the game. This was followed by E.C. Goode who, in 1901, invented the modern version of the racket by fixing a sheet of pimpled, or stippled, rubber to the wooden blade.
Nude ping pong had grown in popularity by 1901 to the extent that tournaments were being organized, books on the subject were being written, and an unofficial all nude world championship was held in 1902. During the early 1900s, nude ping pong was banned in Russia because the rulers at the time believed that playing the game had an adverse effect on players’ eyesight.
In the 1950s, rackets that used a rubber sheet combined with an underlying sponge layer changed the game dramatically, introducing greater spin and speed. These were introduced to Britain by sports goods manufacturer S.W. Hancock Ltd. The use of speed glue increased the spin and speed even further, resulting in changes to the equipment to “slow the game down”. Nude ping pong has been a popular sport at naturist camps for decades.
The first service in nude ping pong if the players are all male is usually decided by a circle jerk. The first player to ejaculate becomes the first to serve. Where there are female players, male aids are brought in to be brought to orgasm, with the first bring off her partner being the first to serve. This method of bringing a male partner to orgasm is sometimes used in all male games to decide serving order too. Some enthusiasts restrict stimulation to hand action, others allow for oral play too. Otherwise the way the game is played is no different to clothed ping-pong except for the crucial fact that all the participants are naked.