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Woolfetish

Woolfetish

Woolfetish

Text JF. Pierets    Photo Geoffrey Tolaro & Thomas Van De Water

 

Let’s be honest here: the moment Johnny Depp draped the cutest, soft pink mohair sweater on his gorgeous body in the biopic on the American director, producer, writer and actor Ed Wood, many of us developed a delicious vision on wool fetish. Using the alias Daniel Davis, Wood both directed and played the titular character in ‘Glen or Glenda’, expressing his fetish for cross-dressing and angora jumpers. Although he regularly featured angora in his films, his wife recalls that Woods’ transvestism was not a sexual inclination, but rather a neo-maternal comfort derived mainly from angora fabric (Ann Gora also happened to be one of Wood’s pen names). 

 

But what is wool fetish all about? When turning to Wikipedia, information on this subject is very scarse. We do find plenty of articles on leather, spandex, latex and whatnot, but wool seems to mainly stay in the closet. Google however brings us closer to what we’re looking for. This is what we stumbled upon: “A wool fetish is not ‘weird’ to me, but just another expression of human sexuality. People get turned on by all sorts of things, from rubber to latex to fantasies of a dominant giantess or being covered in food. It may not fit the ‘classic’, almost clichéd picture of BD/SM gear and play, but ‘soft’ fetishes like this one are often equally about ideas of enclosure, bondage, control and the tactile/textural experiences of a particular material. We should celebrate this sort of stuff, instead of mindlessly reacting to its difference’.” Needless to say that we at Et Alors? were overjoyed to have found the perfect guy to lead us out of the dark! Some research tells us that he goes by the name of ‘Jumbuck’(this is Australian slang for a sheep). Besides running wool-related web forums and sites he is also a published author. We’re delighted about his willingness to talk to us about this uncommon fetish.

When did this fetish start?
My first conscious recognition of enjoying the look and feel of wool happened when I was four years old. It is very different from others like the transformation fetishes that are common. It soon turned into a fetish that still moves my thoughts and emotions now, at forty nine. The Australia of the mid-sixties was a time when many people – particularly women – frequently wore cardigans and jumpers.  Essentially they were fashion staples during the cooler months of the year, as they had been for a long time.  Anyway there I was playing with my sister and my cousin – who is a few years older – and they both wore cardigans.  They dressed me up as a girl and made me wear a soft, fluffy white one.  I loved it! That act alone may not have resonated so far inside me if it weren’t for a series of experiences over the next couple of years. Starting school when I was four, I found myself strongly attracted to the girls wearing their navy blue school cardigans. In fact I can still remember the full name of the first girl I had a “cardigan” crush on!  I couldn’t exactly articulate the reasons. I just had a feeling they looked delightful and beautiful wearing their lovely buttoned-up woolly vests. At the Catholic school I went to, all the teachers were women and any time one of them wore a cardigan I found myself  responding similarly. Seated in front of these ladies I was a very attentive pupil. I found myself loving the look of cardigans and sweaters on girls and women around me: my sister’s friends, an aunty and her fluffy mohair garments, et cetera. For some reason my mum never wore jumpers or cardigans so there’s no Oedipal element involved. Perhaps, if certain events hadn’t occurred then, my responses might have remained benign forever. But – when one day a new jumper found its way into my wardrobe – my love of wool developed a decidedly darker tone.  Even though I hated wearing it – it was so scratchy! – I obediently put it over my head whenever it was handed to me.  I can still vividly remember how dreadful it felt against my skin as it itched and tormented my neck, arms and chest. Being a “good little boy” I never rebelled, suffering the torment in misery and silence – a rather classic Catholic response of its times, masochistic for all intents and purposes. But in those days young Catholic boys (and girls) did what they were told and from that point on I began associating wearing wool on my body with pain and discomfort.  I didn’t see that women suffered wearing wool in the same way though – theirs seemed so soft and lovely! Age eight, year four. My masochistic associations with wool came to me in full blown colour! Red to be exact. That year my teacher, Mrs Maxwell, could only be described as a very firm, strict disciplinarian who freely administered the cane and strap to any pupil who failed to meet her exacting standards. And yes, she happened to have a penchant for cardigans. Actually just one and it was red. My crush on women and girls took on a completely different turn. From then on – and for many years to come – all I craved was to be “firmly disciplined” by women in cardigans, all the while imagining myself dressed in an itchy, scratchy, high necked jumper or cardigan. Puberty was hell to me! I felt different and all too aware that my responses to my budding sexuality were far from “normal”, so much so that all I could focus on were dreams and thoughts of wool-clad women dominating me while I suffered under the torment of wool bondage. I hated myself for it. But I’m perfectly well adjusted now.

Do you think you would have had this fetish if it hadn’t been triggered at an early age? 
That’s an impossible question to answer definitively. I suspect it  highly unlikely. In my opinion it’s all about associations, so if they didn’t exist from an early age I think they wouldn’t have emerged at all. My life might have been very different if I hadn’t developed this passion for wool when I was a child. Mind you, with a Catholic school upbringing like mine, I might still have developed some type of “appreciation” for firmly applied Femdom discipline.  But we can never know.

What is it that exactly arouses you?
Both the look and feel of wool… specific types and styles of wool and woollen garments. I adore the sight of soft wool such as lamb, angora and mohair on women. I think it enhances their femininity. The way the soft fabric and texture encloses their bodies is something that I truly love. Soft, fluffy cardigans and twin sets as well as turtle necks and bonnets are styles that appeal to me as well. A high, tight turtle neck can look fabulous on certain women, as can a ribbed black one (think “Kill Bill”). Some colours and colour combinations attract me more than others. Soft wool tantalises me as it brushes against my skin. The thousands of tiny claws in the scratchy kind bring my body to life and are a constant reminder of the darkish delights that thrill me so. A turtle neck – preferably one with a high and tight neck line – wraps me up and encloses me (bondage);  a weighty sweater reminds me of my predicament (bondage). Picture two, three or even four layers of jumpers on me: closest to my skin a scratchy, tight fitting crew neck mohair, then a high, tight turtle neck and – to top it all off – followed by a velvety, fluffy angora. Soft on the outside and a visual delight,  but enclosed and uncomfortable on the inside (hidden “delight” / “torment”). There’s yet another element of arousal: I sometimes enjoy cross-dressing in (adult) women’s jumpers and sweaters, but dressing as a “girl”, complete with a soft fluffy cardigan worn with a knitted skirt, matching woollen tights et cetera, is my favourite and definitely evokes memories and associations with those mid-to-late sixties girls I had crushes on.

Is there always a bondage association or is it personal? 
There’s a strong association with bondage but the fetish is not solely focused on that element.  Some of this association is overt – this includes sexual play and sexualised feelings and responses.  And some is covert, and simply focused on liking the look or feel of wool on my body. When I wear a sweater – a turtleneck in particular – I feel warm, snug and enclosed.  This is strongly bondage-related in the sense that I’m “locked in” to the object that encloses my body, especially when the neck line is tight and/or high.  But I don’t go to work, shopping or a concert wearing a turtle neck for overtly sexual pleasure.  I don’t necessarily consciously feel ‘in bondage’, I just enjoy the sensation of being snug and comfortable. Of course there are times when sexual feelings may emerge from a day spent at work whilst wearing a sweater, but certainly not as a matter of course, nor does it have to in my view.

On what level does this fetish have an influence on your daily life?
It’s been – and still is – a major influence on my life.  I can honestly say that it has shaped my life, my personality, my journey.  An early love of wool introduced me to B&D, Domination/submission before I reached puberty. While my teenage years were chaotic and often traumatic because of these associations, they pushed me into questioning the basis of socially-acceptable, “normal” sexuality and from there, a questioning of how society was and is constructed.  This in turn led me to a broad libertarian – leftist political/social perspective.

 

‘I like all types. My favourites are lambs wool, mohair and angora: the “soft and fluffy” ends of the wool spectrum.’

Am I wrong to think you could never live in a warm country? Doesn’t this fetish put limits to your whereabouts? 
I could never live in a warm or hot climate. It’s coolness I love, it makes me feel very much alive.  My face all rosy and flushed, wrapped in a sweater, a coat, perhaps a scarf and beanie, tights under my pants, armoured against the chill…feels wonderful. But this doesn’t mean I want to be cold – anything but! Besides, hypothermia isn’t very pleasant, haha!  It’s about feeling warm, snug, enclosed.  “Warm as toast” as one Australian / English aphorism puts it.  Hot weather doesn’t answer my needs, it just makes me enervated, drained, lifeless…and sweaty for the wrong reasons! I don’t feel any sense of being limited by my whereabouts, nor do I feel that I’m  missing out on something because I love living in cooler climes.  We all have to live somewhere, and with a preference for cooler climates, this is my choice. Thankfully my profession allows me to live in a few locations throughout the cooler, South-East parts of Australia. If I chose to do so I could live in warmer, drier, hotter parts of the country. But why would I want to? However, it doesn’t mean I don’t enjoy or appreciate the time when the weather warms up and the jumpers go in the closet. Longer days, lots of sunshine to enjoy…whatever!

Do you feel it with all sorts of wool? 
I like all types. My favourites are lambs wool, mohair and angora: the “soft and fluffy” ends of the wool spectrum. Possum “fur” or “wool” is starting to become more common in Australia and New Zealand. It’s as soft , fluffy and delightful as angora. I love it a lot and on my last trip to New Zealand I picked up a possum wool turtle neck sweater, it’s wonderfully salving against the skin. That said, I also appreciate and like “non-fluffy” varieties and styles of sweaters. Interestingly, many turtle necks are made of cotton and other non-wool materials, yet I still like these too. Probably because of the look, that “enclosure” element. Like I said before I also like scratchy wool on myself. The contrast between the external softness and internal torment really plays with my mind and body!

Can we conclude yours is a very sexual fetish?
Not in the normal course of a day. Not all my responses to wearing wool is overtly or necessarily fetishist. I love the style of a turtle neck and know it looks good on me when I wear it with the right clothes. However, I do like the feeling of being wrapped up, enclosed, armoured against the cold. No doubt that response does have bondage associations at some subconscious level. I have strong associations with wool and sex.  Wool bondage holds great appeal. I love being enclosed and wrapped in layers of wool. It puts a completely different slant on what balaclavas, thick knitted gloves and knitted stockings can offer as clothing items. Dom/sub fantasies as well:  the woman doesn’t necessarily have to be dressed in wool but it strongly enhances the experience, as it does when I’m dressed in some wool garment.

Do you have your clothes custom made? 
I don’t have any custom-made items of wool clothing.  It’s amazing what you – or a partner/lover – can do with layers of sweaters, balaclavas, knitted gloves, woollen tights and woollen blankets in the bedroom.  They are available from so many “vanilla” sources!  Among some other things, just add kink-standard cuffs, collars, belts, restraints and voilà! If I’m cross-dressing though, the emphasis is on looking more traditionally “femme”.  I’m largely into the “prim and proper”  look. Very conservative even. It’s quite a contrast to my “other” self! It includes a classic, soft and fluffy cardigan or sweater, perhaps a blouse, woollen tights and skirt, et cetera.

Does it make a difference to you if it’s a woman or a man who wears it? 
Men in wool are not interesting to me. The only times for me to have fetishist feelings is when women wear it, or when I do. I see women as inherently stronger and more sensible than men, especially when they are dressed in a nice turtle neck or cowl. My view on women formed at a very young age.

Does she have to be beautiful or is that of secondary importance?
No, the woman does not have to be beautiful. It doesn’t influence my initial responses towards her sweater or cardigan.  However, a beautiful, intriguing or interesting face or body shape may make the experience more enriching. This could keep my attention – or  memories! – for longer.  But I’m completely biased: I think women look adorable and more beautiful when dressed in a sweater or cardigan.

Do you have a partner? 
Yes I do and she is fully aware of my love for wool and wool-related kink. It’s been like that since the day we got serious with each other. She completely accepts it and knows it’s an integral part of my make-up, personality and sexuality. We regularly played sexual, wool-related games, but in recent years there have been health- and other issues, so we rarely play now. That’s okay, she at least recognises my fetishist interests and accepts them fully. We could be watching a movie and a lady comes on the screen wearing a nice, high turtle neck and she’ll playfully nudge me or make some amusing comment to me.  In other words: by her acknowledging it, she “normalises” it in our relationship so it ends up being just another part of the mix that comes with sharing a life together. Fortunately she enjoys wearing woolly garb and loves cool climates as much as I do. But one has to be realistic: there might be seven billion people on this planet but very, very few are into wool as a sexual object. I’ve never sought out a partner on the basis that they should love this fabric too. Instead, I’ve identified as a kinkster who has a particular bend towards wool and wool B&D, Domination / submission.  They can relate to the bondage and discipline elements. The associations I have with wool becomes easier for them to comprehend, accept and understand.  Over the years I’ve seen many men on wool-related web forums hankering for a woman who will love wool like they do.  I feel sorry for them. They need to think more broadly about the fetish. Seek a partner who is sexually open, loves kink games and fantasies. Inevitably, the wool games will flow as part of a mutually complementary sexual expression by two lovers.

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Et Alors? magazine. A global celebration of diversity.

Bettie Page

Bettie Page

Bettie Page

Text Josie Pyke     Photos Jessica Evans

 

Nowadays the name “Bettie Page” is infamous. Some may relate her to coinciding pin-ups such as Marilyn Monroe or even present day icons such as Dita Von Teese, others may recall her more x-rated work, however despite all this, what Miss Page did have was something that the standard 50’s pin-up did not. Page was a highly educated, creative and innovative woman. A playful mistress of temptation, a taboo turned Monroe. Quite simply the queen of fetish pin-up.

 

On April 22nd 1923, Nashville Tennessee had its first glimpse of the jet-black hair and blue eyes that would soon make history. Bettie Mae Page was born the eldest of six children. Sadly the family circle she was born into was far from perfect. Page and her family were extremely poor, causing her and her two sisters to stay in an orphanage. Her father had been labelled a thief and a womaniser resulting in a divorce from her mother. Things worsened as shockingly Page claimed to have suffered molestation from her father at the mere age of thirteen. Although her traumatising childhood was a struggle, Page found refuge in her studies; she was a top student at school and graduated with a scholarship. She also spent a lot of time with her sisters dressing up and practicing hair and make-up to resemble their favourite movie stars. Page also learnt how to sew; little did she know that this talent would be an important part of her future.

Fundamentally, Page wanted to become an actress, she graduated from college with a Bachelor of Arts degree in 1944 then moved to New York to pursue it. However, things took a turn when she fortuitously met a police officer with a passion for photography: Page created her first portfolio, which made her think twice about her aspirations…Page entered the field of modelling; her lack of inhibition, daring poses and carefree ways made her a hit within the erotic photography industry. Bettie Page quickly became a recognised name, an underground sensation. In 1951 her fresh and alluring images began appearing in well-known men’s magazines. Page had a beautiful hourglass figure. She stood at 5ft 5” with well proportioned measurements of 36-23-36.5. This wonderfully slim but curvaceous form is often strived for nowadays and usually only acquired through plastic surgery.

Page excelled with bondage and sadomasochistic themes, the images she created were “out of the box” and seen as somewhat controversial. These themes helped create Page’s reputation as the first bondage model. Some of her most eminent work appeared in fetish photographer and filmmaker Irving Klaw’s short black and white movies, showing Page being spanked, tied and dominated. However the content wasn’t as explicit as it sounds. Quoted from Page herself, it was “gentle” during filming and photo shoots and the “ropes were never tied too tight”. Klaw was the only photographer Page would do bondage for, and although the themes may have been shocking and amatory, nudity or explicit content was never involved. That applied for all of Page’s work. Who said bondage had to be vulgar? 

 

‘Page was always proud of all her work “I never thought it was shameful. It was much better than pounding a typewriter eight hours a day which gets monotonous.’

Though not exploited through the majority of her work, casual nudist Page had no objection to being nude in everyday life. “I like to go cavorting in the nude in the forests. It is just another world. You’re free as a bird!” After the peak of bondage and fetish, Page took acting classes, which earned her role in 1953 burlesque film Striporama; it was during this role that Page’s voice, for the only time in her career, was ever captured on film. It featured exotic dance routines and vignettes, accompanied by a touch of humour.

The year of 1954, Bettie Page is New York’s top pin-up model. The celebrated “Jungle Bettie” photo’s are released, showing fearless Page, clad in her own handmade garments, posing with two fully grown cheetahs. It was thanks to the photographer, Bunny Yeager that Page landed a deal with notorious men’s magazine Playboy. Yeager sent several shots to founder Hugh Hefner, who then crowned her 1955’s Playmate of the Month. He chose a photo of Page sitting nude, with the exception of a Christmas hat, decorating a tree, playfully winking at the camera, entirely defining the phrase “naughty but nice”.

Page was always proud of all her work “I never thought it was shameful. It was much better than pounding a typewriter eight hours a day which gets monotonous”. Later in the year, Page won Miss Pin Up Girl of the World and acquired herself the titles The Queen of Curves, The Dark Angel and The Tease from Tennessee. It is quite obvious that 21st Century burlesque queen Dita Von Teese is a present day product of Page, channelling both themes of burlesque and fetish, however not fully grasping that innocent free spirit which Page so famously delivered. In her later years, after a one time encounter with Dita, Page actually branded her “attractive” but a “poor mimic” of herself!  

Accounts of her departure from modelling vary. Some rumours say Page was slated for inspiring members of the public to practice various acts of bondage as shown in her photos, causing one young man to lose his life. Others say it was her sudden and somewhat unexpected conversion to Christianity in 1959. Her later years grew more turbulent. Swamped by schizophrenia, divorces and insecurity about her once perfect figure, Page mysteriously disappeared from the public eye. She died aged 85 in Los Angeles, 2008.   

From Page’s life, we are left a motif of beauty, enticement and freewill that has inspired and influenced many. Yes she was sexy and erotic, but there was a freshness and innocence about Miss Page that seems to not exist in the 21st century, something that perhaps has become unattainable. She made sex appeal pure and approachable, something that we rarely see now. Her career will continue to inspire fashion, photography, modelling and art industries globally and will remain a symbol of 1950’s innovation and beauty.

Photos Jessica Evans
Styling Vivian Kramer Gezegd Freher
Models Dena Massque & Rachael V

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Marnie Scarlet

Marnie Scarlet

Marnie Scarlet

Text JF. Pierets

 

Although the definition of Burlesque says “a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects”, one cannot erase the image of Von Teese having a bath in a champagne glass or cuties twirling around the stage wearing nothing more then nipple pasties. Nevertheless, that was before we saw Marnie Scarlet perform in a combining mix between fetish and performance art, between burlesque and a touch of cabaret. With her fabulously larger-than-life latex outfits and wittedly deviant shows, Marnie will shock and tantalise in a vortex of surrealism.

 

From SMack! in New York to TG and Club Anti-Christ in the UK and even the Cannes Film festival, Marnie has performed all over the world at fetish and cabaret events, her style appealing both to fetish and cabaret audiences. 

 “Besides the fact that I have elements of burlesque and striptease in my shows, I do not conform to traditional burlesque standards. It’s not that I don’t like a well produced burlesque night; some of them are really great, having circus and body acts instead of only striptease, but it’s just not me. My performance is something I myself would like to watch. A bit different and hopefully something that hasn’t been done before. Put fetish, burlesque and performance art in a large bowl and shake it all up. Throw a nice hat on it, a collar and some heels and go out there to grab the world by the balls and chuck it on stage” 

Marnie creates all her outfits herself, favouring raunchy rubber, but not afraid to add some fine fabrics into the mix. From coats made out of hair-extensions to meters of beautiful lace laid over latex. Categorizing Marnie is not possible. She’s everything but ordinary, showing herself off in such a terrific way but also as a designer for Libidex UK. The one-eyed soldier, a bride corpse, a bloodthirsty nurse, a crazy clown – every detail of her costumes is perfectly composed.  “The whole show starts with the costumes. It always starts with something I made and the thought about what that personae would do.”

Some of her acts like Poison Ivy and Voodoo Apocalypse incorporate body piercing and culminate in setting fire to sparklers connected to the piercings in her body. “When I made that Poison Ivy dress I thought to myself ‘What does Poison Ivy do?’. Well, she stings, so I created a piercing show.“

‘With a touch of make up and a dress, you can be another person. I always loved dressing up.’

By being a strong, independent woman, Marnie could almost be considered a role model but she’s not out there to make a strong statement. “I’m just being me when I’m on stage. It’s very basic. When I was starting I had so many ideas and I wanted so eagerly to put myself on a stage, that any audience was suitable. As long as I could do what I had to do.” Nevertheless she’s not afraid to make a point, to make people think. Her Tin Soldier act is an averment against war without making a big point of it. Once you come to understand her show, these moments of explicitness blend into the overall of the act. 

Because Marnie looks like a work of art, a resemblance with Leigh Bowery comes to mind but it’s more a way of life instead of an act. “Putting on clothes always makes me feel good. With a touch of make up and a dress, you can be another person. I always loved dressing up. When I was little I had a dress up box but when I grew up people told me I couldn’t do that anymore. So I decided never to grow up. It worked.”

When asked about her future plans, one can only wear shades because of the brightness. “I have recently done the Red Exhibition at the Cultivate Vyner street Gallery (my red latex Clown Stilettos went on display there) and will put a bull skull that I have decorated and worn for a shoot/performance in an exhibition called Mexico Sienestro, at the Resistance Gallery. I have a lot of exciting gigs lined up which you can check on my website but amongst others, I’m performing my Apocalyptic Voodoo show at the infamous Torture Garden on New years Eve in London!!! You see, I love my life and it is safe to say I’m living the full on Fetish La Vida Loca!!” 

 

www.libidex.com
www.marniescarlet.com

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