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Merryn Duncan self directed proposal 20:21 final

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Making my own "stuffed tights" using phallus shapes and gathering

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Projecting my own research images onto the suit.

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Psychology to bondage

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Redress of physical power
Bondage alters the balance of power. A stronger partner can be rendered helpless, which in itself can be an unusual and charged experience. A naturally active individual rendered passive or vice versa. This also opens up new horizons of tactile, emotional, sensual and imaginative possibilities. If I were to select one reason for introducing bondage into an otherwise 'vanilla' relationship, this would probably be it. Don't underestimate how unique and powerful this experience can be first time round.
Expiation of guilt
Many of us, especially women, are brought up with the idea of guilt in relation to sex or, at the very least, in relation to certain acts or behaviour: The "nice girls don't do that" mentality. Bondage can be used to expiate this guilt by providing the convenient excuse of being tied up and thus 'unable' to resist, safe word not withstanding. Thus, the social restraints are removed: Freedom through bondage!
Security
The ropes can hug the body like a lover's embrace creating a feeling that is secure and comforting. Often, once the more constraining bondage has been removed, the sub will be reluctant to relinquish the body harness.
Erotic effects
The ropes can be used to caress, during tying or untying, when they are drawn across the body and, in particular, the more sensitive areas. It can be used to cover the whole spectrum from pleasure to pain. Frayed ends of ropes can be used to stroke and tickle. One or more strands of rope can provide quite an effective makeshift whip.
Breast and genital bondage increases sensitivity, to pleasure and pain, by pulling the skin tight. It also tends to present the target of your attentions quite prominently and conveniently.

The placement of knots can cause direct stimulation of the clitoris, perineum, anus etc. This occurs either through simple pressure or through movement. Gently twisting, pulling or tapping on strategic ropes allows you to provide your own input. You'll soon notice which particular knots are favourites to struggle against. Applying a vibrator to the ropes or knots can really boost the effect. The surprise is that using a vibrator on seemingly innocuous places can have dramatic results, since rope transmits vibration extremely well.
Meditation & relaxation
The experience can be very meditative. This can be deepened if the sub and Dom take time to connect by quietly embracing, relaxing and synchronising breathing. Meditative techniques can be used. A good scene will engender a close connection between Dom and sub.

We are accustomed to being able to gesticulate or scratch our own itches. Not being able to move is an unusual experience for most of us. It concentrates the mind in a unique manner.

It is not uncommon for a sub to be in a very dreamy and relaxed state after a session, termed as 'rope stoned' or sub-spaced. I have often been told that a bondage session is very relaxing and de-stressing.
Beauty
Rope bondage, especially the Japanese form, Shibari, can be considered an art form. It can accentuate the beauty of the human body. The results can be stunning, a fact appreciated not only by the Dom and sub, but also by any spectators.
Submission
Bondage and submission are naturally complimentary. Being tied and helpless at the hands of the Dom adds edge to the play and is highly symbolic of submission. The sense of being made to feel exposed and available is particularly acute in positions such as open leg ties.

Like most areas of BDSM, the exercise requires a sufficient level of trust. In fact, since you are allowing yourself to be rendered powerless to resist, more trust than is required for most activities. One of the benefits of BDSM games is that they help develop deeper levels of trust with your partner.

The bondage itself can be used as a tool of control. The rope, particularly junctions or knots on the back and chest, can make great 'handles' that allow a sub to be controlled in a very dominant manner. It can also be used as a lead. When a pole is used to tie wrists and ankles open leg style, it can be used to (carefully) flip a person from seated to a very vulnerable bottom in the air position.

The effect of being tied in an unbalanced position, whilst still being supported securely from above by a safety rope, can be quite psychologically dramatic, especially if blindfolded.
Fetishism & role-playing
For many, the kick is in the fetishistic appeal of their chosen method of restraint. For example, body bags, straight-jackets or chastity devices.
It is also key to much role-play. After all, without some form of restraint many games, e.g. prisoner or kidnap scenarios, would be missing the major element and what fun would that be? Of course, appropriate restraints can themselves be important in creating the fantasy.
SM
Bondage can be a prelude to or as a facilitator of SM play, rather than an end in it's own right. However, it can also be used to inflict discomfort, both physically and mentally, e.g. uncomfortable or humiliating positions.
Challenge and escape

There is also something that appeals to the Houdini in many people, the challenge and struggle in attempting to escape. Jim Stewart, author and founder of Fetters, is a great proponent of this aspect of restraint games. In his book 'I like to get tied up - so what?', he explores a wide range of scenarios and ingenious restraints, including modified motorcycle clothing and diving equipment. Many of his games involve endurance and are psychologically challenging, e.g. kidnap, military interrogation, some are even competitive.

Many aficionados find the struggle against their restraints highly erotic, but for others it is simply a game for grown-ups.
Summary
To sum up, there are many things that can be got from bondage. Not all of them will rock your boat. However, I hope that you will see that there are many possibilities and even the simplest bondage can change the sexual and psychological dynamics.
You can have a look at the rest of Esinem's website here

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Established in 2005, Sang Bleu MAGAZINE originated as a magazine, and evolved into the innovative digital platform it is today. Representing modern culture, Sang Bleu focuses on the unique expressions of urban society through contemporary art and fashion, sociology and literature.

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I used bondage knots onto of the stretched tights which formed a silhouette that resembled spilling flesh like on a rolled up pork.

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1995 documentary on "rent boys" in Glasgow. In this documentery the two young men discuss the clients they have that are your typical family man that after paying the young boys for sex they go home to their wife and kids.

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too much too young : chickens ( glasgow rent boy documentary )

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John weaver, Co-fownder of the Lincon project, has been accused by several young men for sending sexually suggestive, explicit messages to them. One young man stated it started when he was only 14 years old.
John Weaver responded by saying that all messages were consensual.

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Note: Contains sexual references and nudity.

True artists are distinguished by the complex emotions they bring to the artistic process and by the enduring impact of their art.

In the 1970s Robert Mapplethorpe, in his 20s, conceived of a successful career as a photographer. From the start, his work stunned the art world. More than 25 years since his death, his influence on photography-and on the question of what constitutes art-continues to ripple through the culture. Mapplethorpe exhibits are a perennial staple at progressive art museums.

In many people's minds, Mapplethorpe is synonymous with obscenity. There's no denying many of his images are obscene, but it's not done for obscenity's sake alone. With a precise sense of vision and the passionate soul of an artist, Mapplethorpe confronts us with bold images, many of them taken in an underground world of bondage and danger. These pictures pushed a lot of buttons when they first appeared, and they keep pushing buttons decades later. These days, thanks to the Internet, BDSM has come out of the shadows and we see it everywhere-but Mapplethorpe's pictures still have the power to shock us. Here's a look at 5 major aspects of the artist's life and work.

Above: In a self-portrait from 1980, the artist shows he's in touch with his feminine side. Photo © The Robert Mapplethorpe Foundation, Inc.

Top: Men loving men was not a common sight when Mapplethorpe posed this couple for "Two Men Dancing" (1984). Middle: Shades of sadism come out in a self-portrait from 1983. Bottom: "Man in Polyester Suit" (1980) cemented the artist's reputation, and in 2015 sold for nearly half a million dollars.

Homosexuality

Coming of age sexually in 1970s New York City, Mapplethorpe was on the cusp of shifting trends in homosexuality. Pushing back against the stereotype of effeminate gayness, "activists advanced the notion that a man could be both gay and virile." For many gay men, this was played out in the S&M subculture, where they "enacted complicated master-slave scenarios that tested one's masculinity." For Mapplethorpe, being gay and testing one's sexual limits went hand-in-hand. He took his camera, and his desires, into the deepest, darkest recesses of sex play.

Tragically, Mapplethorpe, like so many of his contemporaries, would be among the early victims of AIDS, which also went hand-in-hand with being gay at the time. But before he died, at 42, he ensured the solidity of his legacy by creating a foundation, based on the phenomenal high-ticket sales of his photographs. The Mapplethorpe Foundation provides funding for AIDS research and treatment at major institutions in New York and Boston, and for the continuing advancement of photography as an art form.

Mapplethorpe was relentless in his pursuit of black men. Above: "Ken Moody and Robert Sherman" (1984) and "Derrick Cross" (1983).

Racism

Immersed in the steamy underbelly of the city's gay scene, Mapplethorpe became obsessed with black men. Cross-racial sex was still radical-very exotic and highly alluring to white men. To men like Mapplethorpe, black men were built better, bigger, more beautiful-every stereotype come to life. It was an aesthetic perspective, but it was also racist. Mapplethorpe threw around the n-word with blatant disregard, and he made no secret about seeking a black man who was "free enough" to let him use the offensive word in bed.

The photos he took of black men are among the strongest in his vast body of work. As seen through Mapplethorpe's lens, the black male body is a finely wrought sculpture, a carving of darkest ebony, a solid platonic form occupying space in the most assertive way possible.

Photos like these opened the door to a dark underground world of bondage and domination, sadism and masochism, where gay men tested their personal limits.

BDSM

Raised in a Catholic family, Mapplethorpe was well acquainted with concepts like sin and guilt and punishment. Add in his innately dark sensibility and adventurous spirit, and no wonder he was drawn to the BDSM world like a moth to flame. What was different was his definition of S&M: for him it was not sadism and masochism, it was sex and magic. "Sex is magic," he said. "If you channel it right, there's more energy in sex than there is in art."

What was different about his work in BDSM was his turning the tables on the more commonly seen imagery of so-called deviant sex, a hetero fantasy of submissive women bound in ropes against a posh backdrop. Mapplethorpe showed submissive men without any context at all, often decontextualizing them further by cutting off body parts at the edge of the frame. He exposed the world to outlandish sexual acts and instigated heated controversy that smolders to this day.

Turning the lens on himself results a chronicle of self-exploration and sexual exploration.

Participatory art-making

Mapplethorpe's commitment to truth-telling extended past the camera. For real truth, he had to get in on the act. Putting himself in front of the lens, he first experimented with nipple clamps and other implements of pleasure/pain to learn what he liked. Later on his Chelsea loft "had become a port-of-call for men with every conceivable sexual perversion, and they arrived with suitcases, and sometimes doctor's bags, filled with catheters, scalpels, syringes, needles, laxatives, hot water bottles, rope, handcuffs, and pills. They dressed up as women, SS troopers, and pigs."

It was important to Mapplethorpe that he have the full experience, and he tested his limits on both sides of the lens. As a participant, he discovered certain personal boundaries, but as a photographer he didn't hold anything back. The resulting images have an indelibly startling quality.

When Mapplethorpe met Patti Smith, all kinds of sparks flew. The two would remain close friends throughout his life, even as their lives veered apart.

Patti Smith

A strong thread running through Mapplethorpe's life was his friendship with Patti Smith. They were the same age and had similar artistic vision, and their connection was instantaneous. In 1969, living at the famed Chelsea Hotel, they were surrounded by other soon-to-be-famous artists and musicians. "Everyone had something to offer and nobody seemed to have much money. Even the successful seemed to have just enough to live like extravagant bums." They hung out at CBGB and Andy Warhol's Factory. They lived and breathed art.

"Robert believed in me as much as he believed in himself, and it was incredible how much he believed in himself. ... He would not rest until he helped me dive down, down, down, and access my confident part. And I did access it, finally. It came out in a funny way, as a performer. But because he gave it to me so early in life, I don't have to be given it again and again-I just have it."

At 69, Smith continues to deliver powerful performances all over the world and has published two memoirs, "Just Kids," about her relationship with Mapplethorpe, and "M Train."

References:
Patti Smith quotes from Vanessa Grigoriadis,
"Remembrances of the Punk Prose Poetess,"
New York, Jan. 10, 2010. All other quotes from Patricia Morrisroe, "Mapplethorpe: A Biography." NY: Random House, 1995. See also: Dominick Dunne, "Robert Mapplethorpe's Proud Finale,"Vanity Fair, Sept. 5, 2013. Christopher Bollen, "Patti Smith and Robert Mapplethorpe,"Interview, Jan. 20, 2010.Images © The Robert Mapplethorpe Foundation, Inc.

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Robert Mapplethorpe's Photography: BDSM and Beyond

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Note: Contains sexual references and nudity. True artists are distinguished by the complex emotions they bring to the artistic process and by the enduring impact of their art. In the 1970s Robert Mapplethorpe, in his 20s, conceived of a successful career as a photographer. From the start, his work stunned the art world.

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Documenting himself and friends who were involved in the New York S&M scene in the 1970's

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Michael Fallon- secretary of state for defence

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Michael Fallon- secretary of state for defence

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resigned from position in 2017 after journalist Julia Hartley- Brewer accused him of inappropriately touching her leg during a dinner.
"What might have been acceptable 10, 15 years ago is clearly not acceptable now"

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2020 GRADUATE

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Over exaggerated hip shaping, make it bigger

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SPRING/SUMMER 2018 RTW

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Thom Browne Spring_Summer 2018 Ready To Wear

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AFTER YOUR SKIN COLLECTION

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The three rules to bondage

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can be work under a dress

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masculine contour on female body