Thursday, 20 July 2017

Bettie Page and Irving Klaw: The First Famous Fetish Model and Fetish Photographer

Bettie Page began working with photographer Irving Klaw in 1952. She modeled at his business and studio Movie Star News on 212 East 14th Street in Manhattan, New York City. The shooting studio was located on the third floor over Movie Star News.


In 1938, Irving Klaw and his sister Paula opened a used bookstore. After noticing a young girl ripping out a photo of Clark Gable out of a magazine, they began selling movie still photographs and took on the name Movie Star News. Klaw eventually made cheesecake photos of movie stars available by mail order which greatly increased his business. In 1947, after requests for "Damsel-in-distress" photos and the suggestion of a customer, Klaw entered the fetish trade, building his catalog of stills of actresses being bound and gagged, spanked, and flogged. He also aquired European material sold by Charles Guyette, and art by John Coutts.



Irving Klaw eventually began shooting his own fetish material. The first photographs did not show any nudity and featured burlesque dancers such as Lili St. Cyr, Baby Lake, Blaze Starr, and Tempest Storm. The fetish scenarios focused on bondage, domination, and slave-training and featured the models wearing lingerie, leather costumes, and high heels. His photos attracted the attention of the government and post office. He went to great pains to make sure the images contained no nudity which would have made the material illegal to sell via mail. The models would sometimes wear up to two pairs of panties to cover up pubic hair. By 1955, Klaw was allegedly grossing $1.5 million a year, primarily through mail order of his fetish photographs. In the mid 1950's, Irving Klaw began making erotic films and directed the burlesque features Varietease (1954), Teaserama (1955), and Buxom Beautease (1956). In addition, he made many 8mm and 16mm black-and-white erotic film shorts (many featuring Bettie Page).



Irving Klaw worked with many models but his images with Bettie Page were his most popular. Irving Klaw and Bettie Page worked together from 1952-1957. Page was the most popular pin up model of the 1950s and appeared on more covers than anyone else in the decade. She was Playboy's Playmate of the Month for January 1955. Page stopped modeling in 1957. She worked with several photographers during her modeling career, but it is her work with Irving Klaw that people remember the most. Klaw eventually quit the business and burned up to 80% of his negatives due to social pressure and constant government scrutiny. He died on September 3rd, 1966 at the age of 55 due to untreated appendicitis. His nephew Ira Kramer eventually took over the store from Paula Klaw.



A Las Vegas collectibles company Entertainment Collectibles negotiated a deal with Ira Kramer and bought up the entire inventory of Movie Star News in July of 2012 for an undisclosed sum, which included over 3 million film stills, including original prints and negatives of Marlon Brando, Bette Davis, The Three Stooges, and 1,500 prints of Bettie Page. The collection was later handled by the Guernsey Auction house, and was estimated to be worth up to $150 million. 


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Book review: Latex Fashion Photography: Slick, Shiny, Sexy


Goliath Books is a publisher of art and photography books. Founded in 1997, and specializing in publishing daring photography and art books.

Goliath's release "Latex Fashion Photography: Slick Shiny, Sexy" is a giant and beautifully bound coffee-table hardcover book. The book is 384 pages and the dimensions are 7.1 x 10.3 inches.

There are over 400 images by 60 photographers featuring 30 latex designers and over 30 top alt/fetish models such as Mosh, Ulorin Vex, Bianca Beauchamp and many others. The editor of the book is Miki Bunge and the cover photo was shot by Fräulein Erhardt featuing the model Lilith.


Model: Bianca Beauchamp. Designer: Polymorphe. Photographer: Martin Perreault.


After the contents page, there is a short introduction presented in several languages (English, French, German, Italian, and Spanish) discussing the fact that mainstream musicians such as Katy Perry, Beyonce, Christina Aguilera and Lady Gaga have been wearing latex attire in their videos and performances which in turn has helped latex fetish wear become more accepted. Each page has a listing of the photographer, latex designer, and model. 


Model: Ulorin Vex. Latex designer: Violaceous Latex. Photographer: Allam Amato.

The settings vary from outdoors to elegant interiors with well lit to sometimes dramatic, moody lighting. One outdoor, creative photo set is taken at playground and another set is shot next to beach with the model posing on rusty metal structures. Another photo set that stands out to me is shot by photographer Marcus Gloger with model Shadow Vegas in Westward Bound clothing. The model Shadow Vegas wears a sleek latex catsuit with helmet and poses on a motorcycle in a parking garage. This is sleek, futuristic imagery. 

Some models that stand out in the book are Bianca Beauchamp, Mosh, Sister Sinister, and Ulorin Vex. There are quite a few European models I haven't recognized before, but I'm sure are well known in Europe.


Model: Mosh. Designer: Black Lickorish. Photographer: Allan Amato.

Why is latex fetishized? The garment forms a "second skin" with erotic physical sensations produced by the material. The material can be polished to be shiny and provides a visual stimulus to the wearer and viewer. The first time I remember seeing a latex/pvc outfit was when I watched Batman Returns in 1992. Who can forget Michelle Pfieffer as Catwoman?

Model: October Noire. Photographer: Emma Delves-Broughton.


The back-end of the book has a comprehensive listing and resource of photographers, designers, and latex shops. This book is the most impressive and largest Goliath Books release I have had the pleasure of coming across. ~ Danny Stygion


Publisher: GOLIATH -

ISBN-13: 978-3-936709-46-9


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Emily Marilyn Interview


Photography by Eric Razo. This interview/pictorial was featured in issue #10 of Sinical Magazine. Print copies can be ordered here

Emily is a fetish fashion model. She has been on the cover of virtually every fetish magazine including Skin Two, Marquis, Secret, Bizarre, DDI, etc. She is based in Los Angeles and travels often to Europe. She prefers shooting in Europe because she believes fetish (in how she views it) is appreciated and understood better in cities like London, Paris and Berlin.


Sinical Magazine: When did you first realize you were into kink?

Emily Marilyn: It all started with the yellow rubber kitchen gloves I used to wash dishes. The texture, scent, sensation fascinated me. Soon after I discovered latex clothing (Michelle Pheiffer as Catwoman!) and begged my mother to buy my very first rubber dress. I can also put blame on Wonder Woman with her red boots and lasso of truth. I dreamt to be dominated by her!

Sinical Magazine: What was the first fetish magazine you came across?

Emily Marilyn: As a teen I was gothic and incorporated fetish into my style. It was through the goth scene I discovered all the fetish magazines. I bought my very first issue of Skin Two and <<O>> (Marquis) at a book store on Melrose. It’s nice to have landed the covers of both SkinTwo and Marquis years later.

Sinical Magazine: How did you become a fetish model?

Emily Marilyn: The very first latex fashion photoshoot I did when I was 16 years old. In fact my parents had to sign the model release. The week I turned 18 I jumped head first into a life long career as a fetish model. How amazing to get paid doing what I love most.



Sinical Magazine: What do you think is the most important aspect of a photo?

Emily Marilyn: The lighting has to be just right. If the lighting is off it will make for a bad photo. I’ve always appreciated photos more than video. I find photography to be more mysterious and interesting. You can create your own story using your imagination.

Sinical Magazine: You have shot many nylon-themed photo sets and it appears to be one of your main clothing fetishes. What is your fascination with nylon?

Emily Marilyn: Silky smooth thin material covering my long legs from the tips of my toes to the very tops of my thighs held on by sexy little garters. I just love it! I’m a bit of a sensation slut and I adore the feeling of stockings adorning my legs. A naughty backseam is a nice addition where my lover can follow the seam up to heaven with his tongue.

Sinical Magazine: What is your favorite brand of stockings and what isyour favorite brand of pantyhose?

Emily Marilyn: I wear Agent Provocateur stockings because they fit my legs quite nice and end high on my thigh. I have long thin legs which makes it difficult to find the perfect stocking. When it comes to pantyhose it is always Wolford. When I am in Paris I enjoy shopping for stockings and pantyhose at the Chantal Thomass boutique.



Sinical Magazine: One of your sites is and you have stated in the past that you are a “foot freak”. What was your first time with a foot worshipper like?

Emily Marilyn: From a very young age I knew I was into shiny clothing and bondage games. My foot fetish didn’t start until I was 16 years old and enrolled in cosmetology. I was the only student in the entire school who enjoyed giving pedicures. Through that I discovered my own feet. I already loved wearing kinky fetish boots and sky scraper heels but never paid much attention to my bare feet. I started playing with them discovering different sensations that turned me on. When I started fetish modeling I hooked up with a company who shot nothing but foot fetish videos! I experienced so many firsts and captured it all on video. Mutual foot worship, dirty foot worship, bastinado, all with hot young models!

Sinical Magazine: How much content is on your main site:

Emily: Marilyn: My main site features my obsession for dressing for pleasure. It has been online since 2000 and has tons of high end photos and video. I rent out beautiful locations and shoot with my partner Eric Razo. Putting the fetish wardrobe together for each photoshoot is half the fun! I’m such a nut when it comes to erotic fashion.

Sinical Magazine: Another one of your sites is Can you talk about your interest in bondage-themed shoots?

Emily Marilyn: I love to be tied up. I have a lot of followers from over the years shooting bondage for other producers so I finally opened my own bondage site. Of course it has my own twist combining it with fetish attire.



Sinical Magazine: You are well known as a fetish performer and headliner at fetish events. When did you start performing and can you tell us about some of your routines?

Emily Marilyn: When I was 18 until I was 22 I was a showgirl at a gentlemen’s club in Japan. This started my love for performing! It was so fun being teasing all the men while seductively stripping off sexy layers or tying my girlfriend up in a kinky domination show! When I moved back to the states and decided to concentrate more on my career as a fetish model it only made sense to take my passion for kink onto the stage at all the various fetish events. I have performed all over the the US, Japan, Canada, Australia and all over Europe.

Sinical Magazine: How much do you rehearse?

Emily Marilyn: I rehearse often right before an event. I like to choreograph my moves precisely to the beat of the music. When I’m blocking a brand new show it can take me a day or two just to get the first minute down.

Sinical Magazine: How much do you think the fetish scene has evolved since you started modeling?

Emily Marilyn: The Internet changed everything. When I got into fetish you had to seek it out. Now you have google in the palm of your hand.



Sinical Magazine: Can you talk about your experiences working in gentlemen’s clubs?

Emily Marilyn: Feature dancing at gentlemen’s clubs is really a wonderful experience. The audience is more awestruck by my shows compared to the crowd at a fetish event. It’s really hard to impress the fetish crowd as they have seen it all but take it into a gentlmen’s club and even something so simple as a stocking and leg tease gets the crowd roaring. It is such a high! The typical Joe has never seen anything even remotely fetish and it is my job to educate all the men out there in the world how fun & sexy fetish can be, heehee.

Sinical Magazine: What projects are you currently working on?

Emily Marilyn: I am gearing up for the next batch of fetish events I am hosting and performing at and booking my latest fetish strip tease act to tour all the gentlemen’s clubs. |


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Modeling: But Is It A Career? By Hollis Ireland

Photo by Rob Butler, Bellbrook, Ohio.

Written by Hollis Ireland. This article was featured in issue #10 of Sinical Magazine. Print copies can be purchased here.

Three years ago, after graduating from college with my Bachelor’s, I chose to pursue modeling full-time in lieu of a more traditional job at the bottom of the career ladder. Discouraged by the flailing job market, I realized I would be much happier creating my own success and opportunities. Like any profession, modeling has proven to be full of high and low points in direct relation to the effort I exerted (and being the fickle niche that it is, sometimes in opposition to my efforts). Unlike most professions, though, it appeared that the older and more skilled I became, the fewer gigs I was able to book. A career is, by Merrian-Webster’s definition, “a field for or pursuit of consecutive progressive achievement, especially in…professional, or business life.” By traditional standards, the more years I spent as a model learning the business ropes, improving my posing and styling skills, and improving my means of interpersonal communication, the more I should have been sought-after and hired for more prominent roles with better pay. However, the opposite seemed to be happening. The more I toured any given area, the less willing those with whom I had already shot were interested in hiring me, and the older I became, the more I saw myself losing opportunities to younger (looking) women. On top of all that, I saw myself losing gigs to models I knew to have awful reputations. Though many of these occurrences weren’t at all surprising given the nature of modeling in general, I quickly realized that I needed to begin searching for other job options if I didn’t want to see my work load, and thus my ability to support myself, fall downhill.

Though it depends upon how well a woman ages and how much popularity she acquires (and notice I said “acquires,” not “earns”), I often question whether modeling is truly a career. Some are able to continue into their 30s and 40s, and some are phased out before reaching 29, and often the reasons have nothing to do with each woman’s drive to succeed or behavior as a professional. Even if a model is beautiful, reliable, and skilled, she can easily be passed over for an untrustworthy, amateurishly-behaved flake who happens to be younger, in literal age or just in her appearance, and/or more technically popular. Age and appearance are no doubt important to a niche job based upon looks, but it’s not the inevitabilities of such a job that I’m questioning; it is whether or not this is the sort of job a woman should even attempt to pursue for a living without having a more diverse background as an escape route when time takes its toll.

The biggest problem I’ve had with my current line of work is the amount of professionalism that often goes ignored. A smart woman will look at herself as more than just a mannequin, but often the industry does not recognize this. Freelancing takes a decent amount of brains, entrepreneurship, and a good but realistic attitude. Simply calling oneself a “model” underscores all that goes into booking a gig: appropriate conversational conduct, clear communication about shoot details, a comfort in negotiating payment, and the simple but often overlooked ability to keep one’s appointments in line. Posing for the camera is only half of the work, and models don’t get paid to answer emails and sit in front of computers like typical office workers. Instead of looking at myself as just a “model,” I see myself as more of a “freelance photo shoot coordinator and manager,” but unfortunately that doesn’t seem to matter when a more well-known girl happens to be touring the same area as I. It’s frustrating to know that having experience, a good track record, and a polished portfolio don’t earn bookings as well as a lengthy resume and great references can earn a coveted position for a job seeker in another field.

As a staple of the mainstream working world, resumes, past job references, and cover letters are of utmost importance in securing employment. Modeling portfolios, networking, and photographer reference lists technically serve the same purpose in our niche. However, I find it disturbing that even when a model’s poor reputation precedes her, she can still obtain a high level of demand. What many models either fail to realize or self-deny is that the types of unprofessional behaviors that are forgivable in the eyes of a photographer will lead to being fired in a more typical setting. How can an honorable worker find true success in such an environment? If models had bosses who could fire them for flaking, horrendously late arrivals, unpreparedness, and unsuitable workplace behavior, some of the most popular names in the industry wouldn’t exist. The conduct of such models couldn’t have earned jobs in fast food or convenience store retail, so why are these women still booking work over more reliable yet less industry-famous professionals? And how did these models become so popular with photographers and fans in the first place with such atrociously unprofessional attitudes? In a true career field, proficiency earns recognition and a chance to advance to higher pay and a better position, even if such earnings take a while to achieve. I’ve watched countless, business-minded models, including myself, lose work to women that would be much further behind in another career. To say I find this frustrating is an understatement, and it’s one of the main reasons why I’m pining for a better work environment. The situation becomes even more confusing when one considers the lack of action towards such incompetent workers from other models and photographers. Most work environments naturally reject those that are unreliable and immature in their business dealings. Poor behavior usually leads to negative consequences from fellow employees and superiors, yet models with an eye-catching look receive almost no reprimanding, loss of bookings, or ostracization from peers and clients. Though undeserved advancement is not a concept exclusive to the independent modeling and photography community, such asinine behaviors are bound to be inescapable without intervention and action from those who hold the future of the industry in their hands: the artists.

Unfortunate but true, models have never been considered to be the most intelligent, hard-working types of individuals in popular opinion in the first place. Every very single time a girl flakes on or shows up hours late to a gig, acts like a snob on set, or refuses to clearly communicate with a client, she enables that negative stereotype and serves an injustice to every driven female trying to make her living through photo art. Even when an independent model chooses to pursue a righteous path, her efforts can often be fruitless thanks to the countless number of photographers and models that do nothing to attempt to curb such behavior. When a model finally achieves her desired level of success, she can usually look forward to watching younger and/or greener girls climb up the ladder as she is forced to climb down. Photography is a kind of art that the world could not do without, and it would be disappointing and devastating if there were no models to aid these artists in creating. The negatives of any given environment are rarely a reason to fully withdraw from the beauty it can also hold. It would be an illogical shame to dismiss the entire photo art genre in light of a few bad eggs. However, if we are to maintain the production of great art while enabling the careers of talented, virtuous creators, our professional standards need to be raised. We can’t always alter the expected nature of an industry, but that is no excuse not to improve upon what can be changed. |



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