By Kiyoshi Kobayashi, translation by DarkAngelAscends
It would not be an exaggeration to say that the development of Kitan Club has gone hand in hand with the models. With that in mind, I would like to focus on Kinukawa-san, one of the key figures among these models, and write a little about her.
Before delving into the main discussion, I should first note that the fact Kitan Club has been in publication for over ten years signifies not only that its raison d’etre has been admirably recognized. Furthermore, the fact that the magazine ventured into a bold new field, one that marked an epoch in this industry, exactly eight years ago, in May 1952, and has since, through tireless effort over the years, finally established an unshakable foothold today, is truly a remarkable achievement. It is likely a feat so rare that few parallels exist even on a global scale. And what, then, was the source of this success?
In my view, the secret of this success can be broadly attributed to the following four factors.
First, the aim was spot-on. You masterfully captured the quiet emotions lurking deep within people’s hearts and provided a common space for these restless souls. Furthermore, regarding the dormant subconscious, you succeeded in eliciting reactions that went beyond mere stirring or awakening. These two elements became cause and effect for one another, thereby resonating deeply with readers and earning their empathy.
Second, they have consistently maintained moderation. Since this world is, after all, one that is often viewed through a biased lens by the general public, maintaining moderation is particularly important. Even if there were occasional or partial dissatisfaction, the fact that we refrained from overt expressions and avoided going too far is one reason why Kitan Club has endured. We often receive complaints from readers that other magazines use more explicit language, but in fact, it is precisely this point that distinguishes Kitan Club from ephemeral magazines.
Third, we have placed primary emphasis on the pursuit of beauty. In the context of bondage, elements such as punishment, discipline, and torture may be necessary as seasoning or accessories, there is no doubt that they can be highly effective at times. Furthermore, on occasion, even erotic or grotesque elements of the macabre can serve as a welcome seasoning. However, these elements seem to inherently contain narcotic qualities, their potency diminishes unless the stimulation is gradually intensified. Consequently, placing the primary focus on them carries a high risk of gradually sinking into a quagmire.
Even if it doesn’t go that far, the fact remains that if elements like punishment or gore are pushed too prominently to the forefront, the majority of readers will likely be put off. It is certain that this sort of material, setting aside perhaps once a year, is by no means something one should attempt to enjoy on a monthly basis. Gruesome, dark, and grim things may be peeked at out of momentary curiosity, but they are certainly not the sort of things one would want to see repeatedly. In that regard, while the path of discovering and pursuing the “beauty of bondage,” which is, in a strange way, wholesome, may not be a broad one, the fact that a clear path has been forged is, in truth, believed to be the greatest key to the development of this genre. The reason readers eagerly await each monthly issue, whether the author is conscious of it or not, is likely due, above all, to this longing for the beauty of bondage.
Fourth, I must mention the strength of the connection with readers. This is evident at a glance, not to mention my own observations, simply by looking at the lively response in the monthly readers’ column. In fact seeing one’s own writing in print is a great joy, and this serves to draw readers closer to Kitan Club. But even for those who do not submit their own work, reading submissions that reflect the similar sentiments of like-minded individuals likely gives them the feeling that Kitan Club belongs to them, rather than being something simply provided by the magazine.
This holds true for other articles as well. Many of Kitan Club’s contributors are not professional writers who sell their work to various magazines, but rather, if anything, amateurs, or people who primarily write about their own experiences and feelings, seeking to interact and find resonance with like-minded individuals through Kitan Club. If this is the case, it further strengthens the bond between Kitan Club and its readers. In a sense, one could say that Kitan Club has firmly captivated not only the models but also the readers, and one cannot help but be impressed by its extraordinary skill in doing so. That aside, what is even more important than these points is the status held by the models.
Every month in Kitan Club, familiar models such as Kinukawa-san, Otsuka-san, Aikawa-san, and Hanasaka-san appear. Readers, much like movie fans, eagerly await the models’ photos. Furthermore, they are not satisfied with just their faces and figures. They become increasingly eager to know every detail of their bodies, wondering what shape Tokukawa-san’s fingers and toes might be, or how beautiful Aikawa-san’s breasts are… “What kind of like do they lead?” Though this might be an unnecessary intrusion, typical of the Japanese tendency to pry, they even start to wonder about such things. This, in fact, is a major factor that strangely yet powerfully binds the readers to the magazine, making it impossible to part with. The decision to feature the same models (which, to some extent, was inevitable) and to always include the models’ names in the photos was a resounding success in deepening that sense of familiarity.
Now, my preamble to the main discussion of Kinukawa Fumiyo has become rather lengthy, but I hope you will forgive me for this necessary detour, which was intended to comprehensively highlight the models’ status within Kitan Club. Once readers get their hands on the magazine, their first priority is undoubtedly to eagerly flip through the photos, even for those buying it in stores, the vast majority will likely flip through the photos first and purchase it if they find something they like. After that, I suspect the “Readers’ Corner” is where most people’s eyes turn next.
In any case, it is no exaggeration to say that the backbone of Kitan Club lies in its photographs, and that the models are what support them. That is why I began by stating that Kitan Club has flourished alongside its models.
Now if memory serves me correctly, Kinukawa Fumiyo first graced our pages exactly two years ago. Since then, she has rapidly risen to prominence as a leading model and has now become an undisputed star.
What are her strengths and assets? First and foremost, her beauty and well-proportioned figure. Her delicate, oval face and large, wide-open eyes immediately captivate the viewer. Her breasts are not particularly large, but when bound by a rope at the top and bottom, they rise up with a firm, full shape that leaves nothing to be desired. Her legs extend slenderly from the hips down to her ankles, and on her arched insteps, ten toenails, slightly square shaped (especially the big toe) and painted with polish, shine like cherry shells. Her fingernails are quite long and, like her toenails, beautifully manicured. If I were to nitpick, the curve of her mouth looks slightly off when viewed from the side. Therefore, to photograph Kinukawa-san, it would likely be best to do so from the front or perhaps have her wear a gag.
According to her own memoirs (Showa 35 April and May issues), she was born in Tokyo, lives alone with no parents or siblings, dyes her long hair red, wears eye shadow and thick eyebrows, and paints her fingernails and toenails bright red, which actually serves as a form of camouflage. “Even the street toughs back off, assuming a woman like this must have three or four formidable men in tow, making her safe. My greatest dream, back in the day, would have been to become a boss lady like Jirocho of Shimizo or Chuji Kunisasa, bossing around young men with a cigarette hanging from my mouth. In modern times, I suppose I’d be the mistress of a street gang, just like Yuu-chan. In any case, the suit and tie salaryman type doesn’t seem to suit my temperament at all. I’ve been wondering if anyone would take a chance on a woman like me, but they get scared of from the start, saying, ‘You’d probably cost a fortune,’ so it’s a non-starter. I’m not really the spendthrift I look like, but I suppose I just don’t inspire much trust.” Or so she writes.
Isn’t that delightful? (Here, I was unexpectedly reminded of Fusako Masuda-san. It’s a pity I haven’t seen her much lately, but Masuda-san, who is the very picture of delicacy, giving off an impression exactly opposite to that of Kinukawa-san’s fiery memoirs. Is it truly impossible to catch a glimpse of her lovely figure again?) I’d love to hear more from Kinukawa-san in the future, her impressions of being tied up, and also the editor’s impressions of Kinukawa-san.
Regarding Kinukawa-san, I once heard criticism that she lacked facial expression or displayed a careless attitude, and I certainly agreed at the time. However, while writing this essay on Kinukawa-san and reviewing her past photographs, I realized that this criticism was a bit harsh. In short, Kinukawa-san was simply inexperienced. Even if we speak of facial expressions in general, whether it be suffering, sadness, lamentation, pity, resignation, acceptance, despair, joy, delight, or ecstasy, none of these should be considered simple.
Moreover, when it comes to conveying a full range of expression by paying attention to every detail, not just the face, but posture, fingers, and toes, it is impossible to master this overnight. Furthermore, when it comes to capturing expressions, the photograph cannot be too small, the print must be clear, and there is also the issue of the photographer’s ability to seize the right moment. I’ve heard that some actors can maintain the same smile for about a minute, but we can’t expect that here. Also, in the case of bondage photography, a natural, fleeting moment likely offers a better photo opportunity than a forced pose. Consequently, a good expression can only emerge when the model, the photographer and the print come together as a trinity.
In any case, it is a fact that in her early days, Kinukawa-san, whether she was smiling while bound, looking dumbfounded, appearing bewildered, or completely expressionless, lacked facial expression. However, these days, her expressions have finally become richer, she is in sync with the photographer, and clear, large-format prints are being produced, so it seems the results are improving.
On page 10 (a full-page spread) of the recent limited edition, “Graphic Collection of Female Bondage,” she sits on a bed, her hair disheveled, wearing a gag, her eyes slightly open as she lies slightly on her back. This resigned expression, with her eyes half-open, evokes a scene like this; Sister Kinukawa, having endured countless tortures in her cell, is finally sentenced to death.
Led from her cell to the execution ground, she is stripped of her prison garb and bound with her hands tied behind her back once more. This is the expression on her face just as she is about to be carried to the gallows, an exquisite work that weaves together sorrow, resignation, and even a sense of ecstasy. The disheveled hair is pushed to the absolute limit. Any more would make it look gruesome and grotesque. Page 11 (full-page illustration), similar to the one on the right, but her eyes gaze resentfully toward the lower right. In both cases, her breasts are full and curved, seeming to breathe. Page 18 (full-page illustration), like a female deer shot by a hunter, she is suspended from the ceiling with her arms and legs bound.
On the top half of page 19, she is suspended from the ceiling by her hands and feet. In particular, in the lower illustration on the same page, as the rope is gradually pulled upward, her butt rises, her upper body twists to the right, her left toes are bent into a C shape, her five right toes are slightly spread apart, and her fingers are curled while her mouth is open, a scene of agony. The top illustration on page 20 is the same as the bottom one on page 19, but as the rope from the ceiling is mercilessly pulled upward, her left toes bend even further into a C shape, her body twists even more, and she turns her face toward the rope, pleading for mercy.
The bottom illustration shows her in the same position as the previous “prey,” still being hoisted upward, she bends her body into a circle, and her hands instinctively grip the rope tightly, desperately trying to reduce the resistance of the rope even slightly. Page 30 (full-page illustration), rear view, bound at the crotch, right hand grasping at an empty space. Page 31, (full-page illustration), front view, kneeling, a kind of eerie beauty. A scene as if she has been dragged out of a secret underground chamber after the torture. Page 42 (full-page spread), her hair is gripped by a man’s hand, forcing her face upward. She sits with her legs spread wide to the sides, closing her eyes in resignation.
Page 45 (top), her body lies on its side, bound in a C shape, with a man’s foot pressing down on her butt. At first glance, Kinukawa-san’s expression is somewhat unclear, but if you rotate the photo 90 degrees so the left side is at the bottom, you’ll discover something truly fascinating. It’s a magnificent expression of masochism, one that makes you think this is exactly the look a mouse would have when it’s been caught by a cat but hasn’t quite died yet, still being toyed with. “I want to become the boss’s sister, bossing the young ones around with a cigarette in my mouth,” this is the wish of Sister Kinukawa, and what a demure expression she has here. Now, due to space constraints in the magazine, and since there’s no need to mention every single one, I’d like to briefly touch on the ones that have left a strong impression on me.
“Beautiful Prisoner Number 14” by Niichi, published in the second volume of Etsutoku in June of Showa 34. This is likely one of the representative works among Kinukawa’s many pieces. It vividly captures the sorrow of captivity. Since someone has already discussed this work in considerable detail previously, I will omit the specifics.
“The Suffering of the Nose,” published in the special supplement S-Special in November of Showa 34. This depicts a nose clamped with a paperclip and a cigarette inserted into the nostrils, yet it is a beautiful photograph, devoid of any hint of distaste. I had never taken an interest in noses before, but after seeing this photograph, I began to view them in a new light. Articles on noses had occasionally appeared in Kitan Club before, but I never paid them any particular attention. However, after seeing the beautiful photographs in “The Suffering of the Nose,” it was as if my eyes had been opened.
When I wrote at the beginning of this essay that “Kitan Club provides a common space for the restless feelings hidden in people’s hearts, and furthermore, awakens even the dormant subconscious…” I was referring to precisely these things. This is, in fact, a very important point. Couldn’t this be said not only about the nose, but also about other parts of the body and other subjects? It is entirely possible that, after seeing Kitan Club’s beautiful photographs, one might develop a new interest in parts of the body one previously had little interest in (such as the nose, hands, toes, or breasts). Furthermore, might not pioneering this kind of new field and expanding the readership be one of the keys to making Kitan Club even more successful in the future.
In the same special issue, S-Special Volume 3, there are six pages of “Spotlight,” two of which clearly show the shapes of Kinukawa-san’s fingers and nails, making them thoroughly enjoyable. However, the photos of the feet are not acceptable. (Editor’s note: These foot photos were mistakenly included from Keiko Otsuka-san.)
From the above, I clearly saw how Kinukawa’s expressions have become vastly richer over the past two years. She has now moved beyond her early stage and entered a period of mid-career flourishing and ascent, showing considerable progress in her facial expressions, hand gestures, and posture. Furthermore, my hope at this juncture is that she will also pay attention to the expression of her toes.
When observing foreign actresses, one is truly amazed by how expressive even their toes can be. In Japan as well, Jun’ichiro Tanizaki’s “Fumiko’s Feet” contains the phrase, “Her feet are smiling…,” and indeed, they possess that level of expressiveness. On this point, for the sake of extraordinary development, I would like to conclude this article by asking Kinukawa-san, and especially the editors, to pay attention to every last detail.
