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Fuzoku Kitan

June 1961

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Cover of Fuzoku Kitan, June 1961

Issue Details

PDF pages
20

Summary

The surviving June 1961 material from Fuzoku Kitan opens with a formal contents page that presents a characteristically broad issue combining bondage photography, cross-dressing, sadomasochistic fiction, sexual confession, horror and curiosity writing, and illustrated erotic features. The contents give particular prominence to a special feature on men intoxicated by female dress, with articles examining male desire to dress as women, encounters conducted while cross-dressed, admiration of women’s clothing, and the social world of male cross-dressers. Other listed features range from sadistic fiction and accounts of sexual cruelty to strange-person museums, foreign sexual experience, and magazine correspondence.

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The substantive material actually present after the contents is an extended black-and-white bondage gravure. It begins with a woman partially wrapped in a kimono and progressively shifts toward explicit rope restraint. Rather than functioning as a single undifferentiated portfolio, the sequence is organized through short printed captions and named poses. Early images emphasize the contrast between loosened clothing and restraint, including Shigoki de Shibararete and Ne-midare Shibari. The middle portion moves to fully nude rope bondage, seated and kneeling positions, waist restraint, open-legged poses, and compositions staged before shōji screens. Several pages foreground the physical interaction between rope, posture, breasts, arms, waist, thighs, and ankles.

The later photographs become increasingly formalized as studies of bondage posture. Zenra ni Nawa ga presents rope biting into the nude body; Koshi-kake Shibari uses a small stool as part of the restraint; Kaikyaku no Shisei emphasizes the spread-leg posture of the bound model; and Shōji no Mae de uses the architecture of a Japanese room as a compositional backdrop. The sequence then shifts to standing and bathroom settings, before closing with Nawa no Kōetsu and Shibarareta Boryūmu, the latter emphasizing the model’s body mass and the constricting geometry of multiple rope turns.

As represented here, the issue is especially significant for the way bondage photography is treated as a sequence of named poses rather than merely isolated erotic photographs. The captions repeatedly connect restraint with beauty, discomfort, exposure, and visual form. The contents page also situates this gravure within a larger editorial program concerned with cross-dressing, sadomasochism, unusual sexuality, sexual experience, and erotic fiction, even though those later prose sections are not present in this surviving portion.

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Table of Contents 10 items
  1. Competing in Beauty: Collection of Elegant Bondage Poses
    2–20
  2. Bound with a Shigoki Sash
    2
  3. Disheveled Bondage
    5
  4. Rope on the Completely Nude Body
    8
  5. Seated Bondage
    10
  6. Open-Legged Pose
    11
  7. Before the Shōji
    13
  8. The Tile Is Cold
    15
  9. Ecstasy of Rope
    17
  10. Bound Volume
    19

Highlights

  • The formal contents page identifies a major special feature on men who become intoxicated by cross-dressing, accompanied by numerous articles on male desire for women's clothing and cross-dressed social or erotic experience. (PDF p. 1).
  • The opening bondage gravure begins with kimono-based restraint, using loosened clothing and the exposure of the body as part of the visual progression toward more explicit rope bondage. (PDF pp. 2–6).
  • Zenra ni Nawa ga shifts the sequence into explicit nude bondage, with the caption emphasizing rope pressing into the neck, chest, arms, torso, and thighs. (PDF pp. 7–8).
  • Koshi-kake Shibari incorporates a small stool directly into the restraint, combining seated posture, tied ankles, bound arms, and torso rope in a carefully staged composition. (PDF pp. 9–10).
  • Kaikyaku no Shisei presents the open-legged posture as a distinct bondage pose and pairs frontal and side views to emphasize how the same tie alters the body's appearance from different angles. (PDF pp. 11–12).
  • Shōji no Mae de uses the traditional Japanese interior and shōji screens as a visual frame for kneeling bondage, integrating domestic architecture with erotic restraint. (PDF pp. 13–14).
  • The bathroom sequence places the nude bound model against tiled walls and a washbasin, moving the bondage imagery from the tatami-room setting into a more modern domestic environment. (PDF pp. 15–16).
  • Nawa no Kōetsu and Shibarareta Boryūmu close the gravure by emphasizing the physical pressure of rope against the body and the sculptural effect of multiple rope turns. (PDF pp. 17–20).
Kinbaku Today is an independent online journal dedicated to the study, practice, and cultural history of Japanese rope bondage. Blending essays, translations, interviews, and archival research, it explores kinbaku not simply as technique, but as a living dialogue between history, performance, and human connection.
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