Kabunza: Hyperlights, Tri-Layers and Whumpers. Oh my!

During the process of designing the improvements that I have recently been introducing into all of our standard Kabunza floggers, I have also been working on optional variations of flogger styles. I am happy to introduce the Kabunza “Tri-Layer” Floggers and Kabunza “Whumper” floggers to bolster our ranks of impact toy options.

Our flogger selection now consists of the following variations:

Hyperlight:
Hyperlight floggers are incredibly light and perfect for tickling or gently dragging across areas of sensitive skin. 48 luxuriously gentle 14 inch falls created only from silk suede or nappa. These floggers are super soft and intended to be used for sensation play rather than serious impact play. We normally create these floggers singly with a wrist loop and short 3 inch string of chainmail unless otherwise requested.

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Minipoi:
To put it as simply as possible, Minipoi are essentially miniature versions of our standard poi floggers. 24 falls (16 inches in length) that are half the width of our standard and a 3 inch string of chainmail with lighter hardware and rings. Due to the thin width of the flogger falls (half a centimeter), these very light and quick variants tend to pack more of a sting than a thud. We normally make these floggers available for purchase singly unless otherwise requested.

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Standard:
Our standard floggers are what I consider the best medium. During a process of over 3 years of testing, I have found that this weight and fall count to be the best average for general use. Not too light and not too heavy. Good for prolonged play and packing a decent impact at the same time. 24 falls, each at 1cm in width and with a length of between 16-18 inches depending on the style of flogger. We normally create this type of flogger in Nunchaku (16 inch falls) or Poi (18 inch falls) and are purchasable in pairs unless otherwise requested.

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Whumper:
Our Whumper floggers consist of a larger fall width of 1.5cm and include wider and heavier hardware and rings. These floggers pack significantly more weight and wallop with each impact. In the hands of a strong arm and sadistic nature, expect severe bruising when used. With 24 falls, we normally create this type of flogger in Nunchaku (16 inch falls) or Poi (18 inch falls) and are purchasable in pairs unless otherwise requested.

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Tri-Layer:
Our Tri-Layer floggers are a little different in that they consist of 36 falls instead of our standard 24 and are made from 3 separate hides, usually one leather, one suede and one nappa. Offering a veritable plethora of sensation options. The falls have a width of 1cm, are usually created in the Nunchaku (16 inch falls) or Poi (18 inch falls) styles and are purchasable in pairs unless otherwise requested.

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And, of course, our current style types consist of:

Poi (as seen above):
Designed with some of the more creative or aesthetic styles of play in mind (including Florentine), our standard poi floggers consist of 18 inch falls, a 5 inch string of chainmail that has been created with 8mm rings in metals of stainless steel, blackened steel, brass, bronze or a mixture of the aforementioned metals and ending in a pair of leather or suede finger loops. This style of flogger is usually created in matching pairs.

Nunchaku (as seen above):
Each of our Nunchaku are built with efficiency in mind and some techniques (such as ricochet flogging) can only be done effectively with this style of flogger. Well balanced with 16 inch falls, a solid red oak handle, a 3 inch string of chainmail that has been created with 10mm rings in metals of stainless steel, blackened steel, brass, bronze or a mixture of the aforementioned metals and a plated steel ball bearing swivel connection. The falls of these floggers will never tangle and are easy to keep spinning for prolonged play.

With hard work and determination, Kabunza has been improving in leaps and bounds over this past year and once again we are almost ready to jump up to the next level. But I will announce the news as we progress. All I will say for now is that new designs are constantly being imagined, expect more BDSM and impact play creations to fill our ranks in the very near future, we will be expanding into new areas of creativity and, with a bit of luck, new literal areas as well.

If you do not see something you would like to purchase already up for sale in our Etsy shop, do not hesitate to contact us with a custom order request.

Until the next update, happy shopping!

And don’t forget to join our Facebook page for the chance to win free goodies ūüėČ

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Dr Phil’s London Shibari Workshop

Benjamin and I have been on many Shibari and Kinbaku training courses over the past 9 months. We have had private tuition, attended workshops, demonstrations, performances and events or have even simply met and managed to discuss rope one-on-one with Riggers and Rope Models who have dedicated their lives to it and are simply amazing at what they do. Names like Bruce Esinem, Nina Russ, Gorgone, Kasami Ranki, Vinciens, Kirigami and Peter Slemrian to name but a few. However, I always seem to avoid going into depth about our experiences with them as it is often simply training or technical discussion; which can sometimes come across as tedious for those not interested in that particular subject or too much of a single type of study (Which is not always the best thing to fill up a blog as diverse as mine with; I prefer to mix in as many different aspects of my BDSM practices that I can).

I hope to change things and add a little more to my blog in the way of personal and lifestyle experiences. It has been suggested that I should write more; Ergo, I shall!

Dr Phil’s London Shibari Workshop:

Dr Phil is a French Rigger who has had a passion for bondage since the age of 24. Benjamin seemed eager to attend the rare opportunity of a rope workshop in London hosted by him at Chez Esinem, and we jumped at the chance when a couple of our friends announced that they would want to go along with us.

The class was quite small, consisting of only 5 Riggers and 4 Models (not including Dr Phil and his Model), so it allowed for discussion and getting to know people, which is always a bonus, and primarily concentrated on styles that we were already relatively familiar with (it is great when you understand the basics to begin with, it helps in noticing each Riggers individual and often subtle variations) but also included a little of the aesthetic and non suspension ties. The only harness that we remembered to take a photo of was a very pretty (non-suspension) version of HojŇćjutsu.

untitled-1-3The latticework between the shoulders makes a great ‘handle’ for controlling your play partner.

Also joining us at the workshop was well known artist and frequent addition to BOUND: Isobel Williams, Who sat on the sidelines during the ‘throwing of string’ and sketched, inked or painted away. You can see some of her rendition of the day on her blog at: http://boulevardisme.blogspot.co.uk

It turned out to be both a fun and informative day. One I would gladly repeat.

Something beginning with ‘K’

Recently it has been quite a busy time for me and mine. We have attended about 6 events in the past two weeks, hence why there has been such a delay in blog posts.

One form of our play that has lately been taking a large portion of our attention is Kinbaku.

In this post I am going to explain a little about what we go through before, during and after play of this kind. I must stress that these opinions are based solely from our own perspective and experiences.

“Kinbaku, for me, is the only style of rope that is really close to my heart because it is not simply about tying pretty patterns. It is about awakening emotions, senses and arousal. With any other type of rope play; you can tie someone, but with Kinbaku, you must put your heart and soul into it. It’s emotion, it’s connection, it’s control, it’s sensual.” – Benjamin.

Stage 1: Preparation

Before any play can take place, a little preparation is required.

If suspension is going to be played with (which should by no means be done without experience and correct tuition); This equipment needs to be set up, ropes need to be neat and within accessible reach of the playspace (messy ropes can mean play is interrupted with entanglements) and EMT shears (safety scissors) need to be equally accessible.

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“Anybody can tie someone in rope, but the biggest responsibility is being able to tie safely. The ability to read your partners body and signals is paramount. Benjamin can read me so well because of our incredibly close bond, which is reinforced through our other forms of play, but when tying someone for the first time; communication is key.” – Aemilia Hawk.

An aesthetic setting or props (even something as simple as a blanket or mat on the floor) can help set the mood.

Stage 2: Stretching

Stretching is important. It loosens the muscles of the model and lessens the possibility of discomfort or fatigue while in bondage. While the model is stretching, the artist is often going through his/her mind what effects are desired or what is intended to be accomplished during the course of play.

“A healthy diet, a nimble body and a kinky mind is beneficial. A sliver of masochism helps substantially.” – Aemilia Hawk.

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Stage 3: Floor work

The floor work is essentially the start of actual play. Some people prefer a standing start, others prefer seated (of course, each can be utilised for specific or desired effect). The aim of floor work is basically to set the tone and flow of play. It can be violent and rough or soft and sensual depending on the moods and preferences of the play partners (choice of music, if any is used, tends to influence and effect play). This stage is often when all the bondage is applied and readied for suspension, however, sometimes the duration of play can be nothing but floor work and have no suspension at all.

“To me, the floor work is is very important, it is about the closeness, the touch, awakening my partners senses and the choice of how I am going to go about controlling the flow of play. It is building the foundations of the play ahead and even though I am in control, I am sensitive to and guided by Aemilia‘s reactions. It is not about the rope, but how I choose to use the rope. This part of play is what has truly made me fall in love with Kinbaku.” – Benjamin.

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“Personally, I like it rough.” – Aemilia Hawk.

Stage 4: Partial/Full suspension (optional)

If suspension is a desired effect, the rigging is then applied.

WARNING: Partial or full rope suspension should not be attempted without training or tuition and even with such things, it can still be dangerous. Possible injuries can include permanent nerve damage.

‚ÄúAs safety is a prime concern, please be aware that, like so many good things in life, there is always possibility of accidental injury. Rope suspension is undoubtedly edge play and should only be undertaken by those who are physically and mentally up to the challenge. Suspension is safe but not without risk, regardless of proficiency or experience, so is definitely RACK (Risk Aware Consensual Kink) rather than entirely SSC (Safe Sane and Consensual). The more extreme suspensions require a high degree of fitness and often a reasonable pain threshold, so don‚Äôt imagine everyone can do what professional models make look easy!‚ÄĚ – Bruce Esinem.

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Stage 5: Suspension transitioning (optional)

Some positions are more uncomfortable than others, every model is different and what some will find easy, others will find incredibly difficult. But regardless of the person, It is a good idea to keep the model moving and a bad idea to keep them suspended for lengthy periods of time. This may be as simple as spinning or gently swinging the model while in suspension or even changing (in part or in whole) the suspension itself.

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Stage 6: Back down to earth

If suspended, it is very important to bring the model back to the floor safely (untying the correct lines in sequence to ensure balance is maintained). Even when the main line is removed and there is no attachments to the suspension point, it is the artists responsibility to keep hold of the model until safely on the ground (light-headedness, euphoric emotions or sensory overload can cause the model to collapse easily).

The untying is just as important as the rest of the play. This is where the artist may decide to change the flow of play to opposite of what has been earlier.

“In my case, this point of play is often when I enjoy the more sensual and soft touch. For me, it is an unveiling of the skin beneath the ropes and I often add small touches to our play; like using the ends of the rope to caress or running the rope over sensitive erogenous zones while untying.” – Benjamin.

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Stage 7: Aftercare

Aftercare is important in any form of BDSM play. Rope bondage is painful (especially suspension), despite how easy a model can sometimes make it look. Aftercare can range from a soft and sensual embrace, applying skin creams to marked areas, gentle kisses and all kinds of affections shown. The list of possible aftercare is limitless and is often unique and personal between the play partners themselves. Aftercare should be just as significant as the play itself.

“I know Aemilia goes through a lot, emotionally and physically, during our rope play. The aftercare is an important way of showing my affection towards her. It is my way of saying thankyou.” – Benjamin.

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“I am not naturally a submissive person, but when the play is ending and I am recovering from the exertion and pain; and he warmly embraces me with a stubbly kiss on the neck, I just melt. I have no idea why. It is a unique sensation.” – Aemilia Hawk.

Or maybe, after all I have written here, it may just be a case of Benjamin having ‘Dirty old man’ syndrome and wanting to fondle me when I am lacking the ability to bite back.

He is nodding, so it must be true.

Photography by Raven Imaging.
All images are Copyright © 2012 AemiliaHawk. All Rights Reserved.

Introductions: Angele

While I am building quite a collection of equipment, (including items such as floggers, shibari ropes and urethral sounds) only the most special of items get given names. Usually these items hold incredible sentimental value and have been gifted for a very special reason or are of an insanely high quality. These items virtually have a living personality because they are so individual or unique that they require reverence, respect and need to be placed on a pedestal far higher than the standard fare.

To date, Sasha and Tempest are the only items of my arsenal that have been given names and Sasha is quickly becoming known as an individual. Anyone who has met her always refer to her by name instead of simply the item of equipment that she is.

Recently there has been two new additions to my family. Benjamin (uncollared as of yet, but has come further into my circle than anyone has in nearly 7 years) and Angele: A fully functional and refurbished vintage/antique violet wand. (a tribute from Benjamin to mark the occasion, no pun intended)

Benjamin has already been (and will very likely be in the future) in many of my blog posts (past entries include: DV8 Fetish Festival 2012: Overview, Urethral sounding, The best cruelty, 50 Vs 6 and Anything). This blog post, however, is to introduce Angele.

Angele:

An immense amount of thought and research went in to the choice of this item. She was chosen specifically for many reasons, including strength and high frequency output, aesthetic value, uniqueness and age.

She is a vintage/antique Vitalis 1880’s “Les rayons qui guerissent” model, which when translated from French means: “healing rays” (attempting to imagine what they would have produced if they had decided to create a wand to damage instead of heal has been the subject of recent wet dreams).

She has been named Angele (pronounced: “Ahn-jhel”) after the feminine French (equivalent) word for angel (masculine being ‘Ange’).
I thought a French name would be the most appropriate seeing as she was designed and created by a French company and subsequently would have been the country where she was built.

Despite being dated from the 1880’s (the exact year cannot be determined as the last digit of the model year has been worn away due to age), we have assumed that this printed date represents the Vitalis company and not the wand itself. Angele’s previous owner (bound2tease.net) has placed her birthday (date of construction) approximately in the 1930’s (this would make her around 80 years old). We are still researching into the company and model, but any help or information that anyone could give on ‘Angele’ or her creators would be greatly appreciated.

She has been fully restored with a black faux leather exterior and black cotton velvet interior. The original fascia is a kind of agate/marble effect bakelite, giving her an overall style and look that is similar to her new owner: AKA. Gothic Steampunk.

Her arsenal of attachments/electrodes include:

Curved throat electrode:
Usually used on the neck or throat but can be used on anything that is curved. Power rating: Medium to high.

Surface mushroom electrode:
Excellent for general massage. Power rating: Medium.

Saturation tube electrode:
Often used in secondary contact or intense massage. Power rating: High to strong.

Nerve brush electrode:
Designed to stimulate the skin and nerve endings under the skin. Power rating: High to strong.

Single eye electrode:
Originally used on the eyes (but now that we have reached the 21st century, we all know better. The original use of this attachment is now widely regarded as a very bad move. But it makes for a lovely smaller version of the mushroom attachment and works brilliantly on nipples). Power rating: Medium to high.

Spinal electrode:
Two points of contact for the back or spine. Can be very sensual. Power rating: Medium to high.

Comb electrode:
Designed for the hair (not advisable if you use flammable hair products, but safe otherwise) and back of the neck. Very sensual. Power rating: Medium to high.

Prostrate electrode:
Anal probe electrode. Excellent for getting into what would normally be inaccessible areas. Also makes for a good precision pointer. Power rating: Medium to high.

Condenser/Amplifier electrode:
A multipurpose electrode designed to intensify treatment and condense output to a specific area. Power rating: High to strong.

Fulgurator electrode:
Originally used for burning out warts and cauterising. Present day use of this attachment in BDSM play can include electrobranding. A fine wire tip end gives an intense array of sparks. Power rating: Strong to fearsome (It should come as no surprise that this attachment instantly became my favourite electrode).

Body contact pad:
Used for indirect and reverse techniques, where either you or your play partners entire body is electrified and literally becomes the attachment to the wand. Sparks fly from whatever body part you touch with or is touched.

I cannot express in words how perfect, splendid and marvelous she is.
These photos do not do her justice.
I hope to be making movies which will include her in action very soon.

All images are Copyright © 2012 AemiliaHawk. All Rights Reserved.