'The History & Arts of the Dominatrix' was cited in an article in the New Statesman published on the 16th June:
The journalist behind the article, who writes under the name Margaret Corvid is herself a Dominatrix. She asked these questions of me in email correspondence:
How do the archetypes of the dominatrix - whether the 18th and 19th century versions you write about, or the dominatrices of the 20th century influenced by Atomage, etc - influence mainstream culture today?
The Dominatrix has had a major influence on mainstream culture. The Dominatrix is an archetype of female sexual power, who in the 20th Century became the embodiment of 'bizarre' style and embraced diverse sexualities. The influence of the Dominatrix permeates popular culture. From Lou Reed and the Velvet Underground (who famously sang "shiny shiny, shiny boots of leather"), to John Sutcliffe's costume design and leather catsuits worn by strong female TV and film protagonists, to Vivienne Westwood's punk-era work with Malcolm Maclaren for SEX boutique, and Madonna - whose costumes borrowed from the Dominatrix. Today you can see the influence of the Dominatrix's fetish attire and powerful sexuality taken up my numerous performers, from Rhianna's S&M, to Beyonce's on stage persona of Sasha Fierce, and Lady Gaga's bizarre rubber latex creations.
(Around the time I was writing this, a V magazine shoot came out featuring Katy Perry and Madonna featuring BDSM and Dominatrix imagery)
V Magazine - Katy Perry & Madonna - publicity pre-release
In your analysis of early incarnations of the dominatrix you spoke (fascinatingly) about the archaeological approach to reconstructing a culture not only based on its tools of war and farming, but on its records and implements of beauty and sexuality. Taking this perspective forward to the contemporary dominatrix, who carries on traditions dating back to the eighteenth century and before, is there a historical preservation argument in favour of the protection of the institution of the dominatrix?
The Dominatrix has historically embraced diverse sexualities - of those who identify as sexual submissives, cross-dressers, trannies, sissies and slaves in erotic powerplay. In ancient Mesopotamia, the Goddess Inanna had special cult officiants of diverse sexual and gender identities, many of whom appear to have been bestowed with special roles in ritual and musical performance, and special cult hairdressers and beautification roles also also recorded in cunneiform tablets. My friends at dinner parties are always amused to hear that the Goddess Inanna's kohl eye mascara was called "let a man come, let him come" in translation. However to beautify and put on jewelry was to take up sacred erotic power, a tradition which went right through to the Goddesses Aphrodite and Venus.
What I found was that in Britain, despite patriarchal attempts to control and passify female sexuality, the practice of female dominance and erotic power was carried on by Dominatrices. They were known by different titles, the 'female flagellant', 'whipstress', or by the female authority roles they played - as a dominant 'lady justice', 'school-mistress' or 'governess' (said with a wink), and included women such as the famous Theresa Berkley who operated near modern-day Portland Place in London. At a time when few options were available to women other than hard manual labour or 'marrying up', these women stand out as savvy erotic entrepreneurs. Their clientele included parliamentarians and the upper classes as well as all other strata of society, and the Dominatrices crafted their own self-image, developed equipment and practices which are as specialist as any craft profession.
'The Berkley Horse' designed by Dominatrix Governess
Theresa Berkley, from 'Index Librorum Prohibitorum' illustrated in my book.
There is an argument to be made that the Dominatrix is an important part of culture and society, albeit operating along its liminal edges, where the floating crust of civilization drops into a bubbling magma of underground desire. We need however an amount of her heat, gases and minerals to be brought to the surface we inhabit. The Dominatrix taps into this world of suppressed desires and identities, relieving its pressures.
Her dungeon door is a kind of gateway between the normal world of society's pressures, and a place of play and subversion in which the fixed social and gender roles are relieved. In her space, the man is relieved of the weight of having to be dominant and 'in-charge', responsible, competitive with other men; paradoxically freed in the Dominatrix's fetters to explore identity and subversive desire. There is a correlation too I think to the popularity of carnivals and fancy-dress, of occasional escape from everyday normalcy and the mundane, and England also has a thriving underground fetish scene hosting events such as 'Torture Garden' - which Dominatrices attend and take active roles in.
Mistress Darcy opening door to her realm, NYC, by photographer Ian Reid.
Image illustrated in 'The History & Arts of the Dominatrix'
As to the law around sex work, England should be looking to its young Commonwealth relative, New Zealand. In New Zealand, sex work is decriminalized and paired with education agencies freely accessed by sex workers. Is it working? Yes! A similar system has also been implemented in New South Wales in Australia, with great success. Why aren't politicians looking to the system in New Zealand? The answer is staggering. It's simply for lack of the air fare and long haul to get there. It's easier to fly to Nordic countries or Europe. Yet New Zealand is a much better model for England, and has many similarities in common law. I would urge Dominatrices everywhere to tie down politicians and whip them until they agree to at least take a look at New Zealand's model. I would add that New Zealand was also the first place in the world to give women the vote.
Anne O Nomis (2014)