We are very excited to share with you some pages from BIG WOMAN, the latest zine from Wet Satin Press founder and sex-positive publisher, Reba Maybury. Typically publishing titles centring around themes of fashion, subculture, sexuality and identity, Maybury’s latest release through Wet Satin is something of a “slave-made” offering to his beloved high priestess. Compiled by “Aldo,” who has a giantess fetish, BIG WOMAN is collection of images of Maybury looking glamorously empowered while surrounded by submissive men made minuscule in Photoshop. BIG WOMAN is both a cool fashion zine and an expression of one slave’s impossible fantasies of matriarchal dominance. As many of the other releases from Wet Satin Press, BW looks at the ways in which masculinity processes desire, and the role fetish plays in navigating sexuality and gender identity.
What motivated you to start Wet Satin Press?
I really like small run, lovingly-made publications, so for me creating Wet Satin was a structure to be able to catalogue and realize my ideas within. I wasn’t particularly interested in making a magazine, because financially it’s a horrible task and there are so many magazines out there already.
What do you hope to achieve through this imprint?
Ever since I can remember I’ve been obsessed with how shame is associated with sex for women because discovering an orgasm for the first time was probably one of the best experiences of my life. Learning that enjoying sex as a women was going to be something complicated pissed me off, and it continues to piss me off. I’m all for women being brave, actually brave isn’t the right word here, but being open, honest and up-front about what they want and how they feel sexually. However, if we’re really honest without ourselves, as heterosexual women, sex is never going to be as good as it can be unless mens’ own insecurities, projections and the sexual media they consume changes.
There is so much emphasis on women’s sexuality being something aesthetic, how we should look in order to attract the kind of sex we want or coded forms of interaction between the sexes which are essentially pretty narrow-minded. I suppose what I wanted to do was create ideas about the ignored voices of male sexuality as an arena of celebration. ‘Outsider’ male sexuality which is potentially considered weak but ultimately doesn’t exploit anyone. And perhaps if it comes from a woman’s point or view or commission it therefore becomes more empowering. I suppose a lot of the motivation came from wanting to make more progressive ideas of sex in print for men and women to be able to enjoy equally.
Why does Wet Satin Press focus on sexuality, particularly fetish? Is your interest in fetish purely aesthetic or is it personal, political?
If it was purely aesthetic, I’d have no interest in it. Everything has to have some kind of depth and the more political or surreal something is, the more it has my attention. I suppose the fetish aspect of it comes back to this idea of shame. It is unfortunate that our recent ancestors were Victorians because that mentality is still so strident in our interactions. Like I said earlier, everyone has some kind of kink or obsession. Some are very aware of them and practice them and others neglect to address them. We are essentially sold into this idea that sex is what we see in heterosexual porn, which is surreal if you take a step back and think about it. Sex is limitless and having a fetish isn’t something to feel ashamed of. Fetish isn’t just whips, chains and leather but rather an arena of constant and never-ending exploration, which is often not even that sensational.
Does BIG WOMAN aim to express any particular belief(s) you possess about sexuality, gender, feminism, capitalism? Does it carry a meaning for you beyond showcasing a form of submissive male desire?
I’d like to think that it does. The patriarchy is in many ways a capitalist creation and this fetish flips this type of thinking on its head. It’s completely about female empowerment and a man’s adoration that is still considered so shocking, and is still essentially a fantasy of most women too. Maybe BIG WOMAN holds ideas about the disintegration of the gender dynamics that we’ve been fed, and I’m into that.
How do you understand the correlation between fashion and sexuality? Or fashion and fetish? Is there any sort of link between your interests in those things?
The relationship between individuality and the body has always been a prominent interest of mine, whether that’s expressed through decoration or behaviour. I think we all dress in a way to attract others, so that brings together an idea of sex and fashion which can then be connected to fetish and fashion. I’m fascinated over how fetish is fashionable at the moment, all these girls wearing dog collars only superficially aware of the scripted behaviour behind this garment. I mean, I suppose that’s what all fashion is about – a trickling down from one strong idea to a palatable comfort to be consumed…
Zine Preview: Big Woman
INTERVIEW BY OLIVIA WHITTICK
We are very excited to share with you some pages from BIG WOMAN, the latest zine from Wet Satin Press founder and sex-positive publisher, Reba Maybury. Typically publishing titles centring around themes of fashion, subculture, sexuality and identity, Maybury’s latest release through Wet Satin is something of a “slave-made” offering to his beloved high priestess. Compiled by “Aldo,” who has a giantess fetish, BIG WOMAN is collection of images of Maybury looking glamorously empowered while surrounded by submissive men made minuscule in Photoshop. BIG WOMAN is both a cool fashion zine and an expression of one slave’s impossible fantasies of matriarchal dominance. As many of the other releases from Wet Satin Press, BW looks at the ways in which masculinity processes desire, and the role fetish plays in navigating sexuality and gender identity.
What motivated you to start Wet Satin Press?
I really like small run, lovingly-made publications, so for me creating Wet Satin was a structure to be able to catalogue and realize my ideas within. I wasn’t particularly interested in making a magazine, because financially it’s a horrible task and there are so many magazines out there already.
What do you hope to achieve through this imprint?
Ever since I can remember I’ve been obsessed with how shame is associated with sex for women because discovering an orgasm for the first time was probably one of the best experiences of my life. Learning that enjoying sex as a women was going to be something complicated pissed me off, and it continues to piss me off. I’m all for women being brave, actually brave isn’t the right word here, but being open, honest and up-front about what they want and how they feel sexually. However, if we’re really honest without ourselves, as heterosexual women, sex is never going to be as good as it can be unless mens’ own insecurities, projections and the sexual media they consume changes.
There is so much emphasis on women’s sexuality being something aesthetic, how we should look in order to attract the kind of sex we want or coded forms of interaction between the sexes which are essentially pretty narrow-minded. I suppose what I wanted to do was create ideas about the ignored voices of male sexuality as an arena of celebration. ‘Outsider’ male sexuality which is potentially considered weak but ultimately doesn’t exploit anyone. And perhaps if it comes from a woman’s point or view or commission it therefore becomes more empowering. I suppose a lot of the motivation came from wanting to make more progressive ideas of sex in print for men and women to be able to enjoy equally.
Why does Wet Satin Press focus on sexuality, particularly fetish? Is your interest in fetish purely aesthetic or is it personal, political?
If it was purely aesthetic, I’d have no interest in it. Everything has to have some kind of depth and the more political or surreal something is, the more it has my attention. I suppose the fetish aspect of it comes back to this idea of shame. It is unfortunate that our recent ancestors were Victorians because that mentality is still so strident in our interactions. Like I said earlier, everyone has some kind of kink or obsession. Some are very aware of them and practice them and others neglect to address them. We are essentially sold into this idea that sex is what we see in heterosexual porn, which is surreal if you take a step back and think about it. Sex is limitless and having a fetish isn’t something to feel ashamed of. Fetish isn’t just whips, chains and leather but rather an arena of constant and never-ending exploration, which is often not even that sensational.
Does BIG WOMAN aim to express any particular belief(s) you possess about sexuality, gender, feminism, capitalism? Does it carry a meaning for you beyond showcasing a form of submissive male desire?
I’d like to think that it does. The patriarchy is in many ways a capitalist creation and this fetish flips this type of thinking on its head. It’s completely about female empowerment and a man’s adoration that is still considered so shocking, and is still essentially a fantasy of most women too. Maybe BIG WOMAN holds ideas about the disintegration of the gender dynamics that we’ve been fed, and I’m into that.
How do you understand the correlation between fashion and sexuality? Or fashion and fetish? Is there any sort of link between your interests in those things?
The relationship between individuality and the body has always been a prominent interest of mine, whether that’s expressed through decoration or behaviour. I think we all dress in a way to attract others, so that brings together an idea of sex and fashion which can then be connected to fetish and fashion. I’m fascinated over how fetish is fashionable at the moment, all these girls wearing dog collars only superficially aware of the scripted behaviour behind this garment. I mean, I suppose that’s what all fashion is about – a trickling down from one strong idea to a palatable comfort to be consumed…
Thanks Reba!