Has anyone seen this month's artwork by Castre in Petticoat Punishment Monthly? If you haven't, it's called “Walking
the Dog”, and it depicts a man in ladies’ clothes walking a tiny dog along a
town street, under the watchful gaze of several, equally elegantly dressed
ladies. The link to the picture is here.
Castre is, together with Christeen,
artist-in-residence at petticoated.com, which publishes a piece of her artwork
each month. Yes, I did just assume her gender, but come on, there are no ‘he’s
in this business. We’re all girlies here.
In her art, Castre uses photo collage to depict
different scenes of men dressed as ladies. Heads of, almost invariably balding middle
aged men, are photoshopped on otherwise fully feminine bodies with rather
exaggerated breasts, usually in sumptuous, if a little old-fashioned and
conservative clothes: full skirts, blouses with billowing sleeves, high heels.
The ladies in Castre’s pictures are molded to similar bodily proportions and dressed
in similar styles, though leaning more towards emitting an air of authority.
The dominance of the female figure over the man is present in each picture. The
lady can be either in direct confrontation with the visibly subdued male, or
she can be merely smiling knowingly into the camera while the male figure in
the background is being subjected to some act of humiliation or other. Beside
the submission expressed through their clothes and demeanor, the men in
Castre’s artwork are also shown physically more diminutive than the ladies.
Often, the men are the shortest in the pictures, despite their very high heels.
The prevalent theme in the transgender / forced
feminization fiction genre, both in stories as well as art, is the full
feminization of the male, i.e. that the male ends up looking indistinguishable
from a female. This does not hold true for Castre’s pictures. On the contrary,
the most notable feature of her artwork is that she makes no attempt at
concealing the true gender of the men. Except for an occasional pair of dangling
earrings or an application of lipstick, the faces of her men – in contrast to
their fully feminized bodies – retain their raw masculinity.
While we can say that as Castre steps one step
before the full feminization, her men are spared some of the torment and
humiliation received by the typical men in the genre, we could as well argue
that the very same feature makes the humiliation of Castre’s men even greater
than usual as, even when their submission to the females is complete, they are
denied the sanctuary of concealing their true gender. (As a side remark – I’m
sure readers will appreciate that this is difficult to judge for someone who is
yearning to be fully feminized himself ;)
Personally, I have mostly found Castre’s
ultra-realistic choice of depicting unchanged male faces too crude for my
taste. Yet, despite the ultra-realism, her latest work, Walking the Dog, is,
for me, one of the greatest works in the genre, a simply captivating depiction
of the feminization of a man.
Starting with the simply fantastic outfit of
the unfortunate man. He is the central figure in the picture, walking a dog
along a town street and is observed by four ladies, two sharing the same
sidewalk, two from the windows of the houses he is walking by. The man looks
middle aged, with short dark hair crowning his bald spot. A coat of purple lipstick
is the only feminine touch to his face, but it does not so much hide his true
gender as it emphasizes the full extent of its inadequacy. Apart from his face,
he is utterly immersed in femininity. His billowing white silk or satin blouse,
with the usual pair of pointy breast underneath it, is tucked into the high,
pink trimmed waistline of a very, shiny white full mid-calf length skirt, likely
with a petticoat underneath it, and he is wearing white shoes with a rather
high heel. Even the dog is of a miniature breed, to further emphasize the man’s
feminization, and the leash he is holding it by is pink, matching the piping of
his skirt.
What, in my own humble opinion, makes Walking
the Dog stand out from Castre’s body of work is the lady on the left side of
the picture, walking towards our hero. With her, Castre introduces for the
first time a “true outsider” – a lady which is neither actively involved in the
feminization of the man, nor is she an observer, consecrated in the close
circle of those “in the know”. Even by her outfit, it is not hard to take her
for an outsider of Castre’s universe. She is neither drenched in frilly satins
and silks, nor dressed in severely cut skirts and jackets that exude
uncompromising authority. Except for the exaggerated breasts and her high heels
to match anyone else in the picture, her clothes are rather casual. This is
further emphasized with the shopping bag in her hand, with the baguette
sticking out. In fact, the least realistic element on her is the store brand –
who goes to Lidl on heels like that?
However, what really tells us that she is
neither a forceful participant nor an invited and intended observer of the
man’s humiliation is the frowning expression on her face as she looks at the
man. It conveys both surprise and disapproval of what she sees. We don’t know
how much she knows of the man, but whatever the reason he is dressed in women’s
clothes, there is something to frown about. If he is dressed like that by his
own will, then he is making a mockery of the pretty clothes. If he is forced to
do so, he is making a mockery of his sex, by letting himself be forced into the
situation. Her sentiments are shared by the lady looking on to the man through the
window on the right. With her hair up in rollers and the pussy bow on her white
silk blouse, she looks more at home in Castre’s world, but her frown is
something we have not seen so far, and it lends a touch of real-world reality
to the scene.
The other two other ladies in the picture appear
to be taking the hero’s feminization much more in stride. The lady to the right
of the man, standing by the open door, is laughing heartily at the sight of him.
The brown leather ledger-like handbag in her hands gives her a professional
look. She might be just on her way to work and is therefore another chance
encounter, though unlike the lady on the left, she is obviously amused by the
sight of the feminized man. Then again, she could be the dominatrix that set
the man out on his way, dressed as he is. The open door, and the second lady in
the window of the same house seem to support the latter story – she is observing
the man in the street approvingly, and she does not look the least surprised.
Perhaps it is her that has forced the
man out on the street, and is now contentedly savoring the fruit of her
efforts.
The finishing touch to the picture, again in my
own humble opinion, is the look shared by the lady on the left and the feminized
man. It looks almost as if the woman witnessing the feminized man is more uncomfortable
with the situation as the man himself. His face does not really show any signs
of great anguish. However embarrassing and humiliating his ordeal may be, he
has already fought his last battle, and – by the looks of it – lost it, too.
For all its humiliation, stepping out into the real world in his utterly feminine
attire simply can’t have any relevant consequence on his life. His fate is now
and forevermore in the hands of the dominant ladies. In the way he looks at the
lady walking in his opposite direction, I read not so much shame and
embarrassment as guilt and apprehension. As if he was feeling guilty for
displeasing her with the way he is dressed, and somewhat fearful of what will
happen as they come closer together.
It is a touch that, to me, makes the artwork
almost as plausible as a real-life photograph. It is a touch that, to me, makes
it so dangerous. It makes me want to run out the building in women’s clothes
and high heeled shoes. It instills in my mind the idea that this is somehow a
viable lifestyle.
