[“In the dungeon, the dominatrix was a paragon of high-femme adornment, training submissive men in the supposedly organic wisdom of her gender. In reality, I was trying on this kind of glamour and ultrafemininity for the first time.
Two things helped me to fall in love with mani-pedis and skin creams and click-clacking around in dramatically slanted stilettos in my 20s, despite rejecting these sartorial amusments growing up. One was that I was making cash money to do it, which was much more motivating than the Seventeen magazines and peer pressures of my adolescence. Second, I was surrounded by beautiful naked women encouraging me to develop my own style. Most of my colleagues were much more experienced with makeup, hair, lingerie, jewelry, heels, nails, lotion, and perfume, much more confident in products, styling, shapes, and colors than I was. Some of them were sweetly excited about my ineptitude, eagerly turning me into a doll they could experiment on. I smelled the sizzle of flat irons as they tugged at my hair from behind, I squeezed eyelash glue nervously along the rinds of falsies as they timed me, I sat on the cold linoleum and snapped their garters into place every day for weeks until I could do it with my eyes closed. As their hands and tools stroked my body, conditioning me in more ways than one, I felt an ASMR buzz all over. If I felt objectified, it was as an exalted precious object, like a car being tuned up under my hood, my exteriors waxed until I shined.
A colleague turned to me out of the blue one day, snapping, “What is your skin care routine?” When I sheepishly replied that I had none, she marched me into the bathroom, sternly showing me how to cleanse, moisturize, and always wear sunscreen. I have done this every single day since. That’s all it took for me to learn to care for myself in this way. A little feminine superiority.
If this sounds familiar, it should. Despite being assigned female at birth, I was just as enchanted as any dude could have been by confident pros guiding me into a realm of prettiness, and I needed every bit as much coaching. I would get femme trained by my colleagues, and minutes later I would lead clients into session rooms and train them to be femme too.
I’m hardly the first person to observe that drag is drag no matter your resting gender, your genitals, your orientation, your motivation. Not to put too fine a point on it, but most sex workers know we are drag artists. Much in the same way that pro wrestlers exaggerate their own masculinity, the dominatrix is a femme maximalist entertainer. The fact that a cis woman can feel like a drag queen speaks to the performative nature of gender expression, of both drag as an art and cross-dressing as a fetish. By and large, my cross-dressing clients didn’t want to be women. They wanted to be bimbos! They embodied their own ideas of insatiable sluts and campy cartoons. Maximalist girls, exaggerated girls, megawatt girls. They wanted satin corsets, jewel tones, iridescent glitter, fishnets, freesia body spray. They spoke like Betty Boop and did their best to stiffly dance along to Prince songs. They saw this glamour as sparkling dynamite to bust them out of the prison of their toxic masculinity, even if just for a few hours, even if only superficially.
I didn’t find these fantasies a reminder of the awful pressures of girliness I had initially rejected; gender-bending in the dungeon showed me that I had been positioned to see femme all wrong. The bimbo is an archetype, a shimmering human invention waiting to be embodied by anyone who cares to summon her. It’s the choice to play with gender as an adult, as opposed to a lifetime of imposed messaging about what kind of gender you can and can’t be, that generates the erotic pleasures of cross-dressing.
I enjoyed being bullied into girliness by my fellow pro-dommes, so I empathized with our clients, regardless of the gender trajectory that led us to femme power play. All of the qualities that we expressed as feminine—from soft clothes to luscious scents to sucking cock—had belonged to all of us the whole time. I get why a cis dominatrix wouldn’t want to participate in forced feminization. I also get why many trans people, trans women in particular, find the existence of transvestitism to be so painful. When you have to fight so hard every day for the fundamental dignity and civil rights of your gender, it can be agonizing to see someone treat that gender as frivolous. Cross-dressing clients were often annoyingly reductive, like young adults on rumspringa, gorging themselves on the sugar high of femininity after being denied it for so long. It was clear to me that some of these fetishists liked cross-dressing sessions because it happened to be the variation on humiliation that their submissive tendencies had alighted on, emasculation being one of a hundred ways of having your social status lowered by a dominatrix. Others would have liked to wear dresses and bubblegum-flavored lip gloss more often, including in situations where they weren’t necessarily aroused. Still others weren’t actually cross-dressers at all, but closeted or crypto-transgender women. The kinky space was the only one they knew where they could be themselves using what they saw as a safe, private, and limited method. Some of them would transition eventually, and some would keep that part of themselves compartmentalized their entire lives. All three of these categories of person deserve the space to explore their gender expression through erotic fantasy.
Some cross-dressing fetishists are cis. Some trans women are butch. Some drag artists are straight. There’s no one way to do or be any of these things, and while we can experiment with identity through art and erotics, we shouldn’t conflate persona with personhood. Most importantly, trans people of all kinds deserve an existence that is both sexually liberated and not constantly sexualized. I would love to report that we have reached the point in the gender revolution where cross-dressing is redundant because there is nothing to cross. But erotics are still a viable way for us to explore who we really are, or would like to be.”]
tina horn, from why are people into that? a cultural investigation of kink, 2024
