Shinju, breast shibari bondage technique

Shinju, literally translated as 'pearls', is an important primary layer. Properly applied, the torso wraps of the shinju present a wide range of possibilities, from sensually sensitizing the breasts and nipples through vascular restriction, to providing a stable harness from which to move to a full suspension*.

The ropes lie over the rib cage and shoulders, lifting and pinching the breasts. The tie is held in place and intensified with cinching ties to the sternum area and / or sides.

This tie need not be overly tight to be effective! As with the crotchrope, the tension of this layer is best adjusted with cinches rather than trying to snug it down tightly from the start. Of note is that this tie can severely restrict the rib cage and the breathing pattern of the subject. Care should be taken to ensure a safe, comfortable setting, and watch for signs of panic or distress. As with all bondage, be sure to inquire about any respiratory or other conditions and keep inhalers and such at arms reach.

Session 2 starts with sassy Gwen wearing her beloved crotchrope, similar to the one applied in session 1.

A series of knots built up through the crotch provide a little extra umpf, while splitting the rope at the anal cleft relieves pressure on the tail bone and base of the spine.

Before beginning, it's a good idea to run your hands over the subject's torso to familiarize yourself with their ribcage. The shinju should fall on the rib cage, capturing the breasts, and not be allowed to slip under the ribs or near the abdomen.

1. Starting with a bight at the center of a 6 fathom rope (a single fathom is apx. equal to the distance between an average person's outstretched fingertips, or 6 feet), the first wrap lies on the torso just under the breasts, and is bought together at mid back as shown. Pull the standing part of the rope through the bight, creating the first larks head, and wrap the rope back in the opposite direction.

2. Pulling the rope through the second loop created in step 1 gives us the familiar opposing larks head pattern.

Shown here are the beginnings of nearly the same knot used in the crotchrope. Tying off here is one option, or the knot can be eliminated, leaving a more low profile binding, as below.

3. Here I've opted to continue with a simple turn of the rope instead of tying off. This wrap lies over the top of the breasts and meets in the back.

4. The rope is looped under itself and adjusted for overall tension. Running a couple of fingers between the ropes and the skin provide a good gauge for adjustment. Not too tight. Cinches can be used later to increase intensity and pressure if needed.

Here I have made a singe wrap. One could just as easily return around the torso in the opposite direction again, laying another wrap before proceeding.

5. This tie off captures and secures all the bindings in one knot.

Holding tension with the left hand, the right creates a bend a foot or so down the rope, passes it over and down, then back up under the wraps. This bight emerges through the loop created (shown here held open by the left hand).

The knot is set one of two ways, depending on (among other things) what length rope you are working with:

6. From the front.

7. From the tie off in the back, this support runs up and over the shoulder, then down to the sternum. The classic tie would follow with a simple turn then back up over the opposite shoulder to tie off in the back. With tension set to lift the breasts and hold the lower ropes safely in place, this would be a perfectly effective tie.

8. However in this case I wanted a little more intensity, and opted to cinch the torso wraps together, pinching the breasts.

9. My variation, although ultimately asymmetrical, is effective and secure.

10. Setting this simple knot pulls the bindings together and quickly ramps things up for Gwen. Breasts bound in this manner quickly become very sensitive, and may need adjustment or relief in short order.

11. Lead the tails over the opposite shoulder and to the mid back to begin the tie off with a simple turn under all the binds. Set tension to lift the breasts.

12. When building up the knot work here, keep in mind any future positions that the subject might endure. Lying on her back may not be an option if a big ball of knots results over the spine.

13. I've kept things low profile in this instance. Although I plan on continuing with this same piece of rope, there is no reason why shorter lengths cannot be used to bring us to this point.

14. With the shinju and crotchrope in place, a few options that may add some dynamics to the session come to mind.

15. Tying layers together can affect the posture and demeanor of the subject. Here, I've decided to up the intensity of the crotchrope and add an arch to Gwen's back, forcing a nice presentation of breasts and ass.

16. Tied off, this position allows freedom of movement, but definately heightens Gwen's awareness of her situation.

17. Or, from the same position, kote shibari (binding behind) is a logical progression for our session. This classic position relies on controlling the elbows to restrain. In fact, the wrist wraps serve more to hold the arms at an appropriate height on the back than to immobilize, and need not be bound tightly.

Flexibility can be an issue here. The shoulders, being the intricate joint that they are, require due consideration when determining an appropriate height and tension. Communication here is vital.

18. Again, combining layers is a preferred tactic. Using the tails left from the shinju, or by using another length and attaching to the existing shinju, the wrists are bound in place at mid back.

Shown here, the rope is wrapped twice around the wrists, turned around itself, and fed under the binds.

19. A slipped square knot on a coil is finished here to tie off. A nice feature of this arrangement is that the wrists remain easily released without undoing other layers of rope.

20. A short length is used here to grip the elbows in the familiar lark's head loop. Carefully pull the elbows inwards, communicating with the subject to find the proper tension. The binding should immobilize the upper arms, and provide a warm and secure feeling for the subject. The rope can be doubled over the arms again to disperse the tension before tying off. Experiment with this till comfortable enough to apply an effective binding without causing unwanted strain on the shoulder joints.

Note that to varying degrees, the brachial bundle is often compressed in this movement, pinching off nerves and blood supply (and return) to the arms and hands. Make mental note of this point in the session, and start your 'bondage clock' if the binds are tight. Pay attention to circulatory and nerve compression warning signs like circulation, sensation, and movement, and don't become discouraged if multiple adjustments are needed.

21. Tyed off, decorative windings around the arm binds serve in function by snugly cinching the wraps.

22. From the front, Gwen presents a nicely bound package.