Rivka Stone

What my show actually looks like

I work in a soft fetish aesthetic: leather, latex, straps, a harness, elbow gloves, platform boots. It sounds heavy and in practice it is mostly visual. I build a character and an atmosphere, not a session.

The interesting part happens in the room. When I walk in wearing latex and boots, men start behaving more quietly than usual. They sit up, stop talking over each other and watch. I use that: my show runs on tension and silences rather than tempo.

I am not an actual dominatrix and I do not offer anything from that world. I am a performer who knows what a character does to a room. Anyone looking for more than that has the wrong person, and I say so in the first message rather than at the door.

Who I suit

A stag night where the groom is getting cocky and somebody needs to hold the room. I do that without raising my voice.

Underground events, themed parties, loft evenings with concrete walls. And a birthday for someone who has seen everything and finds an ordinary show boring.

Where I do not fit: a soft couples evening, a corporate event, a party with people who will not understand what is happening. There my character reads as odd rather than strong.

Where it works

A space with character. Concrete, brick, low light, a loft. In a living room with a beige sofa and family photographs my show looks out of place, and I say that without offence.

Mostly Florentin and Jaffa, where most of those spaces are. I come to hotels as well, changing in the room rather than crossing the lobby in latex.

What I do not do

Nothing real from the BDSM world. No pain, no restraint, no session. There is a character, a costume and an atmosphere, and that is the whole of it. A request in another direction gets a no, however politely it arrives and however far into the evening.

No touching unless I invite it, no filming. And the show ends when it ends.

How I got into this

I trained as an actor. Three years in a studio, then two in a small theatre where I mostly played strong and not particularly nice women. It turned out that is exactly what I am good at.

I came to soft fetish through costume. A friend who sewed latex asked me to model it, and during the shoot I understood something: people react to latex before I have started moving. That is a tool, and a powerful one.

Seven years in the work. I got the sleeve on my left arm in the third year, and half the clients ask about it before the show has started.

What I bring and what I need from you

Latex or leather depending on what you picked, a harness, gloves, platform boots, and music — industrial and dark electro in my case, not pop.

From you: very low light. Latex works on reflection, and under hard white light it reads as a cheap costume. One side lamp, ceiling light off, and that is the entire difference.

And a clean floor. Platform boots on grit or broken glass is dangerous, and I will stop if it does not feel safe.

Mistakes people make when they book me

Expecting a session. I say it in the first message and it still comes up halfway through the evening. No pain, no restraint, nothing beyond the show.

Booking me into a bright room with a beige sofa. My character needs a space with edges. In a family living room I look odd, which serves nobody.

Not warning the guests. When half the room did not know a latex character was coming, the first two minutes go on shock instead of on the show.

Putting me first. I work best once the evening has found its rhythm. Going first wastes the entrance, and the entrance is half my work.

Booking me

Send my name, the hour, the address, how many guests and what the space looks like. If the space is beige, let us talk. Somebody else may suit you better and I will tell you who.

Standard price, no deposit. Closest to me are Ester Kaplan on the noir side and Lilit Morgan on the gothic one. Everyone is in the gallery.