Axel Abysse Brings High-Fashion Gloss to Fisting Fetish with “Sleek”

Axel Abysse Brings High-Fashion Gloss to Fisting Fetish with “Sleek” 1
Slamrush.Com
Slamrush.Com
Slamrush.Com
Slamrush.Com

Axel Abysse’s rush of acclaim and notoriety from his recent fisting performance on the Tokyo fashion catwalk inspire the French “poet of pornography” to new heights in this week’s glossy and decadent “Sleek”. The tag line whispers, “Sweat, spit, lube – latex is shining for Pierre’s fisting baptism.” Abysse’s new scene centers around a fist-fucking encounter presented with the shiny, shocking aesthetic of a magazine fashion editorial. Directed by Abysse’s collaborator Amaury Grisel in Paris and starring Abysse and chiseled, runway-ready Pierre Rubberax, “Sleek” premiered at AxelAbysse.com Friday, May 15.

The look of “Sleek” offers block colors, black, skin tones, turquoise, and the shine of liquids on glossy latex. Sleazy fetish sex is embellished with delicate motion. Tokyo DJ Elvis Bulgacov provides the sombre yet elegant dark electro soundtrack that scores this intersectional meeting of fashion, fetish, and fisting. Abysse thrives on exploring new avenues of creation, taking in wildly divergent inspirations to produce material far from what viewers expect. He’s curious and excited to get the public’s reaction to this bold new step of seduction and artistry.

Hung Young Brit
Hung Young Brit
Hung Young Brit
Hung Young Brit

Axel Abysse Brings High-Fashion Gloss to Fisting Fetish with “Sleek”

First-time fister Pierre Rubberax, guided by Abysse’s years of experience, credits the acclaimed fetish pro for “one of the best scenes I’ve done. Is there a better way to start fisting? I can’t wait for more.” Axel responds, “I’ve had Pierre in my sights for a while. He rocks his latex outfit in the Paris streets as few would dare. He started porn only recently and I knew I had to get his hands inside me.”

Director Grisel used techniques you might associate with nature photography. “I accentuated shiny materials, the fluids and raw skin with close-ups, going almost macroscopic at times as you would in filming vegetation. I wanted to sublimate the sensuality of the moment. Lighting and music really help us dive into that intimacy. We become the material.” Abysse himself took Grisel’s images and edited them into the finished scene.

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