Zamok's Art - A New Exhibition at mitchmen

Zamok - Athlete Subjected to Long Term Extraction (click to enlarge)

Zamok has created this amazing new 'milking' picture to mark the launch

of a new Exhibition at mitchmen, entirely devoted to his fascinating art.

This exhibition contains all of his pictures published to date (link below).

The new piece it is infused with his usual attention to erotic (and engineering!) detail. It shows a muscular young athlete who is being held as a captive in a scientific laboratory. He is stripped naked, tightly clamped and forced to provide semen samples over and over again, day after day, stimulated by attachments and injected fluids. The bottles containing his samples accumulate in the chill cabinet behind him, but no-one will tell him what they are being collected for
..........or why he was chosen to provide them.

In this lab refusal to donate is not an option!

View the 'Art of Zamok' Gallery

Read my Review of Zamok's Art in the 'A-Z of Fetish Artists' series

For other milking posts and Guest Artist Galleries click on the labels below

The Look of Youthful Enlightenment

Never trust a soft porn photographer!

This is 'The Look' No 20

click on the label at the foot of this post to view the others

Pond-side pose by the cute Jim Dardanis

(bearing a passing resemblance to the young Ben Affleck)

Mitchell's Gay Art for June

An audacious rescue attempt by a US Soldier in the steamy jungle.

He's making himself a tempting target in those sexy shorts!

I love those skimpy khaki shorts US personnel use off-duty,

  strictly speaking I'm probably misusing them in this situation.

(Comments and corrections are welcome!)

This image is tentatively pencilled in for my long-lost series "The Lost Patrol"

There are other fragments at this blog:   Captured GI, Shipping Out, Luke in the Can

('After the Storm' is a contender too)

You will see that the men in this Patrol are blessed with splendid physiques and a variety of unusual uniforms. I published a few other pictures from the series at the mitchmen Yahoo! site when it still had a photo archive, but haven't yet transferred them to the new archive at Adonis Male because I'm still deciding whether to finish the story or just keep adding new images. It looks like I'm starting to make that decision with this post!

This entire story group is of course related to my youthful obsession (recently revived) with soldiers as they are depicted in war comic imagery. This image (like Devil's Work) is one of the more interesting fruits of that idiosyncratic obsession. I suppose you'd call it 'fan art' these days and this particular image could easily morph into a superhero intervention with sexy tights if I was inclined that way.

In fact this image is closely based on the Gate-Crashing image included in my last War Comic post - Flirting With The Enemy. I've completely redrawn the hero soldier to make him sexier, but kept his original pose (and boot!). I copied the original bamboo stockade in it's entirety to enhance my figure sketch. The bamboo posts are not without phallic connections of course, those in the right foreground could be interestingly mirrored just to the left of the soldier's boot but I'll leave that to your imaginations!

'After the Storm' uses the same technique of enhancing my image with another artist's background, sadly I can't credit those contributors because I don't know their names.

For other pictures by Mitchell at this blog, click on the 'mitchpix' label below

Visit the Gallery Hub for the full mitchmen archive links

Locked Out

Image by Bazz with my caption, 

Bazz original is below

Other selected Bazz at this blog see Superman (plus onward links)

plus Snakes 1, Snakes 2

Bazz has his own blog at Best of Bazz

Composite version of The Batman No 4

Click to enlarge

Just for fun a composite of the Batman 4 series of images

showing the seduction of an Aussie Corporal

For full story see original article

mitchmen at war No18 - Flirting with the Enemy

In the last post in this series, English Captain Davis was despatched to the jungle to help a group of stranded Aussie soldiers (quite why they couldn't send an Aussie Officer isn't spelt out!). The dramatic image above is the climactic scene of his mission. Naturally, in the context of the story, this reunion is more than just a gallant rescue, because these two have 'History'.

This story has a number of nicely drawn, homoerotic images which I have extracted for this series of posts. Some are presented as originally published, some I have coloured, others I have subversively tweaked to add or enhance their gay interest.

 This picture of Davis parachuting into the conflict zone is a nice study of chunky legs and shorts. The strapping of the parachutes passing between the legs, particularly of the aircrew member on the left, also has a passing erotic interest, which you sense is not entirely accidental. Well I do!

Down in the jungle Davis meets up with an old acquaintance called Ward.
You can tell they have 'History', this discussion has all the appearance of a lover's squabble.
As in the previous scenes Davis has his hands in his pockets as if he's doing naughty touching.
The portrayal of Ward crouching by the fire is a nice study showing off his chunky arms and legs.
You can tell that this artist likes men.    

Another clash with what appears to be homoerotic undertones*. In my wilful misreading of the story this would be Ward taunting Davis after hearing about his antics with young Aussie soldiers. But the friction between the two men in the 'official' version has a different cause which resurfaces soon after this when they encounter an enemy patrol.

*to be fair, in this era, unchivalrously shooting an opponent in the back (with a gun that is) was a common way of blackening the character of fictional villains.

Ward, it transpires, is a coward. He's run out on Davis before (forgive my mischievous gay pun!). He bolted then in the face of the enemy and left Davis to take the blame for their failed mission. Now he does it again.

Notice how Davis (left) gets the hero treatment by the illustrator, trampling over the fallen enemy in another reckless charge while Ward's masculine traits are painted over with a wash of prissiness as he flees, desperately picking his way through flying bullets and tree roots and even loosing his helmet. His characterisation is so exaggerated that it's easy to mistake this figure for that of a soldier being heroically riddled with bullets, except that he's not holding a weapon, so he can't be.

As Ward flees his uniform inexplicably starts to degenerate into tears and tatters, symbolically taking away his soldierly identity and his dignity too. At this point, I perhaps ought to reassure any anxious Australian readers that Ward in the story is 100% English.

I rather like the jungle imagery here.

Eventually Ward blunders into an enemy patrol and by this time all of his equipment has gone and his clothes have been completely shredded. Those chunky arms and legs now seem to have become weak and weedy (although it's actually about right for a realistic, average, male build).

This radical transformation is a phenomenon that defies rational explanation (even in the steaming jungle) but it serves to underline his inadequacy as a soldier, transforming him into a pathetic wretch.
In this scene it also creates a tingling sense of vulnerability as he faces his worst nightmare. Notice how brief his shorts have suddenly become, a detail that surely has erotic origins in the mind of the artist.

By contrast the portrayal of the enemy soldiers in this picture is very straight-forward, showing them as formidably well equipped and trained - and well built too with a shapely backside centre stage. Views of bottoms like this are a rare phenomenon in this comic genre, they are usually hidden in shadow (as in the 'parachute' and 'run-away' pictures above) or else they're obscured by equipment like the water bottle, far right. This 'reveal' in a very masculine, open-legged stance to me seems deliberately homoerotic and it's interesting that it's assigned to an 'enemy' soldier.

This genre was often guilty of casual, racist language and I've removed a minor example from the speech bubble here, but like the previous image, this portrayal of Japanese soldiers being briefed over their evening meal also has some interesting characterisation. At first sight the geeky-looking figures in singlets seem dubious caricatures, but the artist has actually shown us an unexpected insight into the reality of conscription on both sides by portraying these soldiers as immature, slightly scrawny, young men. Their elongated slender necks are not without appeal for me but the character on the right with his cute haircut and five o'clock shadow is delightful. The Officer himself would easily pass as a GI. All in all it's an unexpectedly neutral portrayal.

 That neutrality is even more striking in this nicely drawn image where the fallen Japanese soldier is simply depicted as a typical man (attractive too, hopefully he's only unconscious!). You'll notice that he has finished up draped over one of the few boulders in the vicinity leaving his rear-end up in the air. There's an interesting visual conjunction with the rounded bottom of the retreating attacker (albeit one disguised as usual by the wealth of equipment carried by the Japanese soldier). You don't need to have my twisted mind to read homoerotic into this! I thought it deserved a better outcome.....

My plea for International Peace!
(or an International Piece)

For this variant of the image I shortened the Australian Sergeant's shorts as well as the obvious pants-down change made to the kneeling soldier.

This image comes from an earlier part of the story where Davis and Ward are still squabbling like frustrated lovers but it's obvious that the main point of interest for the artist (and us) is the Australian soldier in the foreground. He's shown as rugged and handsome, optimisticly heroic with a gratuitous dash of sex appeal in the revealing neckline (unlike Ward seen previously, he's wearing an undershirt!).  However compare this with the previous image and you'll see that the artist is not differentiating at all between the two sides, they're all men and all men are nice.

Davis and his squad attack the enemy camp and hear pleas for help coming from behind a stockade.
He deals with the obstacle in British Bulldog fashion which makes another great picture. It would lend itself to more erotic treatment with skimpier or tighter clothing.

 
Inside the stockade of course he finds Ward, whose captors have been giving him a hard time. Happily they've taken away the untidy remnants of his shirt and his torso turns out to be his most attractive feature so far, but it would be naive to hope to see anything more revealing in this medium. There is another image in this sequence (below) but we don't get to see exactly what happened to him.

This is a difficult perspective to draw and the artist has cheated a bit but he gets a good impression of height. I haven't altered this picture (view the uncoloured original).

I've added this scene to the 'Bizarre Punishments' subset of these articles (listed at the foot of this post) but a fetish enthusiast might consider that it's not really that bizarre!
 

Even in the fierce heat of battle these two find time to bicker.

This follow-up image is a bit of a car crash and inspired me to try an adaptation

 In my re-imagining, Ward is stripped of almost everything and made to wear a loin cloth which makes a sexy combo with his belt worn low and adds a element of scary ceremonial to his torture. The imperfect display of said loin, part hidden by the gun in the foreground, was pretty much forced on me by the constraints of the original frame sizing. But sometimes glimpses are more sexy.

With the enemy counter-attacking Davis relents and frees Ward. He hopes that this will persuade him to help clear his name. Ward realises he must fight for his life this time and miraculously transforms for a second time, now becoming a valiant warrior. His chunky muscles return and by standing up to fight he even seems to have assumed Davis' mantle of reckless bravery.

Unfortunately he's not got the same luck as Davis.

It makes another great image.

 

Once again it falls to Davis to be the rescuer.
He scoops up the wounded man and carries him under fire to a waiting evacuation boat.

Men being carried, caveman style, always makes for a sexy image, but I wish his shorts had stayed briefer!

  Fatally wounded, Ward is carried away in the rescue boat

Davis watches thinking ungenerous thoughts about his belated bravery.
Fortunately for him, Ward does clear his name before he dies.

However it's the sailor in the foreground that makes this image interesting,
check out the detailing of his neck

and imagine what might happen when Davis spots him.

The original images in this article are taken from War Picture Library No 1696 'The Darkest Hour'

The cover appears to show Ward in hero mode,but his tattered shirt syncs with a different part of the story when he's picked up by the Japanese in headlong, cowardly flight

Next Post: War Comics No19 'Special Duties'

For the complete series of War Comic posts click on the 'War Comic' label below


The 'Bizarre Punishment' posts:

 Bizarre Brutality No 1 and it's mitchmen sequel 'Devil's work'

Bizarre Brutality No2 and it's mitchmen sequel 'Loco Peril' ,

 Bizarre Brutality No 3  Darkie's crucifixion

Bizarre Brutality No 4 Buried up to the neck

Priapus of Milet - Shooting The Past 2

Read Part 1 of this article

Shooting The Past 1 - image 44

When the photographer moves on to Workman No 2, he appears to be made of sterner stuff than his colleague at first sight. Yet he too is persuaded to strip off his shirt and perform a series of butch poses paying tribute to Herb Ritt's famous 'Hunk with Tyres' image*. Despite his massive bulk he's dwarfed by the engineering behind him and his muddy tyres seem slightly incongruous in comparison.

Both musclemen are pretty much cast as minions of 'The Great Machine'.

(*Coincidentally I also posted a picture here recently showing Jase Dean recreating this image)

Shooting The Past 1 - image 62

That all changes when he strips off completely and sparks fly. It's a magical moment. The industrial process shown here is typically associated with iron and steel making but the cascading stream of molten metal is the colour of liquid gold. It seems to fall at his feet like a tribute. Even the pouring bucket seems to be bowing in deference to him.

The pouring stream forms a pleasing inverted-triangle shape with his legs. It's dangerous convergence is not without erotic ambiguity either. In the next picture in the series (not included here), it seems to pour directly into his body and groin like an energising force.

This is a very clever and memorable picture. It casts the model's natural grandeur in a doubly heroic light by drawing on the gigantic scale and raw, dangerous, energy of the plant around him. It's also the climax of his own teasing flirtation with the photographer.

Shooting The Past 2 - image 03

The two, naked workmen join forces to create a memorable Blacksmith, forging moment. This could easily be the Smith and his apprentice from an old legend restoring a magical weapon.  The background has become murkier and more distant and has changed to a more complex, smaller scale, almost creating the illusion of an ancient, sacred temple. What better for hosting this most manly and ancient of rites? A channelling of raw, human strength into metal.

As they work, the sparks fly even closer to their sensitive areas and the suggestive positioning of the forging workman's tong handles plus the assistant's hand nearby, reaching out and gripping his own, chunky, hammer handle seem to be heading us in an equally sizzling direction. But the men themselves seem to be unaware of it, preoccupied with the chain they are making (or repairing).

Even without the coded sexual signals this is a great erotic picture in a much broader sense. There's a marvellous feeling of unselfconscious, shared purpose and working together and their nudity makes it an intimate moment and compelling to watch. The lighting of the scene, particularly the left hand figure is simply beautiful and adds to that sense of intimacy. But there's no question who's in charge here and it's entirely consistent with the character development we've seen up to this point,

but the flying sparks hint at simmering rivalry.

This depiction of the cult of bodybuilding expressed through 'real' men working in a relatively primitive, heavy industrial context gives the scenario a spine-tingling dimension of swirling natural forces and barely-controlled danger. Fantasy and superhero scenarios often seek to create this too but for most of us lack the credibility to do it successfully.

Shooting The Past 2 - image 06

Having established in Part 1 that the first workman had a youthful streak of daring, this lassoing prank is not entirely unexpected and a 'tug of war' is a predictable form of play for two muscular friends. But the trapping of the Smith with the chain he has just himself made, escalates the playful challenge from a simple battle of strength, into a struggle with overtones of domination. You can read in their expressions that it's not so very light-hearted. Perhaps there is a rivalry for the attentions of the photographer. The smoke behind the mischief maker hints at serious intentions while the red hot, open furnace raging behind the 'captive' seems to express the heat of his embarrassment.

Shooting The Past 2 - image 07

The upstart seems to chain the newly-proclaimed hero to the block or is it just muscle-play? In previous images these chains can be seen attached to either end of the block for lifting so this would be a natural way to show off muscularity. But the fetishistic ambiguity of capture and threat is made more real by the purposeful, challenging pose of the 'captor' and the apparent frustration of his captive.

Shooting The Past 2 - image 08

The pulling pose here is magnificent, full of determination and power. Appropriately enough the fire now highlights the muscles in his tensioned back. The 'captive' is helpless to prevent his arms being pulled aloft by the stronger man. The hanging pipe in the background offers the faintest of clues to erotic thoughts which are also beginning to show in their  bodies but they are not long in materialising anyway. 

Shooting The Past 2 - image 13

You could hardly better this as an expression of passion. The furnace behind them seems to explode, forcing the captive to arch his body forward in an offering to his lustful captor, he's also seemingly drawn forward by the chain between his legs as though it's trapping his manhood. But it's clear that the pleasure in this captivity game is entirely mutual. If these are rivals, it's a very friendly rivalry!

Shooting The Past 2 - image 17

The fetish element recedes, the captive surrenders, the fire settles to a steady blaze and a gentler body worship begins. Meanwhile the photographer, unseen, watches all this with amazement

(but doesn't miss a shot even so!)

Shooting The Past 2 - image 31

Now he is drawn directly into the rite, deprived of the shield of his camera and his clothes too. The 'cheeky boy' snaps this moment of initiation, the climax of a lengthy seduction on his part. At this point his colleague, the 'serious' workman, has shown that he is seriously sexy too and it shows as he settles to undressing the latecomer. The drifting smoke seems to reflect the photographer's uncertainty and intensifying sexual tension.

(I must admit I'm a bit surprised at the photographer's muscularity, I imagined that his relative boyishness was part of his attraction to the muscle-guys - but then it's not my story to tell!)

Shooting The Past 2 - image 52

Having worshipped the beefcake boys from a distance the photographer finds bonus fulfilment as the meat in their sandwich. The recently-chained (chastised?) top resumes his leadership role by encouraging the romance which seemed to develop between the other two in Part 1. But while the boys lie embracing each other and getting intimate, he proves his animal credentials (and celebrates his freedom) by topping them both with a triumphant, wolf-like cry of  orgasmic pleasure, a great image. The stairs rising behind him and the swirling smoke/steam make a witty comment on his ecstasy.

A lengthy, happy 'end' game follows this moment after which the studs gather round the flames of the furnace like Boy Scouts at camp. I've largely skipped this most sexual section in the interests of brevity and focussing on the fetish but there are dozens of other images which I urge you to seek out using the links below.

Read Part 1 of this article

~

Priapus of Milet has produced many great works now but this is one of his best creations showing gay men in the way we would all like them to be:- strong, seductive,and passionate, sometimes forceful, mysterious and magical, but ultimately comradely and loving. There's a gentle edge to the flirtation with fetish here which might make you wish for more but still leaves a warm glow.

You can see this series displayed at Priapus @ Telemachus12 (132 images in all). Some of the images presented there are incomplete, typically with the lower half removed, the full images can only be seen by subscribing to Priapus @ Patreon. The Patreon version also has extra images (making 172 in all).

The Priapus Gallery @ Telemachus12 has a number of other series by Priapus.

There's also a selection (not completely the same) at his own Priapus' blog.

You can find an overview of the Patreon projects on The Patreon Index page

together with a description of the subscription arrangements.

Priapus of Milet - Shooting The Past 1

My 'A-Z of Fetish Artists' article about 'Priapus of Milet' is the most popular post on this site. I also included a sample picture from this series, 'Shooting The Past', in my annual 'Most Popular Posts' article in January 2018. The artist has now allowed me to do a more detailed feature. For me it's one of the most beautiful and homoerotic of all his works. It features some playful fetish moments and a rousing, very sexy finale.

All these images can be expanded by clicking on them

Shooting The Past 1, image 04

The scene is set in an ancient industrial plant with giant, coal-powered furnaces.

A photographer is taking pictures, presumably for a magazine article of some sort.

The men shown working there are dressed in traditional working garb including cloth caps.

Shooting The Past 1, image 12

Like many chroniclers before him, the photographer is attracted to the 'heroic' qualities of ordinary working men using their physical strength to toil in dirty, difficult conditions. This one has a near god-like physique and Priapus turns his simple shovelling of coal into a labour of Herculean significance.

Historically there was a lot of artistic and politically-motivated licence in the concept of the heroic working man. In modern times the same iconography finds a natural home in beefcake imagery.

I included some photo examples in my recent article about model Jase Dean.

Shooting The Past 1, image 18

A bare-top pose highlights the heat of the factory and the furnaces.

The labourer is persuaded to strike this bloke-ish, swaggering pose.

His open flies suggest he's less inhibited than your average manual worker

If this is a calendar project needing sex appeal, he's clearly happy to oblige.

Shooting The Past 1, image 20

It starts to develop into a full-blown strip scene as the workman gallantly removes his remaining outer garments. He turns his head away, almost shyly. It's as though he's happy to show off his body, but is not seeking personal attention and so doesn't engage directly with the photographer or his viewers.

This is picture 20 in the series and it feels like the photographer is gradually persuading the coy workman to reveal more and more by flattering his physique. The angle and positioning of the connecting rod in the background seems to hint at an erotic undercurrent.

Shooting The Past 1, image 23

However the muscular model demonstrates he's not entirely naive, playfully offering to show more. But if that's intended to embarrass the photographer, it's not succeeding. He moves in closer, going down on one knee, a not inappropriate response to this god-like presence. But the model is trying to draw his attention lower down. That connecting rod now links the two men directly, simultaneously suggesting an eye line and an improbable erection. Notice where his gloved hand is.

Shooting The Past 1, image 25

Priapus doesn't provide a commentary to explain how the photographer persuaded the workman to 'bare all' but this charming, boyish, locker-room moment suggests 'dares' might be involved. Despite the bravado you sense the subject has an innate modesty and shyness even. There's a fascinating moment of human connection here as the formal barrier between the two men represented by the camera lens is temporarily swept aside and a tentative physical contact made. It's an intriguing homo-erotic situation, the down-to-earth working man dropping his defences before the reserved professional.

Shooting The Past 1, image 27

With the model completely unclothed, formal distancing returns and the humble workman proves have a majestic presence worthy of a Greek statue. His once-more averted head restores the idea that this is artistic nudity, not anything more sensual. The angle of the connecting rod also seems to suggest that the moment has passed. This modesty-concealing drapery showing a nice bit of leg is more erotic than full nudity in my book, the folds of his comfort blanket are actually revealing more than he might think

Shooting The Past 1, image 29

Not everyone likes bulky muscles, but this back view is stunning for me, a big shape but not overly detailed. The accidentally(?) exposed buttocks and robust neck are great erotic ingredients.

A Peeping Tom moment for the lurking viewers. A rusty wheel makes a satisfying frame.

Shooting The Past 1, image 36

In this image the workman/model engages directly with the camera (and the viewers beyond) for the first time, striking a pose that is informal and not particularly manly in conventional terms. Instead it has a sort of coy, come-and-get-me openness that expresses both sensuality and vulnerability. Vampish, but without the veneer of sophisticated seduction.

It's another new side to the man we saw before as highly muscular and masculine, but also mischievous and playful. Priapus has built up a very appealing personality here and although the workman seems to be making all the moves, you sense he has been hopelessly seduced by the photographer and is here surrendering to him and his camera.

I featured this particular image in my 'Most Popular Posts' article mentioned above

and I still love it's self-conscious shedding of modesty.

But is it really the photographer that's being seduced? He moves in for his closest and most intimate shot yet and that massive, mischievous, connecting rod appears to have acquired a phallic dimension as though to indicate a substantial erotic interest on his part, although you could also interpret this as a pushing away gesture - that's the ambiguity of falling in love of course!

In this picture there is less differentiation between the two men and the engineering behind them, the connecting rod almost seems to emerge from the photographer's chest with the other end resting on the workman's side, as though to tell us that the link between the two men has become more substantial and physical, dare I say it's coupling them?

The subtlety of this imagery, it's 'hidden eroticism' is delicious, suggestive but never crude. Priapus manages to show us an encounter between characters with genuine male traits - confidence and vulnerability, openness and wariness, an encounter that is both romantic and sexual and that makes it truly gay.

I have presented only a fraction of the images here and I recommend readers to follow the link which I give in Part 2 to view the whole set. However we are not finished yet! You may recall that there were two workmen in our opening shot.

More in Part 2

Grown Men Forced to wear Short Trousers

In the 'mitchish' sect men are not permitted to wear long trousers until they reach the age of 25.

This rule can be problematic for those who find work outside of the 'mitchish' community.

Getting office jobs which involve sitting behind a desk is usually no problem, but their unusual appearance inevitably attracts humourous comments on the commute and sometimes unwanted attentions of a more invasive nature from other men. For this reasons many 'mitchish' men avoid public transport and travel in pairs (like these two investment bankers resting on their way home)

For growing men the risks are compounded if their mothers refuse to buy them larger shorts as they grow older. Only mothers are allowed to buy the proper shorts which are only available in 'mitchish' shops and being a captive market it's very expensive. Most prefer to make do and mend and making do often means letting them get tighter and tighter, particularly if the age of 25 is not far off (see above). Of course these men can buy shorts and proper trousers in the big city if they want, but they will be confiscated if they wear them anywhere near their home area.

The 'mitchish' leaders send out specially trained, 'trouser-spotter' patrols to catch out any men who try to evade the rule by changing into short pants on the way home.

Tourists unfamiliar with the rules are frequently picked up by these patrols and they too have their trousers confiscated. If they are wearing jeans they are liable to get a ducking too.

'mitchish' fanatics loathe young men dressing in tight jeans.

Needless to say, walking around in wet underpants is not acceptable either. Offenders are photographed for the records and advised to turn back or else make their way to the nearest 'mitchish' shop and get themselves some decent shorts. Naturally buying restrictions are waived for the non-'mitchish'.

Young men don't like being told what to do very much

But it's not as though back-packers are completely unwelcome!

Unfortunately, the 'mitchish' community is quite remote and if it's getting late, especially in the colder months, visitors may feel they really have no choice anyway but to go on.

The 'mitchish' general store doesn't stock a wide range of sizes, but it's usually easy to find overnight accommodation in the town. It won't have all the usual facilities though, like locks on the doors, which some young men find disconcerting in the old creaky houses.

One enterprising spotter has a reputation for helping out stranded lads, he's built his own dorm in the woodshed. I'm told he's very attentive. If he keeps his hands in his pockets you know he likes you

If you ask him nicely, he'll probably let you stay for nothing.

Photos: Alaistair McLellen for Arena Homme

Modelled by Mitchell Slaggert, Kit Butler, Julian Schneider