When I get asked what a model should wear for a Shibari shoot, my answer is always:

“Whatever makes you feel comfortable.”

That’s not just a polite reply. It’s the foundation of how I work. Rope can be a deeply personal and vulnerable experience, and I want every person who steps into that space with me to feel safe in their body and that includes their choice of wardrobe.

That being said, there are a few limitations I set for safety and comfort. Absolutely no underwire, boning, or corsets. These garments, while visually striking, simply don’t work in a rope context. They can dig into the skin under tension, create unsafe pressure points, and limit the natural movement of the rope. I’ve tied around many kinds of outfits, but when it comes to structure or steel, it's a firm no.

When models ask for guidance, I’ll usually suggest tight-fitting clothing. Things like bodysuits, sports bra and briefs, or soft lingerie that won’t bunch or shift during a tie. And if the subject of nudity comes up, I’m honest:

Yes, I prefer shooting nude.

Not because it’s necessary for good rope, and not because I expect or require it, but because, for me, it adds layers of meaning and connection.

Let me explain:

Why I Prefer to Shoot Shibari with Nude Models

And Why Comfort and Consent Always Come First

In addition, clothing can be a practical obstacle. This part is simple but worth noting. Even soft or minimal clothing can interfere with certain ties. My fingers can snag on loose fabric or seams, and that can break the flow of a scene. While I’m always willing and ready to adapt to whatever the model feels best in, there’s no denying that working directly on skin is smoother and more efficient. There are fewer adjustments, fewer interruptions and the tie feels more connected.

Now, this is an important point. Rope on skin is part of the experience. Shibari is not just visual, it’s tactile and physical. The way rope drags across skin, tightens, and warms with friction. Those sensations are part of what makes this so profound for many people. When I tie someone, I’m not just wrapping them up for a photograph. I want them to feel it. I want them to drop into their body, into their breath, into that quiet, internal space where the rope begins to speak louder than words. Wearing fabric, even something light, can dull those sensations. It creates a barrier between them and the full sensory experience. For someone new to rope especially, feeling the jute directly on the skin can be the difference between being tied and being transformed.

For one thing, the aesthetic I gravitate toward with rope is rooted in emotion: surrender, struggle, release, stillness. The rope is part of that story but the main player is the person wrapped in it. Nudity, in this context, isn’t about eroticism. It’s about openness and vulnerability. It’s about stripping away the last layer between the rope model and the moment. When a person chooses to be nude in rope, they are also choosing to be fully seen, not just physically, but emotionally. This can be a powerful experience.

For me, photographing rope on bare skin allows the visual language of vulnerability to come through without distraction. I can see the way the rope leaves marks, the tension in a shoulder, the way a model breathes through the moment. Skin reveals things fabric can’t. Goosebumps, muscle tension, flushing. These are all part of the story the body tells in rope. And when someone allows themselves to be truly seen that way, it’s really something beautiful in its rawest form.

So when I say I prefer nudity, this is what I mean: I want the model to feel it. Fully, honestly and completely.

Of course, none of this is about pushing anyone toward a decision. It’s not about control or expectation. My goal is to hold space for your experience, whatever that looks like. Some of my favorite sessions have been in lace, mesh, or bodysuits. Some have been fully clothed. But if we’re having the conversation and you’re asking for my preference, this is it. Raw skin. Honest rope. And the courage to be seen.