Hoodie, Wiederhoeft. Briefs, Calvin Klein. Skirt, Belle. Jewelry, Alexis Bittar. Shoes, Tom Ford.

TOMIE: THE DOMME NEXT DOOR

Feature Editor / Koko Ntuen

Photos / Felipe Zapata-Valencia

CD + Styling / Phil Gomez

Beauty Editor / Rory Alavrez

Cover Art / Mikey Meza-Pérez 

Hair Stylist / Isaac Davidson / Che Nieves 

Styling Assistant / Alon Cameron

MUA / Anaiyah Simmons / Nyala chamberlain / Sophie Hartnett

 

Tomie is a boundary-pushing digital creator, dominatrix, and host of the unapologetically raw show Uncensored with Mx.Tomie. A master of transformation both online and in real life, they weave digital artistry, immersive cosplay, and fearless storytelling into a singular, mesmerizing identity.

Through their work, Tomie reclaims power in a space often dictated by norms—challenging beauty standards, gender constructs, and creative limitations. Their digital creations pulse with surrealism, horror, and high fashion, echoing a deep love for the eerie and ethereal.

Tomie exists at the intersection of art, and subversion. Whether they’re stepping into a new persona, crafting visually stunning content, or making men squirm with pleasure, one thing is certain—Tomie is here to disrupt, inspire, and redefine.

What drives you to keep pushing creative boundaries?

I have always been drawn to the rebellion of pushing boundaries; whether that’s in myself, in my subs, or in what’s acceptable socially. Grinding up against the line of acceptability makes me feel alive and in the digital space, there’s something that doesn’t yet exist at the intersection of traditional sex work and popular culture that I want to uncover. There’s an urge and deep desire for me to keep experimenting and possibly discover something that hasn’t been expressed fully yet. 

What does being an It-Girl mean to you?

I love the term “It Girl” as it intersects with sex work, because the term itself recognizes the constant tension as women around objectification yet also the celebrated aesthetic privilege of being “It.” I understand It-Girls as dichotomies: ultra-personalities yet also nonpersons. When you are an object (of desire, of culture, of projections, etc), how do you animate? 

There’s a crushing objecthood to it all, but within it, a deeper story about how this constructed, plastic thing-ness comes alive. It reminds me of these mecha scenes in Neon Genesis Evangelion where you realize that the robot bleeds.

Being an It-Girl and being a sex worker means understanding there is an agency to who I am and my work, but it’s not a willful agency in a Western sense (“I” put on this outfit), but rather a synthetic agency as culture performs me.

The first time I put on latex for a sub at my first dungeon illustrates this feeling. He was a Hasidic Jewish gentleman who requested just latex gloves, nothing else needed to be latex, which to this day is unique. I asked him what he liked about it and he said that when I put it on, he can see my skin and arms more clearly, like my soul was showing through the shine.

Women’s Herstory Month is all about honoring trailblazers. Who are the women—fictional, historical, or personal—who have shaped your journey?

So many, but Yin Q is the one person I always circle back to as being an instrumental figure in my journey. I read her short story in Apogee in college, during a time when I was just going on Fetlife and experimenting like a wild child in Chicago, and it stuck with me in a deep way. I don’t just admire her as a dominatrix, but also as a mother, a community pillar, and the way she cares.

What’s your favorite thing about being a professional dominatrix?

It feels like what I’ve always been meant to do. I love experiencing people and experimenting with people in their dark recesses.

The intersection of digital art and sex work is changing. What’s something you’re excited to see change in the industry, especially for women creators?

Many sex workers are artists and choose this profession as a form of intensely personal creative expression or to fund their artistic endeavors. However, for many years, being out as a sex worker meant being pigeonholed in the adult space. There continues to be a lot of stigma and assumptions associated with sex work and this industry. I felt this anxiety deeply when transitioning to domming full time – as a woman, for most of history, it truly is burning the boat. And it’s not just about leaving behind a civilian life, but having such an overwhelming marker on your identity that, despite the complexities, people reduce you to a concept.

I’m excited to be at the forefront of this change in culture where digital art is not only recognizing the contributions sex workers have had in the art scene, but platforming our voices, bodies, and vision in a tangible way. 

How do you reclaim your space as a form of self-empowerment and storytelling?

A lot of it does have to do with what I mentioned above around animation. There’s the simple answer – there’s nothing more empowering than being able to not only be financially independent but thrive to the point I can take creative risks. My anime-inspired domme shoot was one of those risks.

I recently rewatched the movie Sanctuary and there’s a poignant moment at the beginning where (spoiler alert) you realize the session was scripted. I often find figuring out the interplay between this is what the client, the culture, the algorithm, etc. wants and what I want. It’s a sweet spot where I get to push to maximize MY vision and emotional desires in that dance. 

If you could send a message to your younger self—the Mx. Tomie before all the platforms and success—what would you tell them?

Show your face earlier haha…don’t overthink it for that long.

In the spirit of Women’s Herstory Month, what’s one legacy you hope to leave behind in your creative world?

I hope my weird, playful, wacky, sadistic, complicated version of what a dominatrix could look like opens up the world for other dominant women to fully be themselves in whatever their version of power looks like. 

Dress, Frankie Julia. Gloves and shoes, Talents own.

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