The figure walking down the streets was certainly female, her entire body covered in gleaming, polished and unbroken layer of what appeared to be thick white latex. From certain angled, the reflected light seemed to have a light blueish tint, making it only appear whiter. But the figure itself was a mockery of the colour of purity, as there was little that was pure about this female.
Her steps as she walked were mincing, as her feet were encased by a pair of ballet heels that were a seamless part of the woman’s white latex covering, forcing her to endure standing on the very tips of her toes, her ankles appearing stiffened and her heels supported by a graceful wedge that merged with the sole of the boots toes of a size not much larger then two or three coins. In addition, a short length of chain, each link encased in white latex, runs between her boots, attached to rings set into the wedge heel, further shortening her stride.
Between her legs, a long rod hangs from her crotch. It is clearly made from metal, but is coated in white latex, with one end appearing to be wedged deep into her pussy and almost seamlessly merged with the rubber of the woman suit. Still it can move up and down, slipping in and out of the woman’s pussy. The other end is connected to the rings on the wedge heels with white rubber encased chains, that drag it back and forth as she takes her mincing steps. In addition, the rod appears to be longer then her legs, so that its free end drags across the ground, the jolts of each movement transmitted through the metal into the inner walls of the woman’s pussy.
Around her waist, she wears a seamless white latex corset, with heavy metal boning inlaid into it, brutally reducing her waist. The corset does not have any visible means of opening or closing, appearing to be made of a single piece, merged with the suit. A heavy neck corset of a similar design is wrapped tightly around her neck, with a ring dangling on the front, holding a small metal plaque, reading ‘6969’. The neck corset is build specially to not allow the woman any movement of her head. As a glance moved from corset to neck corset, it undoubtedly will notice that the woman’s arms are missing. They appear to have been removed from her body, leaving only smooth expanses of white rubber where her shoulders should be.
The head of the woman itself is coated in an even thicker layer of white rubber, making it appear like the head of a mannequin. The face has no features at all, only a button nose without any nostril openings, while her eyes are smoothed over. Not even her ears are visible as bumps. Only a thick white and ribbed rubber hose sticks out from where her mouth should be and there isn’t even any visible transition between her hood and the hose.
On her back, both the corset and the neck corset are connected by a heavy metal rail, also coated in white rubber, that perfectly contours her spine. It begins at her ass, where one end appears to be shoved deep into her body and runs up and above her head, ending fifty centimeters over her head, splitting into two and jutting out to the back and front. The rail is clearly meant to prevent her upper body from moving at all.
From the forward end of the rail, a pair of latex encased chains hang down, each chain ending in the piercings of her nipples. The piercings and the chains help support a pair of obscenely massive breasts, which would hang down under their own weight of not supported. These massive orbs of flesh, encased in thick rubber have a natural shape, but it is clear that they are anything but. But, even with her short stride, each step sends these large breasts swinging, moving in rhythm with the movement of her body and steps.
Between her breasts, a large bag of translucent white rubber hangs, easily able to hold five liters when completely filled, suspended by a pair of chains connected to the piercings of her nipples. It is possible to see what the bag contains and it seems to be a mixture of a golden liquid with spits of a milky white. As there is a thing tube of white rubber leading from the bottom of the bag to the woman’s crotch, it is clear that the liquid is a mixture of her urine and her cum.
At the same time, the bag is connected to the hose coming from the woman’s mouth, seamlessly moulded into the bag. As the bag expands and deflates with each of the woman’s breaths, it is clear that the bag acts as a rebreather bag, one that has a security valve to prevent over pressure, occasionally adding the scent of urine, cum and stale air to the already powerful smell of rubber that surrounds her. Another valve seems to be connected to a bubbler that is integrated into the bag, allowing her to take a breath of air that has run through the urine and cum.
Finally, from the back end of the rail that runs up her back, a set of white rubber banners hang suspended by those rubber coated chains, each with a different black rubber text on it. ‘Enter Rubber Nirvana’, one of them reads, ‘Worship Rubber’ a second and a third finally reads ‘Extreme Fetish Love’.
Despite this scandalous look, the white rubber and the obscenely large breasts, this woman seems to be at peace, even if she appears to experience a strong orgasm now and again. Perhaps it is some form of contemplation, maybe penance. All that is known is that she does not seems to care about anyone around her, lost in her own rubbery world.