Elite Prostitutes

In the United States, sex workers—also called “streetwalkers,” “call girls,” and “escorts”—are a vital part of an informal underground economy. They ply their trade in bars, nightclubs, and private rooms across the country and abroad, offering a variety of services for men—from a quick hookup to a weeklong relationship with a client. They earn low- to moderate-level wages, are vulnerable to exploitation and abuse, and report less job satisfaction than women in other occupations. анкеты intimcity

In this article, we focus on a specific form of high-end prostitution that has dubbed itself elite prostitutes—a small group of sex workers who seek out clients from among the economic, political, and sports elite. A central figure in this world is the broker, who encloses sex for sale and facilitates clients’ interactions with sex workers. We interviewed six elite prostitution brokers and analyzed their business models, relationships with sex workers and clients, and advertising strategies.

We also examined the relationships between elite sex workers and their patrons, and the ways that women used money, gifts, and even love to make and break their bonds. Prostitution has been described as a “black hole of capital” and the sexual exploitation of these women is often hidden from public view, but the economics of this sector are enormous and its effects on both women and their clients permeate every aspect of society.

The women in this study were all born and raised in a rural area of eastern Serbia and began their careers as streetwalkers in their early 20s. Unlike the stereotypical Moldavian or Ukrainian who was pushed into prostitution by poverty, this group of young women made their own choices to work in this illegal and highly stigmatized industry. They were not only looking for a way to pay their bills but also seeking status, prestige, and social mobility.

These women were not just prostitutes but also members of the cultural elite, as exemplified by their appearance in prints and paintings by the day’s leading lithographers and artists such as Ilia Repin (A Parisian Cafe, 1875) and Ivan Kramskoi (Unknown Woman, 1883). They blended in with other urban untouchables, such as rag pickers, but they also crossed into the worlds of the middle classes and the upper class, as evidenced by their dress, pastimes, and even their home furnishings.

They also strove to confuse sexual and social boundaries, blending in with women of the cultural elite but also engaging in practices such as smoking, drinking, and other activities that were considered inappropriate by those outside their own social circles. As a result, they were both sought after by elite patrons and ignored by those within it.