(This analysis concerns yesterday's story.)
(News flash: Emily's Victorian Bridal Chamber is out! Buy it here!)
I had a hard time, at first, distilling this image down to an essential hotness, I have to say. For a while I wondered whether I might be wrong that each of these photos really does distill that way.
Then I realized: the scene is so well integrated that it's difficult to pick apart, but there is a single erotic dynamic at its core: the contrast between the woman's undress and the furnishings (no panties in such elegant surroundings!). It's so beautifully accentuated by the man's clothing and the voyeuristic framing that it's not immediately distinguishable, but look at the composition, and where your eye travels: the hand on the uncovered region takes your breath away because of how bare she is there.
Really, I suppose that being semi-naked in a hotel room is no big deal, but the ornateness of the furniture and the lamp, together with the man's notionally impeccable suit, turns the screws of degradation.
And, of course, the lack of panties is itself emphasized by her wearing bra and stockings: that suggests to me at least that that's where the central eroticism of the photo lies. The wonderful thing about lingerie, as far as I'm concerned, is how very many hot combinations there are. The bra-no-panties-stockings configuration has always had a special place for me because of the way it suggests that panties have somehow been forbidden--and, of course, in my fantasies, if panties have been forbidden, it must be because a girl's master has forbidden them--and why would he do that unless he intended to make use of the regions thus laid bare?
Bra and stockings, imposed by culture to make the elegant lady, but no panties, imposed by Master to make the submissive slut. The contrast is, for me, delicious, and thinking about the girl (me, of course!) watching from the shadows, seeing that submission revealed, made it unbearably arousing. The guy, I suppose, is just there to enact what's implicit in the underwear.
Making the focal point an 18 year-old was natural because of the sense of by-gone elegance in the furnishings. The ideas of nostalgia and of initiation always seem to chime together, for me: my Serena is identifying with the woman as being part of a world she fears, and yet longs for. It's the eternal contrast of innocence and long, long experience.