Historically speaking, "the social construction of norms about female and male sexuality is nowhere seen more clearly than in this sexual double standard, which allowed and even encouraged premarital sex for men, but not for women" (Etaugh 168). With this hegemony set in place, Victoria's Secret participates in the act of releasing a female's sexual liberties, allowing freedom for women to be overtly sexual. However, Freud's castration complex also comes into play when observing Victoria's Secret because it is possible that these models are representations of women who are lacking a phallus and, therefore, feel as though they must make up for it with their physicality. By putting their bodies on display, the models are meant to create a sense of longing, of desire, in its audience, whether that be in the form of a female identification or a male objectification. As a result, Victoria's Secret advertisements become prime examples of the use of the male gaze to instill a sense of voyeurism in an audience, objectifying the female models and insinuating that their body types are the ideal for women.

In this first image, the model is practically baring all. Her purpose is to advertise a certain pair of underwear, so, naturally, that is all she is wearing. However, the eyes are not easily drawn to the underwear because of the direct eye contact she is making with the viewer. By doing so, she is interpellating the viewer and allowing the audience to see her as desirable by grabbing the attention herself rather than letting the underwear, the product being advertised, catch the eye. To intensify the effect of her eye contact, the model is positioned in line with the camera, not featured from above or below. Therefore, the viewer is able to assume that by buying the underwear that the model is supposed to be advertising, the viewer can attain that same level of beauty.

Another important feature of this particular advertisement is the fact that the underwear is lace because this material plays into the idea of voyeurism and desire. Berkley Kaite explains that "lace is a double play: it partially covers areas of the body while permitting partial access to the same areas" (Kaite 122). In fact, most of the lingerie featured in Victoria's Secret advertisements are made of lace, implying that her sexuality is accessible, but still leaves an air of mystery. This use of lace can also be interpreted as Victoria's Secret's attempt to lure the audience in, but cut them off before they are able to see the model's lack of a phallus. Since this could potentially be construed as destabilizing the feminine power that she is trying to embody. This advertisement's sexuality in conjunction with its desire to attract an average audience makes Victoria's Secret an example of how "bringing together the pornographic with the every day in a format geared toward female pleasure and autonomy suggests and certain potential for deconstructing the private-public division that has worked to contain female sexuality within a traditional definition of home" (Juffer 31).

This image is another example of a Victoria's Secret advertisement, and while the setup is seemingly different, it portrays very similar messages as the previous image. This model is serving the purpose of advertising a particular bra, but despite the ornate detailing on the piece of lingerie, one's eye cannot help but be drawn to her cleavage. With her arms reached into the air, she is causing the audience's eye to trace them downward to the very middle part of the photo, exemplifying a certain standard for women in lingerie. In opposition to the first advertisement, this model is not making direct, intense eye contact with the viewer. In fact, one cannot see her eyes at all. With this offset gaze, the audience is denied access to the model's beauty, and as a result, desires her more. Since she is portraying herself and her standard of beauty as unattainable, it increases the viewer's sense scophophilia in their subconscious.

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Rose, Gillian. "Visual Methodologies: An Introduction to the Interpretation of Visual Materials". 2nd ed. London: SAGE, 2007.

All figures: http://www.victoriassecret.com/