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Around 1450, the dress of northern Europe developed a low V-neck that showed a glimpse of the square-necked kirtle. The neckline could be filled in with a sheer linen partlet. Wide turn-backs like revers displayed a contrasting lining, frequently of fur or black velvet, and the sleeves might be cuffed to match.
The edge of her square-necked chemise is visible above the neckline of her dress, 1544. Catherine Parr wears a red loose gown with wide bands of applied trim. She wears a white cap with pearls and a pleated forehead cloth under a hat with an upturned brim and a feather.
This formal style then gave way to more relaxed fashions. The robe à la française or sack-back gown had a tight bodice with a low-cut square neckline, a decorated [stomacher], wide panniers, and was lavishly trimmed with all manner of lace, ribbon, and flowers. An early form of the robe à la française was worn as a less formal undress fashion.
The Low Countries, German states, Scandinavia, England, France, and Italy all absorbed the sobering and formal influence of Spanish dress after the mid-1520s. Fine textiles could be dyed "in the grain" (with the expensive kermes ), alone or as an over-dye with woad, to produce a wide range of colours from blacks and greys through browns ...
In England from the 1630s, under the influence of literature and especially court masques, Anthony van Dyck and his followers created a fashion for having one's portrait painted in exotic, historical or pastoral dress, or in simplified contemporary fashion with various scarves, cloaks, mantles, and jewels added to evoke a classic or romantic mood, and also to prevent the portrait appearing ...
The strapless dress featured an angular, square-shaped neckline, hugging her figure and cinching at the waist. She paired the dress with matching gloves for an elegant and fashionable look.