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The depicted woman looks directly at the viewer. She wears nothing but a transparent, delicate veil and precious pearl jewellery on her arms and in her blonde hair. The mirror that she holds in her left hand is an iconic symbol of femininity, which points to the significance of beauty. It is also associated with Venus, the goddess of love, often depicted looking at her own reflection. In the Renaissance imagination, love was closely linked to the contemplation of beauty; this theme goes back to Petrarch's sonnet "Il mio adversario", a lament to the mirror that showed the face of his adored Laura.

The "School of Fontainebleau", which originated as a group of artists who worked on the decoration of the castle of the same name, from the 16th to the beginning of the 17th century, emerged from these influences of Italian art and thought. However, it was also increasingly characterised by Flemish and French influences, and developed a stylistically independent expression of Mannerism. Complex portraits of (usually lightly clad) graceful ladies were popular subjects – both in the form of depictions of real people, such as the paintings of Gabrielle d'Estrées (around 1570-1599), along with the exemplary "Lady at her Toilette", as well as representations of ancient historical figures, such as in the painting of Sabina Poppea, the wife of Nero. (Cf. Michael Laclotte (ed.), L'École de Fontainebleau, exhibition catalogue, 17 October 1972 - 15 January 1973, Grand Palais, Paris 1972, p. 219)