Diane von Furstenberg created the iconic wrap dress in 1974. The wrap dress became a symbol of women's liberation in the 1970s as it celebrated a woman's natural silhouette in a comfortable and versatile design. Within two years, 5 million wrap dresses had been sold, making DVF the most successful designer since Coco Chanel. By the late 1990s, younger women were rediscovering the wrap dress in vintage shops, prompting DVF to redesign it for a new generation. The wrap dress has remained a fashion staple for over 40 years.

1. History of Fashion assignment#3
DVF-The iconic wrap dress
Name: Olga Kavchak
1
1
http://www.metmuseum.org/collection/the-collection-online/search/79701

2. Her creation was the iconic Wrap Dress!
The wrap dress is the most traditional form of dressing; it is defined by its waistline; the
dress crosses over itself and wraps around the wearer’s body; it's like a robe, a kimono, a
toga. It doesn't have buttons or zippers. The fabric was clingy but not cumbersome; it
celebrated a woman's silhouette instead of trying to control it. It combines tailored
sophistication with effortless and classy feel of wear, which is suitable for every body
type. It became a symbol of women's liberation in the 1970s, associated with the glamour
and natural self-confidence of the designer herself.
Designer Diane Von Furstenberg was 27 when she made the first wrap dress in 1974.
The wrap dress was amalgamated from her previous design ideas of a cotton jersey shirt
dress and a ballerina-style wrap dress. Within the two years of the launch, in 1976, five
million wrap dresses had been sold and she was named the most marketable designer
since Coco Chanel. It was made of drip-dry cotton jersey. Diane’s intent was to create
something both feminine looking, functional, comfortable, effortless and empowering.
She described her women as someone who correlates comfort of the dress with
confidence, as she once said that ‘confidence comes from comfort, as much as from
glamour.’ “She is a unique combination of being ultra-feminine with a distinct feline
slink to her walk, but comfortable being in charge and entirely without coquetry.”2
This
form of design philosophy worked really well because it provided realism/efficiency to
the changing lifestyle choices of the society.
Her inspiration behind the dress stemmed from her divorce. The end of her first marriage
2
“Diane von Furstenberg: 'I danced at Studio 54. Now I work with Google'”
http://www.theguardian.com/fashion/2014/jul/01/diane-von-furstenburg-stuido-54-google-wrap-dress-
oprah-warhol-anna-wintour

3. to Prince von Furstenberg forced the designer to come to several realizations. Diane knew
that she did not want to be recognized as a socialite; she knew she was determined to
achieve her own independence. Seeing how 1970’s were a decade of freedom of
expression and exploration, the wrap dress emulated that concept. “The concept was
versatile, feminine, and exuded the kind of confidence that defined the new, independent
woman of the ’70s and ’80s. It was a symbol of von Furstenberg’s new sense of
independence, and was a way for her to instill that feeling in other women.”3
Diane
created the daywear dress because women had an abundance of freedom in equality
and in the way they would’ve liked to dress. Their interest lied in relaxed and stylish
garments that were easy to care for.
Rebranding
After the success of the dress in mid 1970s, the market became oversaturated; women
lost interest in dresses as other styles like androgyny, menswear, and punk became
popular. Femininity, and feminine dressing practically vanished from stores and in 1985
DVF was forced to sell most of her licenses to avoid bankruptcy, and move to Paris. Not
long after, in 1990 she turned to New York to relaunch her brand. She noticed that by the
late 90s younger women were reintegrating her 70s design wrap dress by buying them in
vintage shops. So, in 1997 DVF redesigned the dress for the 90s youth and made her
name relevant with a new generation.
Why I chose Diane von Furstenberg?
The reason why I chose DVF for my final project is because like Chanel, YSL, and
Armani, she has created a fashion staple. Her wrap dress has stayed alive and relevant for
four decades, inspiring women of all shapes to be self-determined, and dress as well as
3
http://stylecaster.com/what-inspired-diane-von-furstenbergs-iconic-wrap-dress/#ixzz3VfcZPaJn

4. live in their own truth. Many women, including myself, aspire to be her and to have
Diane’s self-assurance. The Diane Von Furstenberg’s empire is now a global brand; it has
overgrown her financial dependence on the jersey dress, yet it still holds great
significance. The dress was and is the very symbol of women’s liberation and sexual
freedom. “Her wrap could be worn to the office, loosened after work to show off one’s
poitrine (cleavage) at a discotheque…It was the dress that did everything, for the woman
who aspired to do everything.”4
Influences of the decade
Politics
The antiwar movement transferred from the late 60s pushed forward attitudes of peace
and equality. The 1970s saw a huge change of women roles and power in society; the
gender inequality shift empowered women to enter the work force, becoming leading
politicians as in the case of Margaret Thatcher. The women's movement had women
burning their bras and dressing in unconventional attire and casual fabric. It enabled the
modern women to look chic and confident by forming new standards for practical and
modern style in accordance with the lives of their era.
Music
The arrival of new music genres, such as folk, glam rock with David Bowie, punk rock
with Sex Pistols, and disco all greatly affected the 70s fashion. The music liberated how
people felt about standards; allowed women to wear flowy dresses with batwing wings,
and not be restricted by fabric and structure of their garment. Even skirts were seen in a
variety of lengths, mini midi or maxi.
4
“Diane von Furstenberg's Wrap Dress Celebrates Its 40th Birthday”
http://www.bustle.com/articles/12262-diane-von-furstenbergs-wrap-dress-celebrates-its-40th-birthday

5. Movies and Television
The films and TV shows of the day also had an impact on fashion. TV shows like
Charlie’s angels, Wonder Women series had contributed to women’s liberation by
featuring smart and liberated but sexy woman. The Disco Fever in the “Saturday Night
Fever” inspired flared jeans, platform shoes, suits for men and wrap dresses for women.
Actress Diane Keaton appeared in "Annie Hall" and soon women across the nation were
wearing baggy pants, men's ties and hats. Movies and television reinstated girl power,
and women’s ability to make their own fashion choices.
What were other designers up to?
With globalization, the fashion industry became versatile and no longer just looked up to
Paris for inspiration. London, Italy and United States had the most influential designers
of the decade. According to the Metropolitan Museum website, “Fashion in America was
logical and answerable to the will of the women who wore it. American fashion
addressed a democracy, whereas traditional Paris-based fashion was authoritarian and
imposed on women, willing or not. American designers prized resourcefulness and
assumed the nonchalant freedom of the women who wore the clothing.”5
Even the retailers were more focused on adopting popular styles to fit all purposes and
body shapes. For example, Halston designed jersey trouser suits and flowy halterneck
dresses to fit the demand for non restrictive and minimalistic design; Ossie Clark was
inspired by the dance grace of the 70’s so his silhouettes were free moving and non
restrictive; Giorgio Armani (Italy) focused on the basics for the working woman as he
5
“American Ingenuity: Sportswear, 1930s–1970s”
http://www.metmuseum.org/toah/hd/amsp/hd_amsp.htm

6. was designing for the American customer. He popularized the wearing of corduroy
fabric. Jean Muir (London) was taking a minimalistic approach as well. She was famous
for making black jersey dresses; ignoring the fads of fashion she designed for a mature
woman, much like DVF. Her clothes were comfortable and effortless. Blue jeans
emerged in the 1970s as everyday wear, as it was practical and easy to care for. The
seventies saw the brands reputations emerge; designer jeans became a status symbol and
more expensive and more desirable. Designers such as Gloria Vanderbilt, Calvin Klein,
Jordache, and Sasson were branded across the backsides of men and women everywhere.
In 1977, after the launch of the movie “ Annie Hall,” Ralph Lauren (US) popularized the
boyish/androgynous look. In fact, American designers became the pioneers of this
decade through their useful and adaptable clothing, which was both made for the masses
and as a form of self-expression.
The early to mid-70s were all about comfort, functionality, daywear, and separates. There
was a great sense of ease and comfort; everything from summer dresses to bell-bottoms
were made of fabrics that were easily washed and pressed at home, as women of this
decade relied on no maid.
Bibliography:

7. All things Fashion: “Essay on the influence of the movie “Annie Hall” on the
androgynous fashion style and trend in the late 1970s.” Retrieved 25 March 2015.
http://allthingsfashion8290.tumblr.com/post/64278138142/essay-on-the-influence-of-of-
the-movie-annie
Barnes, E. “What Inspired Diane von Furstenberg’s Iconic Wrap Dress” Retrieved 28
February 2015
http://stylecaster.com/what-inspired-diane-von-furstenbergs-iconic-wrap-
dress/#ixzz3VfcZPaJn
Cartner-Moley, J. “Diane von Furstenberg: 'I danced at Studio 54. Now I work with
Google'” Retrieved 27 March 2015.
http://www.theguardian.com/fashion/2014/jul/01/diane-von-furstenburg-stuido-54-
google-wrap-dress-oprah-warhol-anna-wintour
Martin, R. “American Ingenuity: Sportswear, 1930s–1970s” Retrieved 20 March 2015.
http://www.metmuseum.org/toah/hd/amsp/hd_amsp.htm
Mayer, E. “Diane von Furstenberg's Wrap Dress Celebrates Its 40th Birthday” Retrieved
26 March, 2015. http://www.bustle.com/articles/12262-diane-von-furstenbergs-
wrap-dress-celebrates-its-40th-birthday
Metropolitan Museum of Art: “The collection Online” Retrieved 22 March 2015.
http://www.metmuseum.org/collection/the-collection-online/search/79701