For Henry Zankov, DVF Is a Homecoming
Our take
Diane von Furstenberg’s recent collection, spearheaded by new artistic director Henry Zankov, represents more than just a seasonal refresh; it signals a potential recalibration of a beloved brand navigating a shifting fashion landscape. Zankov’s focus on “body language,” as advised by von Furstenberg herself, is a surprisingly grounded starting point for a house synonymous with exuberant, almost theatrical glamour. It suggests a desire to reconnect with the core essence of DVF – the empowering silhouette that celebrates the female form – rather than chasing fleeting trends. This feels particularly relevant given the current discourse around fashion's impact, as highlighted in “Fashion’s Most Disgusting Product,” a sobering look at the environmental consequences of overproduction and disposable trends. The renewed emphasis on fit and movement echoes a broader industry shift towards mindful consumption and timeless design, a sentiment further explored in "From tradition to a new expression," where collaborations prioritize thoughtful design development.
The choice of Manhattan’s High Line as a runway location is also telling. It's a move that positions DVF firmly within the urban fabric of New York, its historical and cultural heart. This contrasts with the sometimes-detached, runway-as-spectacle approach that can alienate consumers. The collection's reworking of the iconic wrap dress, a foundational piece of DVF’s legacy, is a testament to Zankov’s understanding of the brand’s DNA. While maintaining the dress’s inherent sensuality and versatility, he appears to be subtly evolving its aesthetic, hinting at a modern sensibility without abandoning the spirit of the original. It’s a delicate balance, and one that will be closely watched by industry observers. The sheer volume of attention on celebrity style during New York Fashion Week, as evidenced by "The Best Celebrity Outfits at New York Fashion Week 2026 Are Putting on Their Own Runway Show," demonstrates the ongoing power of the brand to influence and be influenced by popular culture.
The success of Zankov’s tenure hinges on his ability to translate this initial focus on “body language” into a cohesive and compelling narrative. Simply referencing the concept isn't enough; the collection needs to consistently embody it through thoughtful design choices, considered fabrics, and a campaign that speaks to a modern woman's understanding of self-assurance and comfort. The challenge lies in maintaining the brand's signature allure while avoiding the pitfalls of becoming overly literal or predictable. DVF’s strength has always been its ability to project a sense of effortless confidence, a quality that transcends fleeting trends and resonates with a broad audience. Zankov’s initial moves suggest he understands this, but the true test will be in consistently delivering on that promise across future collections.
Ultimately, the renewed focus on the wrap dress and the emphasis on "body language" point towards a DVF that is less about overt displays of luxury and more about quietly empowering women through clothing that feels both beautiful and functional. It’s a subtle shift, but one that could prove to be profoundly impactful in a market increasingly saturated with noise. The question now is whether this evolution will attract a new generation of DVF devotees while retaining the loyalty of its existing customer base – and whether Zankov can successfully navigate the delicate balance between honoring the brand's heritage and forging a new, relevant identity for the future.
For his first collection at the helm of Diane von Furstenberg, Henry Zankov began with advice from the woman whose name is on the door. “[Diane] always says to me, ‘It’s all about body language,’” the new artistic director tells Marie Claire.
That idea became the foundation for the Spring/Summer 2027 collection. Staged on Manhattan's High Line, directly above the brand’s Meatpacking District store, the show was a homecoming. Not only for the label, which hasn’t hosted a New York Fashion Week runway in almost a decade, but also for Zankov, who previously worked at DVF before leaving to launch his knit-centric namesake label that has since become a fashion industry favorite.
For his debut, Zankov didn’t try to rewrite the house codes so much as translate them into a modern-day lexicon. “The visual vocabulary of Diane von Furstenberg is so rich,” he says. “Everything is already here. It’s more about reworking it, looking through new fabrics and silhouettes, and making it fresh for today.”
According to the show notes, the collection centered on a “woman in motion” and celebrating “women who live their lives on her own terms.” In homage to the house’s most recognizable signature, a knee-length printed wrap dress opened the show. Colorful suiting, colorblocked outerwear, and saturated separates followed.
Fluid dresses in body-skimming jersey and gauzy chiffon, archival animal prints, and bow-finished blouses tapped into a distinctly Studio 54-era sensibility—the kind of clothes you could easily imagine von Furstenberg, who was in the audience, wearing out in late-’70s New York. The soundtrack drove the reference home: At one point, Norma Jean Wright’s 1978 disco track “I Like Love” played as evening tops and miniskirts with trailing detailing danced in the outdoor breeze.
“What I learned from [Diane] was how to work with the body: how clothes move, how they reveal, how they communicate,” Zankov wrote in the show notes.
But this was not simply an exercise in nostalgia. Zankov’s own signatures came through in graphic stripes, mismatched pattern combinations, and open-weave knitwear, lending an edge to DVF’s sensuality and femininity. (The pieces also winked back to his 2025 collaboration collection, which preceded his appointment.)
“Diane von Furstenberg is more overtly seductive and sexy, and Zankov is a bit more eccentric,” he said of where the two aesthetics meet. Visually, that came through in looks like the oversized cardigan coat and striped shirt, layered over a fitted pencil skirt. Or: a chartreuse-black fishnet knit skirt styled underneath a ‘70s-inflected safari jacket.
What Zankov wanted to come through most, though, was the effortlessness. “I wanted everyone to feel a sense of joy, but I also really wanted this idea of lightness to come through,” he said, pointing to light fabrics, silhouettes, and construction. “Because really DVF is about ease.”
If the challenge was figuring out how to honor one of New York’s most storied and joyful fashion brands without freezing it in the past, Zankov’s first answer was clear: keep the woman—and the clothes—moving forward.
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