The theme of the Olympia Le-Tan spring/summer 2017 ready-to-wear collection was designed around the counterculture of the ‘60s and to that point, the runway show featured a plethora of collaborations with incredibly talented artists known for their graphic, illustrating and print work. Le-Tan wanted a distinctly nightclub vibe to the show, which led to her choice of venue, the Rex Club. It was a pulsating and vibrant runway show with equally amazing clothes and accessories.
The feel of the Olympia Le-Tan spring/summer 2017 collection was fun and vibrant with a decidedly youthful feel and an intentionally psychedelic look. The hair was an intentionally disarrayed coif and the accessories vividly bright. The makeup was clearly designed to pull your attention in, though the competition with the clothes was tough. Black knee-high socks and black tights adorned the legs of all the models, before ending in very high platform shoes in a few different patterns in each of the nearly 30 looks.
The signature swoon-worthy book bags showed off graphics done by both Keiichi Tanaami and Victor Moscoso and were among a full range of truly interesting accessories. Other collaborations are seen in look 3, where the top featured Nicole Claveloux, who also left her imprint on the denim jacket in look 14.
In several different ensembles, the artwork of Tadanori Yokoo could be found: looks 5, 9 and the sequin covered skirt in look 20 featured touches easily found in his print and illustrating works as he is a very talented Japanese painter, illustrator and graphic designer. Look 10 featured work by American graphic designer Seymour Chwast.
The work of Milton Glaser is featured in a very cute sweater dress that personally made me happy just to see it as it reminded me of his Aretha print in eye magazine and his poster for Bob Dylan’s greatest hits. Prints by Michael English and also Le-Tan’s father also graced a few pieces.
Some of the best looks of Olympia Le-Tan’s spring 2017 collection were the sweater dress in look 12, with the cute belt cinching in the waist over the collared shirt, and it is hard not to appreciate the boldness of the dress in look 24, the design placed into the dress in richly colored sequins.
The final dress was a reproduction of Martin Sharp’s “The Magic Theatre” cover of Oz Magazine that showed up on the issue printed for November in 1968. This dress reportedly took 150 hours to reproduce, a testament to determination and both the artist beauty of the original piece, and the transformation to wearable art. It was the transcendent piece of the collection and an outstanding piece nearly beyond compare.
Photos courtesy of Vogue