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Nineteen Sixties
6 Min Reading
Oliver Peoples nods to the style of ‘60s travel with a cast of jetsetters for their fall 2022 campaign.
Oliver Peoples jet sets to the golden age of travel in Nineteen Sixties, a short film that stars the Southern California-based eyewear brand’s new fall collection alongside a cast of characters influenced by ‘60s pop culture figures.
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Saturated with ‘60s-specific style and driven by the glamour of air travel during that distinguished decade, the energized visuals channel the spirit behind the new vintage-inspired Oliver Peoples acetate frames.
A couple fit for the golden age of Hollywood. The actor characters “Roy and Sofia Hart”, are seen in Merceaux and Cassavet.
The actress dons optical style, Éliane, in Brushed Gold with Dusk Beach lenses.
New York City’s iconic TWA Flight Terminal - commissioned by Howard Hughes and designed by the visionary architect Eero Saarinen - acts as the backdrop for the campaign. When the doors of the terminal first opened in 1962, the sweeping, geometric architecture quickly became a glimpse at the future of air travel. From its wing-shaped layout to its alluring wall of windows, which look onto the airplanes beyond, the setting became synonymous with the dawn of jet set prestige.
The leading man on the screen character, “Roy Hart”, wears the bold look of Merceaux.
For a classic design, the actor takes on Romare Sun in Pale Citrine with Jade Polar.
Nineteen Sixties pays homage to the elevated excitement around early commercial aviation, as well as the ‘60s sensibilities that inspired Oliver Peoples. Through sprawling tracking shots, slow-motion scenes and a rich color palette, the film captures its charismatic cast of characters as they pass through the airport. With the arrival of “Roy and Sofia Hart”, a dashing actor and beautiful actress, amidst waves of paparazzi and awe-struck fans, the star-power scene is set.
Made in Japan acetate, Finley 1993, captivates a timeless, refined aesthetic.
Moments later, the pilot, “Willa Viper”, and her crew trek down a hallway that offers an astounding linear perspective. Rock star, “Skinner ‘Rey’ Jones”, descends an arching stairwell with guitar in hand, and the socialite, “Cindy Sunset”, pops out of a telephone booth to take a glance. The lives of all these characters collide as an announcement sets the story into motion.
The rockstar presence of character “Skinner ‘Rey’ Jones” is felt in Holender.
Offered in a new larger size, Emet, exudes a vintage, fashion-forward aesthetic.
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Worn with sun or blue light lenses, Reymont is modernly reminiscent to OP classic, M-4.
The film marks the debut of the two new styles that comprise the Nineteen Sixties collection, Cassavet and Merceaux, seen on the actor and actress. Cassavet features an oversized, rounded lens shape with a keyhole bridge. There’s a deep angled bevel on the acetate and an exclusive filigreed corewire, plaque and hinge that are all inspired by the gilded patterns found on vintage leather-bound books. Merceaux applies those striking features - including the angled contouring - to a bold, squared silhouette.
Combination optical frame, Donaire, is seen alongside the ultra-thin optical design of Rasey.
Both frames encapsulate the style and personality of the characters – socialite, “Cindy Sunset”, and rockstar, “Skinner ‘Rey’ Jones”.
“MADE IN JAPAN, THE HIGHLY SOPHISTICATED CRAFTSMANSHIP AND ATTENTION TO DETAIL IS UNDENIABLE.”
Oliver Peoples classic, Sheldrake, is reimagined in exquisite, Japanese acetate.
Seen with Sea Mist lenses, Len optical balances a thick acetate body with ultra-thin titanium temples.
The pairing of characters and their frames speaks to the panache of the ‘60s. Fittingly, “Skinner ‘Rey’ Jones”, the rock star, dons the made in Japan Reymont, which touts an architectural double bridge. Fans of the eyewear brand will note the titanium body references Oliver Peoples’ classic M-4 frame. In contrast for a retro, glamourous aesthetic, “Cindy Sunset”, the intriguing, socialite figure, styles her look with washed lens optical, Éliane.
The actress is the epitome of sophistication in Eadie.
In the film, eyewear is lost and recovered. Details are explored. The pace quickens—and not everyone makes their plane to Los Angeles. Throughout, there are cinematic nods to North by Northwest and Catch Me If You Can. For the campaign’s still imagery, everything is in motion. With paparazzi-like action, each photo encapsulates the sensations and spectacle of celebrities enroute to someplace exquisite. Altogether, the campaign’s story details the connection between the ‘60s, Oliver Peoples and an underlying transcontinental savoir fare. With such an elegant setting and an abundance of retro style, the missed flight might not even matter in the end.
Looking out into the runway, Donaire is seen with Green Wash and Reymont with Blue Light filter lenses.
Made in Japan, Reymont is defined by a double bridge detail and Donarie with its vintage-inspired aesthetic.
Words: David Graver
PHOTOS: Yulia Gorbachenko
VIDEO: Eva Vik
