Lacoste unveiled on Wednesday a new limited Olympic Heritage collection dedicated to the Seoul 1988 Olympic Games. The initiative is part of a licensing agreement with the International Olympic Committee –IOC– and reflects the organisation’s global strategy to strengthen ties with fans beyond competitions, in line with the objectives of Olympic Agenda 2020+5.

The IOC promotes three main lines through its official licensing strategy: the Olympic Heritage Collection, focused on historical editions; The Olympic Collection, aimed at a younger and more active audience; and the collections linked to each upcoming edition of the Games. All of them are designed to bring Olympic values —“excellence,” “respect,” and “equality of opportunity”— closer to society through products that transcend sport.

A Vehicle for Values

This model not only ensures sustainable revenue for the Olympic Movement but also connects with new generations of fans through apparel, accessories and objects featuring highly recognisable graphic symbols. In the case of Lacoste, the reinterpretation of Seoul 1988 updates a visual legacy that is also present today in urban culture and global fashion.

The influence is visible on the streets as well: reinterpretations of Olympic emblems appear on T-shirts, sneakers and hoodies, particularly embraced by younger audiences, turning them into a shared aesthetic code. On platforms such as Instagram and TikTok, Olympic symbols resurface in retro style within streetwear culture, reinforcing the connection between fashion, youth and visual memory. The Olympic aesthetic thus becomes an intergenerational channel of transmission, positioning Olympism in a cultural space shared by sport, society and fashion.

The Visual Legacy of Mexico 1968 and Munich 1972

The impact of Olympic identities on fashion and design has consolidated over the decades. The graphic system of Mexico 1968, developed by Lance Wyman, introduced a typographic and visual language based on op-art that has maintained a constant presence in textiles and urban design.

Similarly, the visual programme of Munich 1972, created by Otl Aicher, marked a turning point in the coherence of a major event’s identity. His sports pictograms, colour system and modular signage have been studied in academic institutions and continue to inspire graphics applied to sportswear and fashion.

Moscow 1980 and Los Angeles 1984: Symbols That Transcend

Moscow 1980 introduced one of the most recognisable Olympic mascots: ‘Misha’. Designed by Viktor Chizhikov, the bear became a merchandising phenomenon, appearing on textiles, accessories and collectibles, and remains an enduring icon through limited re-editions.

At Los Angeles 1984, the “Stars in Motion” emblem by Robert Miles Runyan and the chromatic system developed by Deborah Sussman created a striking visual environment, consolidating the relationship between Olympism, graphic design and commercial products. This legacy continues to influence contemporary reinterpretations associated with retro sports aesthetics.

Barcelona 1992, Tokyo 1964 and Paris 1924 as Historical References

Barcelona 1992 brought a recognisable Mediterranean identity with the logo by Josep Maria Trias, whose dynamic shapes and primary colours have reappeared in graphic applications and fashion. Tokyo 1964 introduced a pioneering system of sports pictograms designed by Masaru Katsumi, which became a model for future Games and a source of inspiration for minimalist contemporary fashion.

Paris 1924, during a period of transition towards modernity, laid the foundations of the association between Olympism and graphic design, a link that has strengthened over the decades and is now reinterpreted in official collections and collaborations with international brands.