You’d have to be living under a Mount Olympus-sized rock not to know “The Odyssey” was this summer’s must-see blockbuster, usurping “Deadpool & Wolverine” to become the highest-grossing R-rated film of all time.

But it wasn’t just Christopher Nolan’s cinematic retelling of Homer’s epic poem alone that caused all the hubbub. As “method dressing” continues to be a powerful marketing tool on the premiere circuit, his star-studded cast including Anne Hathaway, Charlize Theron and Zendaya joined forces to usher in a Greek revival not seen since the mid-2000s.

Throughout the spring 2027 collections at New York Fashion Week, eveningwear designers kept the odyssey going, emphasizing billowy maxis, statuesque draping and gilded embellishments with an almost ancient patina.

Easy, breezy, beautiful — those are the words to live by this season.

Dennis Basso

The imposing Corinthian columns inside Gotham Hall certainly lent a Grecian atmosphere to the runway proceedings at Dennis Basso, who stuck mostly to simple bias cuts and weightless organzas that “just fly.”

Backstage, Basso said he’s a fan of the one-shoulder gown, but be sure not to wear one with a necklace around him. “Wrong.” Instead, he’s done the accessorizing for you, like in an Aegean blue version with an attached shell-beaded belt.

Supermodel goddess Christie Brinkley closed, swishing a bronze-colored gown draped by Basso using a custom mold of her body. “I love it,” she beamed, her hair still in curlers. “It fits like a glove.”

Monique Lhuillier

Like Basso, Monique Lhuillier professed her love for the one-shoulder during an appointment at her Madison Avenue showroom, saying, “I feel like there’s strength to the asymmetry.” Amping it up, hers came in electric hues, like the hibiscus one seen here — a take on the toga, which reads more gala after party than frat party.

Ruched jersey gowns, which caress the body without constricting it, have been some of Lhuillier’s bestsellers. “There’s been a shift to these slimmer silhouettes for us,” she said. One standout in flesh-tone mesh with bronze crystals had a sort of wet look reminiscent of Venus emerging from the half-shell. “She should feel like a modern goddess.”

Bibhu Mohapatra

For spring, Bibhu Mohapatra’s muse was the Marchesa Luisa Casati — “that magnificent, self-invented creature of early 20th-century Venice.” Venice, Greece, they’re only two hours away by plane.

While Casati is often labeled an “eccentric,” this collection was messy, even by Mohapatra’s standards. Moments of beauty came toward the end in the form of a plunging blush-colored take on the archaic chiton and a pleated green off-the-shoulder gown with roses and olive branches trellising the bodice. According to Mohapatra, it represents Casati in her garden at the Palazzo Venier dei Leoni, “before the chaos of the evening begins.”

Pamella Roland

At Pamella Roland, the best looks continue to be the least worked, structurally at least. While she was inspired by Nordic royalty, one could easily imagine traipsing around the Mediterranean in flat sandals, wearing a white tulle V-neck gown with jet-black sequin petals.

Ditto for a caftan dripping in enough golden garlands to make Midas jealous. Roland said caftans are “particularly popular with our international clients, who are drawn to elegance with ease,” adding that gold remains a highly requested colorway. “It brings a sense of radiance and glamour to an evening look.”

Markarian

Despite wanting to do something “very classic American” for spring, much of Alexandra O’Neill’s collection looked like what you’d pack for a dream trip to Greece.

Gauzy stripes brought to mind the Greek flag in coastal shades of white and blue (O’Neill’s most popular color), looking utterly fabulous on a balloon-sleeve pajama set. Who wouldn’t want to host a yacht party in Mykonos wearing that?

Elsewhere, ivory plisséd jacquard seemed to almost mimic the fabric folds of Grecian statuary as if frozen in marble. That the whole thing paraded around O’Neill’s studio on gladiators with velvet laces made any traces of “Americana” disappear.

Lela Rose

Many ancient civilizations were known for their vast wealth, but fabric-wise Grecians were quite humble. Linen, which dates back to the Mycenaean period, was prized for both its versatility and breathability. Lela Rose simply liked the irony of wearing it for fancy occasions.

“It’s the elegance of the city, but there’s always that tension of something more rugged and adventurous,” she explained. While Rose’s version of an Odyssey-style adventure usually takes place on her Western ranch, she pivoted east this time toward the Mediterranean with plenty of draping and columns. They were combined best in two lurex-flecked jacquard dresses, one decorated with pink bougainvillea and the other with hyacinths, named for the Spartan prince Hyacinthus.

Reem Acra

No designer in this lineup embodies the “goddess” archetype more than Reem Acra, whose mythical fantasies always enchant from season to season. She continued to do so for spring, taking inspiration from the kaleidoscopic colors of the souks in her native Lebanon.

The ancient Greeks and Phoenicians shared many cross-cultural exchanges, which Acra reflected in mosaic-like florals blossoming from a crepe caftan and a regal wine-colored mikado A-line. Elsewhere, beaded strips on a sheer pink gown called to mind gladiator pteruges (adopted from the Roman Empire in the third century BCE), while detachable tulle streamers could be wrapped various ways, similar to the himations that proliferated throughout Greece during that time.