Immaculate Tapia |
Madrid (EFE).- The own clothing for the main characters and even for the figuration is the main characteristic of the films that compete for the Goya for Best Costumes, pure craftsmanship at the service of each story in an edition in which, according to the candidates, “there is a brutal leveling off”.
This year, in which the nominees in each category have increased from four to five, the candidates for the Goya for Best Costume Design add up to six, as there was a tie, which the Film Academy did not want to reveal.
Nerea Torrijos (Bilbao, 1985) has made the costumes for “Irati”, by Paul Urkijo, and assures in an interview with EFE that “there is a brutal level”.
The film, set in the s. VIII, “it is a poem” that takes place in the forest, framed in a time that forced them to dye their garments in up to 50 different colors, “a very artisan confection” for a wardrobe that has needed special care and cleaning to preserve it from humidity.
Garments that have been in contact with the mud, under twelve hours of rain or in a cave, with “a lot of foot and chain mail” that made it heavier.
In “Modelo 77”, Alberto Rodríguez and Rafael Cobos tell of the Spanish Transition through the Modelo prison in Barcelona, a work for which Fernando García (Seville, 1975) has obtained his fifth nomination with a “deaf” wardrobe that, from the outset, It doesn’t attract attention.”
A “complicated” job -he explained to EFE-, with real characters in a historical space, in which the costumes had to make it possible to differentiate common prisoners from politicians, “who dressed in a more coherent way.”
Clothes for 80 actors, winter and summer, for whom he has made to measure from shirts to jeans, in which the color is marked in light brushstrokes and where the gray helmets of the riot police were made in Germany.
Cristina Rodríguez (Benidorm-Alicante, 1969) is the author of the costumes for “Malnazidos”, by Javier Ruiz Caldera and Alberto de Toro, a zombie film set in the Civil War, in which there is “in which aesthetics enters you through the eyes, even in ugliness».
A film that the designer wanted the viewer to be empathetic with the characters through the costumes. «People with charisma on both sides, who dress strangely, but who feel that you could wear the same», «artisanal creations from top to bottom».
Where the accessories take on special importance, such as the nun’s headdress, “shorter than usual”, or the peculiar aviator hat of one of the protagonists. Pieces from the time in which the film is framed, revisited and where there is a lot of mix.
“In the cinema you have to skip reality and I play to the limit,” he emphasizes.
The meticulous hands of Alberto Valcárcel (Avilés-Asturias, 1970) have been in charge of making the dress for the New Year’s Eve party worn by Bárbara Lennie in “Los renglones torcidos de Dios”, by Pablo Oriol, with 1,600 Swarovski crystals on a Czech faceted glass base.
A film that has allowed her to design for a woman “accustomed to luxury”, with references to the style of Catherine Deneuve of that time and “to haute couture”; a character whose color and design make her a movie star, a fundamental element in her development “because her clothing is part of her language,” gives her power.
On the opposite side, the clothes of people confined to a psychiatric hospital, with ragged garments and impossible combinations, “the most complicated of all”, together with the wardrobe of doctors of whom “there were few references”.
Suevia Sampelayo (Barcelona, 1979) knew that in “La piedad”, by Eduardo Casanova, the costume design was an angular element with which she worked on the psychological part of the mother and that of the son, who is an extension of herself, something that stands out in the preparation with the same fabric of the pajamas, the robe and the fact of using a multitude of ties in a wardrobe that infantilizes.
“The bow can be a beautiful ornament, but it also symbolizes that union that oppresses,” he details, in the same way that pink, a naïve color, provokes the opposite feeling in the context.
But in addition to pink, black and gray converge, always present outside the house that mark the distance with the rest of the characters.
A wardrobe in which the designers Manuel Bolaño and Jaime Álvarez, from Mans Concept, have also worked.
Paola Torres (Gran Canaria), who already won the 2017 Goya Award for Best Costume Design for her work on the film ‘1898. Los últimos de Filipinas’, has now been in charge of the costumes for «As Bestas», by Rodrigo Sorogoyen, where nature and landscapes function as a hostile element, a reflection of the wild versus the civilized, in a rural environment and work in field.
