{"id":29121,"date":"2025-10-03T18:07:25","date_gmt":"2025-10-03T22:07:25","guid":{"rendered":"https:\/\/www.americanonewspaper.com\/es\/?p=29121"},"modified":"2025-10-03T20:04:36","modified_gmt":"2025-10-04T00:04:36","slug":"pretty-woman-y-sus-35-anos-de-infalible-diseno-de-vestuario","status":"publish","type":"post","link":"https:\/\/www.americanonewspaper.com\/es\/madrid\/pretty-woman-y-sus-35-anos-de-infalible-diseno-de-vestuario\/","title":{"rendered":"‘Pretty Woman’ y sus 35 a\u00f1os de infalible dise\u00f1o de vestuario"},"content":{"rendered":"\n

Madrid, (EFE).<\/p>\n\n\n\n

‘Pretty Woman’ cumple 35 a\u00f1os, la pel\u00edcula en la que Julia Roberts sali\u00f3 convertida en estrella del brazo de Richard Gere, cargada de bolsas con una ropa que no ha pasado de moda, pero cuya historia queda muy alejada del realismo y la crudeza de la cinta ‘Anora’, su ‘equivalente’ del siglo XXI.<\/p>\n\n\n\n

“Es dif\u00edcil que una pel\u00edcula envejezca bien si se sigue la moda del momento y este no ha sido el caso”, explica sobre ‘Pretty Woman’ Cristina Rodr\u00edguez, dise\u00f1adora espa\u00f1ola de vestuario de series como ‘\u00c9lite’ y pel\u00edculas como ‘Explota Explota’ o ‘Malnazidos’, por las que fue nominada a varios premios Goya del cine espa\u00f1ol <\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Los dise\u00f1os de ‘Pretty Woman’ son atemporales porque la dise\u00f1adora de vestuario, Marilyn Vance, hizo un trabajo “espl\u00e9ndido, utilizando elementos est\u00e9ticos no solo de los noventa, y eso hace que parezca que se rod\u00f3 ayer”, contin\u00faa Rodr\u00edguez en declaraciones a EFE. <\/p>\n\n\n\n

Casi todo el vestuario fue confeccionado para la actriz porque, al tratar sobre una prostituta, las firmas no quer\u00edan hacer cesiones. “Gere era una estrella, pero ella no era a\u00fan muy conocida”.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

Rodr\u00edguez recuerda que el vestido minifaldero blanco y azul de la primera secuencia y del cartel de la pel\u00edcula, con alt\u00edsimas botas de charol y gorra de ferroviario, fue un dise\u00f1o confeccionado para la actriz “porque no daban con el adecuado”.<\/p>\n\n\n\n

En \u00e9l se mezclaron sus dos mundos, “el m\u00e1s callejero y el naif”, motivo por el que no se utilizaron colores muy llamativos, aunque la silueta s\u00ed lo fuera; un dos piezas que une con una arandela la parte superior a la falda, con laterales abiertos, como muchos de los dise\u00f1os que pueden verse en la actualidad en las pasarelas o las calles de cualquier ciudad.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

“Entonces no era tendencia” argumenta la creadora de vestuario espa\u00f1ola, que pone los ojos sobre otro vestido fetiche, el marr\u00f3n chocolate con topos blancos y el canotier de Vivien Ward con el que acude a la h\u00edpica, del que se han hecho muchas copias. Incluso, confiesa que ella se inspir\u00f3 en \u00e9l para el vestuario de ‘\u00c9lite’.<\/p>\n\n\n\n

“Est\u00e1 absolutamente vigente. Tiene una silueta cl\u00e1sica a\u00f1os cincuenta muy ponible para todas, para aquellas con cadera ancha y tambi\u00e9n atractiva para las m\u00e1s delgadas”, describe Rodr\u00edguez, que destaca que el marr\u00f3n es un tono que no fotograf\u00eda muy bien pero, al ir aderezado con un topo blanco, “todo cambia”.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

Si a eso le a\u00f1adimos el canotier y los guantes, le dan el toque “perfecto” para ir a las carreras”, una referencia -confirma- “muy de (las carreras) de Ascot”, en el Reino Unido.<\/p>\n\n\n\n

Todas las prendas, de una manera o de otra, tienen su ‘revival’. Es el caso de las chaquetas XXL con hombreras que luce en conjunto con bermudas o la roja con solapas del inicio de la pel\u00edcula.<\/p>\n\n\n\n

El vestido rojo con el que Roberts va a la \u00f3pera fue -cuenta Cristina Rodr\u00edguez- otra de las apuestas de Marilyn Vance, pues el director pidi\u00f3 que fuera negro. <\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

“El negro es un cl\u00e1sico de la elegancia, pero Vance lo dise\u00f1\u00f3 en rojo, y cuando lo vieron no hubo duda de que ese era el tono. Es un vestido incre\u00edble, maravilloso”, y se pregunta si, finalmente, hubiera sido negro, \u00bfser\u00eda igual de ic\u00f3nico?<\/p>\n\n\n\n

Rodr\u00edguez advierte de que “el cine est\u00e1 por delante de la moda, la moda copia al cine”.<\/p>\n\n\n\n

Gere, elegante y discreto <\/strong><\/h2>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n

Asegura que el vestuario de Richard Gere tambi\u00e9n es muy interesante: “El quer\u00eda algo relajado, que no fuese constre\u00f1ido”. Algunos de los trajes se confeccionaron para \u00e9l y otros fueron una cesi\u00f3n de Armani; con el gris como tono principal y corbatas de Herm\u00e8s, discretas. Eso le permit\u00eda diferenciarse y tener una imagen “elegante y carism\u00e1tica”. <\/p>\n\n\n\n

La cinta independiente ‘Anora’, de Sean Baker, con su protagonista ‘Ani’, podr\u00eda ser el equivalente a ‘Pretty Woman’ en el siglo XXI, pero con una versi\u00f3n cruda y realista de la historia.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

Su vestuario atrevido, con un conjunto de pantalones de encaje que dejan ver la ropa interior, tops lenceros y un vestido de lentejuelas rojo -tambi\u00e9n- ideal para una noche de discoteca, crea la imagen de su protagonista, una trabajadora sexual que se casa impulsivamente con un joven oligarca ruso.<\/p>\n\n\n\n

La pregunta ahora es si la colecci\u00f3n de dise\u00f1os de esta pel\u00edcula, la gran ganadora de los \u00faltimos \u00d3scar, resistir\u00e1 el paso del tiempo. <\/p>\n\n\n\n

Inmaculada Tapia<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n
\"\"<\/a><\/figure>\n","protected":false},"excerpt":{"rendered":"

Madrid, (EFE). ‘Pretty Woman’ cumple 35 a\u00f1os, la pel\u00edcula en la que Julia Roberts sali\u00f3 convertida en estrella del brazo de Richard Gere, cargada de bolsas con una ropa que no ha pasado de moda, pero cuya historia queda muy alejada del realismo y la crudeza de la cinta ‘Anora’, su ‘equivalente’ del siglo XXI. […]<\/p>\n","protected":false},"author":14,"featured_media":29122,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":{"_acf_changed":false,"tdm_status":"","tdm_grid_status":"","_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"_wpas_customize_per_network":false},"categories":[570,1202,551,571],"tags":[],"class_list":{"0":"post-29121","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-cine","8":"category-disenadora","9":"category-madrid","10":"category-moda"},"acf":[],"yoast_head":"\n'Pretty Woman' y sus 35 a\u00f1os de infalible dise\u00f1o de vestuario - Americano Newspaper<\/title>\n<meta name=\"description\" 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