The most histrionic and crazy changing rooms in the history of cinema

In the Sensacine's writing, even if it seems, we are very fashionable.We always try to be aware of the latest news that come from the Cibeles or Paris Fashion Week catwalk.Therefore, we have put our brains to function and select those that - in our humble opinion - are the most daring and histrionic changing rooms of cinema.Join us on this trip from Paco Delgado's workshop to Jean Paul Gaultier's needles.

María Antonieta (Sofia Coppola, 2004)

Leaving aside the valuation of the film, we felt Sofia (Coppola), but after Lost in Translation we expected much more, María Antonieta is the dream of every costume team, designer and fashion lover.It is a textile hallucinogen.A spectacular astral journey between silks and colored wigs.The architect of this stylistic ecstasy is Milena Canonero, who has won four Oscar awards for her costume design, one of them for this same film. The film takes place during the 18Steps - What a wonder of shoes signed by Manolo Blahnik! - From a teenager María Antonieta (Kirsten Dunst), which has been separated from her family in Vienna to fall into the pompous and frivolous world of the Parisian elite.

The young woman soon ends up taking the motto of "For frivolous me" and begins to enjoy all kinds of luxuries to which more eccentric.Feathers, jewelry, fans, impossible corsets, huge ties, flyers the size of a plane propeller, rhinestones on each dress that gives to pay a month of rent, flowers of flowers that ended half of the flora of France, a lot of colorCake, and waste of sensuality.One fact: Kirsten Dunst looks more than 65 dresses in this film, which is a delicious two -hour haute couture catwalk.'La Créme de la Créme' are the stylistic licenses, such as the plane of some Converse, yes, Converse, of Sofia Coppola's daughter.You finish watching the movie wanting to fill you with ties, tie you a dog, plant a wig and go out to buy cupcakes.'Long live the frivolité!'

Lourdes de Paredes

El quinto elemento (Luc Besson, 1997)

We are facing a science fiction film directed and written by Luc Besson and starring Bruce Willis, Gary Oldman and Milla Jovovich.Set in the 18th century, the plot of the fifth element focuses on the survival of planet Earth and the extinction of the human race, only possible to avoid with the fifth element (Jovovich).The person in charge of guarding the mysterious woman is Korben Dallas, an ex-military who is now dedicated to the taxi.The iconic tape has many reasons to have become one of the emblems of the 90s, but the rhythm and costumes are undoubtedly both on the podium.

The Frenchman Jean Paul Gaultier, is the acclaimed designer behind the magnificent - and exaggerated - costumes of the film.During its two hours, the extravagance of the clothes is a delight for the viewer's eyes, and Gaultier knew it, because it created almost 1000 designs to create a complete experience wearing, even, the extras -probably this has a lot to do withWith the production shot outside the most expensive United States to date.It is not surprising, then, that the beginning of the project's costume design took place seven years before its premiere, in 1990. Animal prints, a touch 'steampunk' or dresses of McDonald's, along with a magnificent use of color and influencesModernists, futurists and 'Art Deco', create a unique experience that probably, of not existing would leave the film in oblivion.

Marta González

Bitelchús (Tim Burton. 1988)

When preparing the text for this topic I have realized one thing: I never pay too much attention to the movies of the movies and maybe I should start doing it.It has been very difficult for me to decide for the little culture that I have on this issue but I have decided to stay with Tim Burton and the peculiar universe of him that never fails.Although I could talk about Eduardo Humisijeras or Alicia in Wonderland, which, criticism apart, is a visual show, I choose Bitelchús (Beetlejuice) because it continues to fascinate me today and I still do not understand very well how we could Spanishize both the title the title.

The best thing about the film is the prostheses they use to transform the protagonists, but the costumes are not bad either.That black and black striped suit has managed to move on to posterity and the proof are those images of tumblr girls wearing the happy pants -no emotion without his bitelchús's pitillos! -.The rest of the characters also have unique features, such as Delia Deetz's pins (Catherine O'Hara) at the enchanted dinner, the dress that Barbara Maitland (Geena Davis) is condemned to carry during the rest of her existence or, of course, of course,Any garment that carries Lydia.The very young Winona Ryder brought that stunted bangs with a lot of dignity and turned her character's Gothic styling of her in one of the most remembered costumes of cinema.

Sara Heredia

Un pliegue en el tiempo (Ava DuVernay, 2018)

"But is that comfortable? How can you move? But what are you running! How do you do it?"These are just some of the questions asked by watching the Disney movie directed by Ava Duvernay (they see us) about the almost impossible costumes carried out by Oprah Winfrey, Reese Witherspoon and Mindy Kaling in a fold in time.

Every time they were traveling to another place, there they were with some dresses that seemed taken from a psychedelic dream night.Like that of Mindy Kalling, which seems to drink from the time of María Antoinette but always with that surrealist touch, or those of Oprah Winfrey, who hinted that she could not move much with them.All of these are made by Paco Delgado, the Spanish costume designer who has been nominated for the Oscars twice for his work in the Danish girl and the miserable ones.

Custodio Guerrero

Zardoz (John Boorman, 1974)

The sum of the apocalyptic and hangover dystopia factors of the hippisimo offers as a result Zardoz, also known as one of the most wonderful SCI-FIs of the 70s. The followers of the genre will agree that the film is already a cult tape andMuch of this is due to the peculiar combination of talent (Sean Connery, Charlotte Rampling as protagonists, directed by John Boorman), references understood in a very sui generis way (the name of the film arises from the random recombination of the title the magician of Oz,While at first Boorman intended to make a free version of the Lord of the Rings, of Tolkien), and, finally, an ad hoc's costume design still impossible to overcome.The person responsible for such a waste of creativity is Christel Kruse Boorman, wife of the director, in what her baptism was in that professional role.

Then the Emerald jungle (1985) would come, also with Boorman, and little else, but Kruse Boorman will always be remembered for offering us Sean Connery in red panties fastened by braces and with pirate boots covering his legs. Not a few voices say that the wardrobe is one of the worst in the history of cinema, by extravagant and unlikely, but despite these qualifications the truth is that it is absolutely consistent with the tone of psycho-critical strangeness that modulates that modulates Boorman in the story. The plot follows the structure of the hero's trip, here Zed (Connery), who in the future where humans are divided between the poor brutals and the eternal immortals, will end up discovering the truth about his own nature. Obviously, the costume designer cared to provide textile uniformity to the eternal, dressed in long skirts of different colors and whose heads are covered with a handkerchief, but, as we pointed out, it is the suit of the exterminators, caste to which it belongs Zed, for which Zardoz's costume is still iconic today. Neither boray overcomes it.

Paula Arantzazu Ruiz

Mad Max: Furia en la carretera (George Miller, 2015)

If the thing goes to choose the most crazy and histrionic film changing rooms, the Oscarized Mad Max comes quickly: fury on the road.The 2015 tape directed by George Miller is not exactly a deployment of dogs or striking colors or flyers, nor a parade of futuristic clothes that seem to have their own life.What I like the Mad Max costume: fury on the road- which also took the Oscar for best costume design- is that combination of styles in which the punk, the military, the biker clothes and the series of series ofGadgets that end up being an essential element in the identity of each of their characters.

The 'outfit' almost of Immortan Joe's horror film (Hugh Keays-Byrne) and the skeletal look of his henchmen The boys of the war;the minimalist of the clothes of the five wives;and the leather, harnesses, glasses and all kinds of accessories that accompany furious (Charlize Theron), Max Rockatansky (Tom Hardy) or the biker bands that camp their wide for this anguishing and desert postpocalyptic world.A jewel for sight.

Alicia P. Ferreirós

Star Wars: Episodio I – La Amenaza Fantasma (George Lucas, 1999)

The truth is that if we talk about the most crazy cinema changing rooms, the one who wins - in my opinion - is undoubtedly: Star Wars: Episode I - The ghost threat, directed by George Lucas. With a cast headed by Liam Neeson, Ewan McGregor and Natalie Portman, the director only needed to seek inspiration in Mongolia and Tibet to "play" with the locker room. Portman played Queen Padmé Amidala, whom we never saw with a current outfit. In fact, she had a different "look" for every occasion, each more extravagant. For those who were accustomed to seeing Leia with those simple white robes, the costumes that Padmé Amidala dressed in some scenes were much heavier, recharged and striking. In fact, if I look back, I see myself seeing Leia for the first time in Star Wars: Episode IV - a new hope. My first thought towards the hairstyle she carried was: "She seems that she has two in her head." Instead, my reaction when seeing Natalie Portman was: "Ensaimadas have become giant horns."

I remember that one of the costumes that struck me most was the dress of Red, with an Asian imperial cut that carried the throne room.Not only was the clothes, but the hairstyle that gave that galactic air to Portman and managed to really look like a person from another world.On the one hand, there were very striking costumes that touched the rocambolesco and, on the other, the dresses with a more classic elegance such as the trousseau he carried in Star Wars: Episode II - The attack of the clones during their marriage to Anakin Skywalker, oursFuture Darth Vader.Although I am more fan of the old school, I must admit that Star Wars's lockericonic science fiction saga.

Sonia Cobos

Flash Gordon (Mike Hodges, 1980)

Nowadays comic adaptations are a whole box office and criticism, thanks (largely) to Marvel's cinematographic universe, but there was a time when this was not so. The ‘80 cinema is remembered nostalgia for many; A complicated decade had ended in which some studies touched bankruptcy and in which many directors dedicated themselves to experimentation with nefarious box office results. Now the bases were sent by a spielberg and feature films made for a mass audience - the ones that would be called 'blockbusters' - that demanded that type of products were imposed. In this context, the emblematic Dino producer of Laurentiis occurred to the cinema of a classic American cartoon work: the very bizarre Flash Gordon. After Federico Fellini's refusal to take care of the direction of the megalomaniac project, the Executive hired the British (and semi -known) Mike Hodges to get behind the cameras. Being an ambitious science fiction project, I would need a costume at the height, so Danilo Donati was signed (who came from collaborating with Fellini himself in Amcord or with Pier Paolo Pasolini in Saló or 120 days of sodoma) for knit it.

The result a range of chillona swamps, in which gold and shiny are abound everywhere, and that makes the planet Mongo look like a 'pulp' delirium similar to a crazy party of 'Drag Queens'.Just to see the Grand Max von Sydow - who played Ming, the villain of the function - with that devastating red and black layer in bright tones, it is already worth checking this involuntary comedy disguised as 'Space Opera'.

Tomás Andrés