Both are stories with female protagonism, located in the past, with melodramatic overtones and produced by Bambú. And in both, the costumes make a difference. The girls of the cable (the third season is now available on Netflix and is renewed for a fourth) and Velvet collection (his first two installments can be seen in Movistar + and will have a third round of chapters with which the series will come to an end) have returned with changes in the closet of its protagonists that reflect the changes they face in the action .
In The girls of the cable, history has taken a leap in time and has gone from the twenties to the thirties, a time that, as his costume designer, Helena Sanchís, is aesthetically very different from the previous one. "The waists appear on the dresses, with more marked silhouettes, everything more sinuous, with longer dresses …", she points out. In the Netflix series they make practically all the costumes of the main actors, while for the extras they resort to rent. In addition, whenever they can, they restore clothes of the time. "Although it is usually very damaged, when something fits I try to save it, they are fabrics that you no longer find, embroidered, finished … it is very special". Many of the clothes rented this year come from Italy, especially the evening dresses, as Sanchís counts, a regular costume designer from this production series and who has worked on titles such as Grand Hotel, Times of war or Gran Reserva.
Among the references that have taken to the making of the costumes is the cinema and magazines of the time. "There's a lot of wonderful films from the thirties, with actresses like Ginger Rogers … It's those satin nights, all the costumes at night are very evocative, we've been snooping everywhere and then rescue what best fits according to the personality of each of the girls and build the character without losing what we already had. " For example, this year the uniforms of the telephone operators have changed. "It was almost like a new series, we had a base job but we had to look for everything again, shoes, headgear, handbags, accessories … everything".
From the wardrobe of The girls of the cable this season, Sanchis highlights "all the night club atmosphere, and there maybe the character of Maggie Civantos, by plot, is the one that looks it most, with wonderful satin dresses that you have to have a body 10 because it is marked up the navel, with some very complicated cuts, to the bias, silks … it is very lucido ".
New airs also arrive Velvet collection. The series is now in 1967 and the fashion galleries receive the biggest order in their history: the dress for the coronation of Farah Diba, the last queen of Iran. Thus, a whole new world enters the series. "It's not just making the coronation dress, there are also trips to Iran, Iranian characters …", says Pepo Ruiz, designer of the series' costumes. Among the additions of this season, for example, is the model and actor Andrés Velencoso, who plays Iranian ambassador Omar Ahmadi.
If for the characters of the series it is a challenge to elaborate the dress for Farah Diba, it has also been a challenge for Ruiz and his team. "We have resorted to documentation of newspaper library, Internet … We have tried to do it as faithful as possible, and I think that it has been a pretty good result." For the elaboration of the costumes of this season the series has had a workshop with eight people fixed in addition to the help of the Cornejo tailor shop, which has also made part of the wardrobe. "We have made 80% of the costumes of actors and actresses, which for a series is a lot, but the result is closer to what is in the script," says Ruiz. "It is a series that can not be compared with other foreign ones in terms of budget, but in terms of results, it is at the level of international series," says the designer.
Although Helena Sanchís was responsible for the costumes of Velvet, when the series went to Movistar + and it became Velvet collection Pepo Ruiz joined the department, with Sanchís as supervisor. "Although it was a continuation, it was a new series and it needed someone who had not had that previous tour to give it a different air.When jumping from time to a more relaxed, the colors are more daring and has a fresher and different air ", summarizes Ruiz.
Not the sixties of Velvet collection nor the thirty of The girls of the cable they are real reflections of the Spain of the time. As Helena Sanchís tells, in the Netflix series, a formula similar to that of Velvet: "it was sought that a precious aesthetic prevails, everything had to be beautiful, it is not a historicist work at all". The figurist describes the aesthetics of the fifties of the Velvet original as "some fifty invented, mixed Paris and New York, Spain was Franco and that was little like ours." "We try to be very rigorous even if we falsify the times to lighten them. Gran Hotel we did the same, it was a lighter 1900, "says Sanchís.