If you're lucky, the red carpet can be a show, but even if it isn't, it's always business. It does not matter that, in times of pandemic, only those in charge of delivering the awards pass through it, while the winners show their outfits from their living room or via Instagram. Although the video call connections only allowed to see, in most cases, the upper half of her garments, as happened with Rozalén and her red suit from the Spanish firm Otrura. In any format, it is a powerful marketing tool for fashion brands, whose shows never reach the audiences of the awards ceremony. Also for some actors who have found a juicy source of income in their collaborations with fashion labels. In addition, the carpet fulfills the function of channeling the gossipy instinct of a country.
As in the old televised beauty contests, it is judged who is the most handsome and the best dressed – although women are always more scrutinized -, and it is worth wondering If this way of consuming and analyzing the event is so obsolete and little connected with current sensibilities such as the Miss and Mister Spain competitions. "There is more awareness of the visual representation of women, so it is normal that the critical way of looking at these events is growing," says Patricia Soley-Beltrán, sociologist and gender perspective advisor.
In this edition of the Goya, most of the actors and directors who physically stepped on the carpet opted for understated designs. "Many of the givers have preferred to be dressed in a more relaxed way because, in the end, the leading role must fall on the winners, who are at home," explained Belén Cuesta days before the ceremony, who received the award for best actress. protagonist in 2020 dressed with an impressive Pertegaz strapless and that this year she came with a Carolina Herrera design. Marisa Paredes, wearing a multicolored Juan Duyos coat , demonstrated once again that, in her case, the experience on the red carpet is a degree; and in that of Penelope Cruz, a custom. True to her favorite silhouette – word of honor and mermaid skirt – she chose a black Chanel with rhinestones on the chest from the Métiers d'Art collection. Singer Aitana wore a tight white Versace dress. And Najwa Nimri, a black Loewe pantsuit with puff sleeves paired with a semi-transparent mask. Maria Barranco's matched her floral print dress. From so normalized, it has become another complement, like shoes or earrings.
A little more daring, with transparencies, sparkles and a heart-stopping neckline, Paz Vega chose a couture dress by Georges Hobeika. And a hundred steps further, Hiba Abouk, a bubblegum pink piece with a very long train and a baggy skirt by Giambattista Valli.
Many men chose to do without the tie: Pedro Almodóvar opted for a custom-made blue Armani suit with a neck sweater tall fuchsia pink. Antonio Banderas wore a T-shirt under his Armani suit. "I fought with the shirt," he explained. Mario Casas chose a tuxedo that, as he discovered in an Instagram video, combined with some Batman slippers. Fernando Valdivieso left all the prominence to a green suit with white seams. And Sergi López dared at home with a feather boa. More classics, José Coronado, and Jon Kortajarena –by Tom Ford– decided on the bow tie. Also Alejandro Amenábar, who recalled “how badly he was dressed” the first time he was nominated for the Goya.
To compensate for the fact that through telematic connections the guests were only seen from the waist up, many decided to use their social networks to show their outfits and, incidentally, apply flattering filters to the photos. One of the first to do so was Natalia de Molina, who combined a white tailored suit by JC Pajares with a beaded bra from Givenchy; the same brand chosen by Milena Smit , who wore a fitted dress with a belt decorated with locks. Juana Acosta opted for Miu Miu and Paula Usero, for a mesh design from the Redondo Brand firm. The Spanish brand Pedro del Hierro scored a double goal when dressing María Casado and the director Pilar Palomero.
For a country that lives in tracksuits, gazing at Ángela Molina's impressive Armani with ruffles and small embroidered stones can represent an enjoyment for the eyes, pure aesthetic escapism, the promise that one day the parties will return and the sequins and satins will be dusted . As Soley-Beltrán explains, “it is not necessary to objectify because you are wearing a nice dress and you want it to fit as well as possible”. Nor to understand the red carpet as a race to see who is the most elegant, as if it could be measured scientifically or was the only possible end. While a part of society claims respect for diversity and a more inclusive concept of beauty, the singer Samantha Hudson and the actress Esty Quesada were reviled on social networks after their participation in the Feroz awards with qualifications as ugly or uncouth. Only time will tell if red carpets populated solely by slim actresses in Disney princess dresses will end up boring audiences like the Victoria's Secret shows did. In the end, this event where fashion and cinema meet is also a business.