{"id":7346,"date":"2026-01-14T17:47:42","date_gmt":"2026-01-14T16:47:42","guid":{"rendered":"https:\/\/www.letsgocompany.com\/?p=7346"},"modified":"2026-04-17T11:08:50","modified_gmt":"2026-04-17T09:08:50","slug":"looks-inspirados-en-cabaret","status":"publish","type":"post","link":"https:\/\/www.letsgocompany.com\/es\/looks-inspirados-en-cabaret\/","title":{"rendered":"Looks inspirados en Cabaret: tres estilos para llevar su est\u00e9tica al presente"},"content":{"rendered":"

Del Cabaret Chic Casual<\/em> al Dark Glamour<\/em> y el Vintage Burlesque<\/em>, una lectura contempor\u00e1nea del vestuario esc\u00e9nico trasladado a la calle y la noche.<\/h3>\n

 <\/p>\n

El espacio predilecto de la bohemia art\u00edstica, el Cabaret, no se conceb\u00eda sin luces tenues, misterio y una paleta dominada por tonos oscuros. El vestuario<\/a><\/span> acompa\u00f1aba \u2014y reforzaba\u2014 esa atm\u00f3sfera de sensualidad contenida a trav\u00e9s de las texturas y las formas: sat\u00e9n, lentejuelas, plumas, corsets<\/em>, encaje, tul o terciopelo. El color gravitaba en torno al negro, el burdeos y el dorado, con irrupciones puntuales de blanco pensadas para contrastar, incomodar y provocar.<\/p>\n

La tensi\u00f3n entre oscuridad, deseo y modernidad tambi\u00e9n atraviesa nuestra producci\u00f3n de Cabaret<\/em>. Lejos de una reconstrucci\u00f3n literal de \u00e9poca, la puesta en escena incorpora materiales y c\u00f3digos contempor\u00e1neos \u2014como el l\u00e1tex o el cuero\u2014 para actualizar el imaginario del Kit Kat Klub y conectarlo con una sensibilidad est\u00e9tica actual.<\/p>\n

Esta es, sin dudas, una decisi\u00f3n visual consciente: reforzar la idea de cuerpo, control y poder que siempre ha estado presente en la obra, pero traducida a un lenguaje reconocible para el espectador de hoy.<\/p>\n

Ese mismo ejercicio de reinterpretaci\u00f3n es el que permite que la est\u00e9tica de Cabaret<\/em> siga filtr\u00e1ndose en la moda contempor\u00e1nea como inspiraci\u00f3n constante. En ese cruce entre pasado y presente aparecen tres lecturas, o estilos, especialmente relevantes\u2026<\/p>\n

 <\/p>\n

Cabaret Chic Casual<\/strong><\/h4>\n

La insinuaci\u00f3n como c\u00f3digo cotidiano<\/em><\/p>\n

Esta lectura del imaginario Cabaret<\/em> se apoya en una paradoja bien conocida por la moda contempor\u00e1nea: la est\u00e9tica del effortless<\/em> rara vez es espont\u00e1nea. El Cabaret Chic Casual<\/em> no busca la simplicidad, sino la sensaci\u00f3n de ligereza en una construcci\u00f3n deliberadamente elaborada.<\/p>\n

Aqu\u00ed, el estilo se articula, por un lado, a trav\u00e9s del layering<\/em>: superposici\u00f3n de faldas, transparencias de tul, lunares, piezas con volumen, guantes. Peque\u00f1as apariciones de plumas completan una imagen que parece casual, pero est\u00e1 cuidadosamente pensada.<\/p>\n

Por otro, esta misma l\u00f3gica se traslada a combinaciones aparentemente m\u00e1s directas. Vaqueros y blazer, dos piezas profundamente cotidianas, se transforman mediante bordados de perlas, aplicaciones brillantes o accesorios cabareteros que alteran su lectura original. Todo responde a una decisi\u00f3n est\u00e9tica precisa.<\/p>\n

La paleta se mantiene contenida para permitir el juego de texturas. Negro, tonos empolvados, blancos rotos, alguna nota de color que destaque o matices oscuros sostienen una silueta que se mueve entre lo femenino y lo ambiguo, lo cotidiano y lo esc\u00e9nico.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

Selecci\u00f3n de im\u00e1genes que re\u00fane looks de celebridades, influencers y pasarela, donde la est\u00e9tica de Cabaret se reinterpreta a trav\u00e9s de siluetas contempor\u00e1neas, materiales contrastados y una lectura actual del vestuario esc\u00e9nico.<\/p>\n

 <\/p>\n

Dark Glamour<\/strong><\/h4>\n

La noche como construcci\u00f3n visual<\/em><\/p>\n

El Dark Glamour<\/em> no irrumpe como tendencia nueva, sino como un regreso. En los \u00faltimos a\u00f1os, celebridades y figuras clave del estilo han vuelto a esta est\u00e9tica marcada por la combinaci\u00f3n de brutalismo y sensualidad, para retomar la moda como una declaraci\u00f3n.<\/p>\n

Siluetas contundentes, trazados asim\u00e9tricos y una paleta dominada por negros, grafitos y tonos oscuros definen este registro. El color aparece de forma puntual, casi estrat\u00e9gica, mientras materiales como el cuero, el l\u00e1tex, el sat\u00e9n o las transparencias aportan una carga visual controlada. En su versi\u00f3n contempor\u00e1nea, el Dark Glamour<\/em> dialoga con referencias g\u00f3ticas y victorianas, pero desde una lectura actual, m\u00e1s depurada y consciente.<\/p>\n

En el universo Cabaret<\/em>, este estilo conecta directamente con su dimensi\u00f3n nocturna y pol\u00edtica: la elegancia es una forma de poder y la oscuridad, una elecci\u00f3n est\u00e9tica.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

Selecci\u00f3n de im\u00e1genes que re\u00fane looks de celebridades, influencers y pasarela, donde la est\u00e9tica de Cabaret se reinterpreta a trav\u00e9s de siluetas contempor\u00e1neas, materiales contrastados y una lectura actual del vestuario esc\u00e9nico.<\/p>\n

 <\/p>\n

Vintage Burlesque<\/strong><\/h4>\n

El pasado como herramienta est\u00e9tica<\/em><\/p>\n

El Vintage Burlesque<\/em> mira a los a\u00f1os 20 y 30 sin caer en la reconstrucci\u00f3n literal. Toma elementos del burlesque cl\u00e1sico y del vestuario de \u00e9poca \u2014corsets<\/em>, medias, tirantes, camisas masculinas\u2014 y los reinterpreta desde una l\u00f3gica contempor\u00e1nea.<\/p>\n

Aqu\u00ed, la mezcla es el requisito indispensable. Una pieza de inspiraci\u00f3n claramente vintage<\/em> convive con otra actual para evitar el efecto disfraz y construir un lenguaje propio. Corsets<\/em> transformados en tops, pantalones de tiro alto combinados con tejidos t\u00e9cnicos, camisas blancas amplias que desdibujan las fronteras de g\u00e9nero.<\/p>\n

Este estilo conecta con el Cabaret m\u00e1s l\u00fadico e ir\u00f3nico, aquel que entiende la provocaci\u00f3n como inteligencia est\u00e9tica m\u00e1s que como exceso. Vestirse desde el pasado, en este caso, es una forma de recordar que ciertas tensiones vinculadas al cuerpo y el poder siguen plenamente vigentes.<\/p>\n

 <\/p>\n

\"\"<\/p>\n

Selecci\u00f3n de im\u00e1genes que re\u00fane looks de celebridades, influencers y pasarela, donde la est\u00e9tica de Cabaret se reinterpreta a trav\u00e9s de siluetas contempor\u00e1neas, materiales contrastados y una lectura actual del vestuario esc\u00e9nico.<\/p>\n

 <\/p>\n

Cabaret como actitud<\/strong><\/h4>\n

El universo del Cabaret<\/em> sigue funcionando como referencia est\u00e9tica precisamente porque desborda sus propios l\u00edmites y no se confina al vestuario. Fue \u2014y sigue siendo\u2014 una forma de mirar el cuerpo, el poder y la puesta en escena.<\/p>\n

Cabaret Chic Casual<\/em>, Dark Glamour<\/em> y Vintage Burlesque<\/em> no son m\u00e1s que distintos registros de una misma idea, orbitando en torno a la reinterpretaci\u00f3n como motor creativo. M\u00e1s que categor\u00edas cerradas, estos estilos funcionan como lecturas posibles del imaginario est\u00e9tico de Cabaret<\/em>, patrones detectados en la moda actual y en resignificaciones esc\u00e9nicas.<\/p>\n

Layering<\/em>, materiales contempor\u00e1neos, piezas cotidianas alteradas y archivos del pasado activados desde el presente responden a una misma l\u00f3gica de mezcla y reubicaciones conceptuales.<\/p>\n

Podr\u00eda hablarse, entonces, del Cabaret como una actitud m\u00e1s que como un estilo. Sus c\u00f3digos aparecen hoy en el vestir cotidiano, muchas veces de forma inconsciente. Ya no est\u00e1 reservado a la noche ni a un espacio concreto y, en ese desplazamiento, se revela como s\u00edntoma de una libertad est\u00e9tica contempor\u00e1nea: la ausencia de esquemas r\u00edgidos que limiten el uso de determinadas prendas a horarios, contextos o escenarios espec\u00edficos.<\/p>\n

El corset<\/em> y el sat\u00e9n dejan de pertenecer exclusivamente a la noche y las transparencias se integran en el d\u00eda a d\u00eda. Este desplazamiento no es casual: hoy al fin se cuestiona la rigidez de los c\u00f3digos tradicionales y se diluye las fronteras entre lo esc\u00e9nico y lo cotidiano, lo diurno y lo nocturno, lo permitido y lo provocador.<\/p>\n

En ese mismo movimiento, tambi\u00e9n se erosionan las divisiones de g\u00e9nero hist\u00f3ricamente asociadas al vestir. Prendas, tejidos y siluetas que durante d\u00e9cadas funcionaron como marcadores de lo femenino o lo masculino se liberan de esa funci\u00f3n normativa. Camisas amplias, corsets<\/em>, medias, encajes o blazers intervenidos circulan hoy sin una adscripci\u00f3n fija, activando una est\u00e9tica m\u00e1s ambigua y m\u00e1s fluida.<\/p>\n

En ese cruce, Cabaret deja de ser una referencia hist\u00f3rica para convertirse en un lenguaje activo. Vestirse ya no implica adecuarse a un contexto cerrado, sino apropiarse de c\u00f3digos, mezclarlos y resignificarlos.<\/p>\n

 <\/p>\n

Por La Pluma de LETSGO, Claudia P\u00e9rez Carbonell, a 15 de enero de 2026<\/p>\n

 <\/p>\n

 <\/p>\n

\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Del Cabaret Chic Casual al Dark Glamour y el Vintage Burlesque, una lectura contempor\u00e1nea del vestuario esc\u00e9nico trasladado a la calle y la noche.   El espacio predilecto de la bohemia art\u00edstica, el Cabaret, no se conceb\u00eda sin luces tenues, misterio y una paleta dominada por tonos oscuros. El vestuario acompa\u00f1aba \u2014y reforzaba\u2014 esa atm\u00f3sfera […]<\/p>\n","protected":false},"author":12,"featured_media":7359,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"off","_et_pb_old_content":"

[et_pb_section][et_pb_row][et_pb_column type=\"4_4\"][et_pb_text]<\/p>

We sat down with Valerio Tiberi to talk about creativity and technique in stage lighting.<\/h3>

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Theatre (\u2026) is the only place where you can rediscover darkness.<\/p><\/blockquote>

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Valerio Tiberi is one of the most sought-after lighting designers in the European theatre scene. His professional range spans from opera productions in emblematic venues like the Op\u00e9ra Bastille in Paris and Teatro alla Scala in Milan, to international musicals such as The Phantom of the Opera<\/em><\/a><\/strong>, Cabaret<\/em><\/a><\/strong>, or West Side Story<\/em>; ballet (A Thousand Tales<\/em>, Alice in Wonderland<\/em>, etc.), and haute couture fashion shows for brands like Valentino and Dolce & Gabbana. He has received numerous awards, including the Italian Musical Oscar and Best Lighting Design.<\/p>

His work strikes a natural balance between technical precision and aesthetic sensitivity \u2014which is no small feat. In this interview, he opens up about his creative process, his reflections, and the challenges of lighting vastly different worlds: the theatre stage and the fashion runway.<\/p>

\"\"<\/p>

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The challenge of lighting a classic<\/strong><\/h4>

Tiberi recalls that his relationship with LETSGO dates back at least to 2016, when they produced Dirty Dancing<\/em> in Spain for the first time:<\/p>

I came with Federico Bellone; we were the original creative team. Since then, we\u2019ve done many productions [with LETSGO], but without a doubt, the most successful one is The Phantom of the Opera<\/a><\/strong><\/em>.<\/p><\/blockquote>

Being part of the first Spanish-language production of one of the most successful musicals in history was a challenge in every sense. Tiberi remembers staging Phantom<\/em> at Teatro Alb\u00e9niz as \u201ca very difficult project.\u201d This is where the intricacies of lighting design come into play, when theory meets the hard ground of practice:<\/p>

The biggest challenge was finding the physical space to place the light. We can all come up with incredible ideas, but my job is to make them into reality.<\/p><\/blockquote>

\"\"<\/p>

Lighting design by Valerio Tiberi for The Phantom of the Opera<\/em> (Madrid production). Photo: LETSGO.<\/p>

\u00a0<\/p>

It was one of those times when art has to come down to earth: adapting to budgets, technical layouts, timelines, and spatial limitations. Finding the perfect spot for the light, and projecting from there.<\/p>

We used very powerful light sources that could do several things at once: specials, washes, effects. We worked a lot with light tilting to create depth, and we also used smoke, fire... fire is light, too, of course.<\/p><\/blockquote>

An artist\u2019s greatness often lies in their versatility. Cabaret<\/em> <\/a><\/strong>is a whole different beast \u2014but naturally, Tiberi embraces the challenge:<\/p>

In Cabaret<\/em>, the approach is completely different. It\u2019s an immersive production and although we\u2019re still in the creative process, the challenge is once again the same: finding space for the lights. Only this time, the light is exposed. In Phantom<\/em>, it was hidden. The audience didn\u2019t see it. In Cabaret<\/em>, the lighting is part of the set. Everyone will see it.<\/p><\/blockquote>

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Thinking like the audience<\/strong><\/h4>

Lighting design is not just a technical craft. How do you think about a show when you\u2019re a creative but can\u2019t lose sight of the surgical precision that light demands? Luckily, artistic environments are fertile ground for questioning and transformation.<\/p>

Tiberi is clear: the key is thinking like the audience. In the end, it all comes back to emotion and to human reaction:<\/p>

There\u2019s no one rule. I adapt to each situation. For example, with Cabaret<\/em>, I started from the tools: I knew I needed dynamic, effect-driven lighting. In Phantom<\/em>, it was the opposite: storytelling was my starting point.
But in both cases, I try to keep an artistic mindset from the beginning. I like to think like the audience. The audience doesn\u2019t know if it was hard or easy to achieve an effect; they only know if it moved them. That\u2019s why I try to understand how the human mind reacts to light, to color, to stimuli. And that changes depending on the type of show, the city, the society. It\u2019s not just design: it\u2019s psychology.<\/p><\/blockquote>

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Custom Gobos used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

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Rediscovering darkness<\/strong><\/h4>

Tiberi is fascinated by a deeply contemporary concern: in a world blinded by light (computers, phones...) we\u2019ve become unavailable to darkness. We live in a state of overexposure, often without even realizing it.<\/p>

Theatre, like some exhibitions, is the only place where you can rediscover darkness. That\u2019s why I always start from the dark. And from there, I build layers. I begin with the black, then work on the amount of light: the white. And if needed, the colors come after. Contrast is essential. I\u2019m not just talking about aesthetics; I\u2019m talking about creating an intimate experience, something the audience doesn\u2019t find in their daily lives.<\/p><\/blockquote>

\u201cRediscovering darkness (\u2026) an intimate experience.\u201d <\/em>To train the mind to appreciate privacy and reflective environments \u2014so often linked to solitude and twilight\u2014 has become a monumental act. In this sense, framing theatre as a space that revives our most primal thoughts and relationships isn\u2019t nostalgia: it\u2019s a new form of approach, born from our modern context.<\/p>

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Can AI understand theatre?<\/strong><\/h4>

Another hallmark of our times: new technologies and the relationships we forge with them. Tiberi acknowledges that AI has helped him streamline tasks and compare ideas:<\/p>

It\u2019s like a secretary: I feed it images, concepts, and ask it to try out atmospheres. But of course, AI doesn\u2019t know where to physically place a light in the theatre, or which type to use, or when. It helps optimize, expand your thinking, but not solve the essentials.
I mostly use it for dramaturgy. I create mental maps of the show, there, it\u2019s useful. But you need time. If you\u2019re working, you\u2019re working. Still, I think many professions could benefit from AI if used wisely.<\/p><\/blockquote>

Despite growing discussions about whether human creativity can be replaced by algorithms, Tiberi reminds us that some things can\u2019t be substituted. Asked about a moment where lighting was crucial to solving a dramaturgical challenge, he shares:<\/p>

In Houdini<\/em><\/strong><\/a>, in Italy, one of the last scenes was very hard to resolve. We talked for weeks about how to stage it\u2026 and in the end, I did something very simple in the theatre and it worked. Sometimes we overthink things, and the solution is in the simplest move.<\/p><\/blockquote>

\"\"<\/p>

Lighting design by Valerio Tiberi for Houdini<\/a> <\/em><\/strong>(Italy production).<\/p>

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Being a designer today: the power of active experience<\/strong><\/h4>

In a world where instinct and hands-on experience make all the difference, Tiberi knows exactly what he\u2019d tell a young lighting designer starting out:<\/p>

Nowadays, with all the tech out there, it\u2019s easy to reach an average level. But getting to the top is harder than ever. The key is real experience. You need to be in the theatre, live the space, rehearse, test. Be there at least 300 days a year. And travel. See shows, museums, exhibitions. Not just modern ones, classics too. Go to the Louvre, to MoMA\u2026 Start from what\u2019s tangible. Don\u2019t stay in one country, or one style.<\/p><\/blockquote>

On his experience teaching at the Accademia Teatro alla Scala, he adds:<\/p>

I don\u2019t want to be a traditional professor. I want to speak from experience, what\u2019s worked and what hasn\u2019t. I try to involve my students directly in the theatre. That\u2019s where real learning happens.<\/p><\/blockquote>

\"\"<\/p>

Color List used for the lighting design (left) and Designer\u2019s magic sheet (right), both used on The Phantom of the Opera<\/em>. Courtesy of Valerio Tiberi.<\/p>

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Fashion vs. Theatre: two worlds, two timeframes<\/strong><\/h4>

As mentioned earlier, Tiberi\u2019s work isn\u2019t limited to the stage or the classroom. He\u2019s also designed lighting for fashion shows, where atmosphere and storytelling \u2014when present\u2014 play a secondary role. But where does the real difference lie between stage and runway?<\/p>

It\u2019s all about timing. In fashion, preproduction is long, but setup takes just two or three days. And the show lasts, at most, twenty minutes. In that time, you run seven or eight cues: the intro, models entering, the runway, the finale, the exit.
It may not sound like much, but it\u2019s a massive job, with last-minute changes, contradictory decisions\u2026 sometimes the day before.
Above all, it\u2019s about the clothes. You need to light the garments with natural-looking light, without altering colors, minimizing shadows. The image must be clean, sharp. Sure, you work on the mood, but ultimately, it\u2019s about showcasing the clothes. It\u2019s about showing and selling.
And the goal is completely different from theatre. In a fashion show, what matters most is what ends up on Instagram. Lighting has to be tailored for smartphones, not for the human eye. And there\u2019s the live stream too, all the major brands do it now.<\/p><\/blockquote>

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The emotional impact of light<\/strong><\/h4>

A profession that walks the line between creativity and technicality but that, above all, demands a sensibility centered on the audience. In this sense, theatre stands as a master at evoking the deepest emotions.<\/p>

\"\"<\/p>

Lighting design by Valerio Tiberi for Natura Encesa <\/em>(Barcelona production). Photo: LETSGO.<\/p>

\u00a0<\/em><\/p>

In musical theatre, the show comes together during previews, where you polish the details. The most emotional moment is the premiere, that\u2019s when you can finally sit back and enjoy. Opening night is when you let go and just watch.<\/p><\/blockquote>

The premiere is the first glimpse into the emotional impact a piece can have, not just on the audience, but on the team behind it. In September 2024, Valerio Tiberi returned to Madrid after nearly a year, not because of Phantom<\/em>, but for unrelated reasons. Still, he went back to the Alb\u00e9niz to see the show again:<\/p>

I was crying the whole time. After a year\u2026 it made me cry. When that happens, it\u2019s a good thing.<\/p><\/blockquote>

\u00a0<\/p>

By<\/span> The<\/span> LETSGO<\/span> Pen<\/span>,<\/span> Claudia P\u00e9rez Carbonell,<\/span> on <\/span>July 15th<\/span>, 2025<\/span><\/span>\u00a0<\/span><\/p>

\u00a0<\/span><\/span><\/p>

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