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Jennifer Lopez’s ‘Marry Me’ Dress Weighed 95 Pounds — and Required Its Own Entourage

Sounds like someone should have called a different "Wedding Planner."

MARRY ME, Jennifer Lopez, 2022. ph: Barry Wetcher /© Universal Pictures / Courtesy Everett Collection

“Marry Me”

Barry Wetcher /© Universal Pictures / Courtesy Everett Collection

Jennifer Lopez is probably the only person on Earth who would say “I do” to a 95-pound gown.

The “Marry Me” star reportedly donned an encrusted, Cinderella-esque wedding dress for her onscreen nuptials to Maluma in Universal’s “Marry Me.” The film now in theaters and streaming on Peacock, follows global superstar Kat (Lopez) as she plans to tie the knot onstage to singer fiancé Bastian (Maluma) while performing their hit duet.

For the big moment, “Marry Me” costume designer Caroline Duncan selected the stunning rose-gold metallic Zuhair Murad bridal gown off the runway. The dress consists of nine layers of silk taffeta, horsehair, and tulle, as Variety reported. Due to crystals, ruffles, silver, and lace embroidery, the gown was “extremely heavy,” according to Duncan.

“The dress weighed 95 pounds and required five people to transport it and an entourage to get Jennifer in and out of it, but it gave the dress that volume,” Duncan said.

And the physical weight of the gown is meant to represent the impending burden of marrying Bastian in the film. Kat also learns that her fiancé has been cheating on her, leading to the rushed marriage to a stranger, played by Owen Wilson.

“First, you see her get into the car, and it’s a symbol of how that wedding had gotten too big, and it wasn’t honest and has taken over her ability to see who she was marrying,” said Duncan. “Later, you see her in the bedroom alone on what should have been her wedding night, and here she is trapped in this claustrophobic dress that’s like the concert — bigger than she is. It’s the loneliest shot in the movie.”

IndieWire critic Kate Erbland wrote in her review of “Marry Me” that the film is an ode to romantic comedies before, including celebrity-falls-for-a-commoner classic “Notting Hill” and Lopez’s “Maid in Manhattan.”

Erbland writes, “‘Marry Me’ is rife with the kind of tropes audiences expect (and desire!) from the genre. We’ve got mismatched lovers, a big crazy scheme that brings them together, a little bit of subterfuge, cute kiddos, and a potentially devious ex. A generous dollop of montages help it go down easy, and there’s song and dance to boot.”

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