Artist: Astrid Țîrlea
The challenge to the call of which Astrid Țîrlea answered was that of creating a piece of apparel dedicated to the idea of fashion crime that she coagulated into a conceptual installation – with certain particularities, depending on the local characteristics. The provincial town – in this case, Oradea – becomes a means for astonishing with the help of fashion artifices destined for moments of celebration.
The wedding is the ultimate occasion for showing off the most personal choices in what concerns wardrobe. The offer of the market grows ever more abundant, and the details connected to the enrooted styles appear in the most varied approaches of the local brands. There is in the majority of provincial regions a predilection for certain luxurious details and a common taste for some materials, forms and “preciousnesses” of the wedding dress. Refinement has become a customized criterion that is sketched out based on education, budget, social and professional status.
The wedding dress is the white symbol of consortium – a term that refers to the generous offer on the market and to the afferent competition-based market specialized in that sense, as well as to the common denominator in what regards fashion language and its fitting into a certain pattern. The current project once again brings forth the discussion about marriage as a social phenomenon, as well as an intimate one: on one hand, we have the grandeur of the event, impacting the localized development of the festive content and having a programmed character, on the other hand, we have the polyvalent contract between two spouses intertwining their destinies. The familial involvement allows for a tour de force in the creation of a pleasant ambiance, of a memorable wedding and the fulfillment of a social duty. New relations are created, family relations, friendships, between generations and communities, thus consolidating complex family structures. The white – by means of its quantity and sheen – creates a mythical aura for the entire process, and the wrappings connected to the ceremonial are under the sign of this typical feature, eclipsing other appearances around it.
The heavy aspect of an oversized dress offers, in a restricted context, the reality of a status quo in which the wedding – a grand ensemble of resources – becomes a sign of opulence and of the physical discomfort that the woman endures for the sake of the most memorable appearance of her life. The stereotype-dress conveys the ostentatiousness with which she makes her appearance in the ceremonial space and beyond. The lacing takes on the synthesized pattern of the provincial map, suggesting the belonging of the pattern and the pseudo-modern character of the phenomenon.
The object transcends the utilitarian function of the dress, presenting itself as an abstracted version in the form of an edifice. The white dress is an institution and a form of authority that can be tested, not belonging to anyone in particular. Once tried out, used, it can be transformed into a transmittable product that anyone may possess and give a value to, in a disproportioned relation to their own presence.
Olimpia Bera, PhD
Erika Tőmlő, Ivănescu Lucian, Barabás István, Raul Lupu