Rosa Rooney's Minor Instrumentalities looks at the mundane routines we enact as we appropriate fashion accessories in to our daily dress-codes. Focusing specifically on the mechanical action of doing and undoing shoelaces, belts and hair-ribbons, Rooney transforms these everyday actions into clinical, choreographed procedures.
TRIP: Could you explain the concept behind your film ‘Minor Instrumentalities’?
Rosa Rooney: The idea is based round the small routines of the everyday. I wanted to look at accessories specifically and how the process of the doing and undoing of the accessory could become synchronized. The film is commenting on the mechanics of the everyday whilst also demonstrating the process of an accessory.
TRIP: What is it about these processes that are so mechanical? How is this portrayed in the film?
Rosa Rooney: These processes are mechanical to us because they are routine. The way I represented them in the film was through uniformity and synchronization, it was to exaggerate and display the routine and mechanics of these everyday routines. However, I also wanted to show how you can transform an everyday task into a choreographed synchronized routine.
TRIP: Where does the idea of repetition, particularly with the 3 sets of identically styled models, come into play?
Rosa Rooney: Repetition is used in this film to tie each movement together. The styling at first was to serve as a blank canvas for the movement, however this styling developed into a uniform which compliments the mechanics of the film.
TRIP: What ignited your love for film and moving imagery?
Rosa Rooney: I have always loved moving image but never saw myself making film. I used to mess around with my friends camcorder making short spoofs but this was all for fun! My interest in making moving image developed at university, I love the versatility of moving image and I have always responded much better to the narrative of moving image than written word.
TRIP: For visuals alone – what is your favourite film?
Rosa Rooney: Wings of Desire directed by Wim Wenders is beautifully shot. I know this is not a film but I love the visuals of the series Twin Peaks from David Lynch. I also think you can’t fault Wes Anderson on his sets and styling, they are always so perfect, I think every little detail counts in film and Wes Anderson is a huge perfectionist.
TRIP: Where there any particular visual or cinematic influences for the film?
Rosa Rooney: The Andy Warhol Screen Tests inspired the static studio setting. If you take a process out of its natural habitat the process automatically becomes more sterile.
TRIP: What is the role of a fashion film, for you?
Rosa Rooney: I feel fashion film is like any other form of promotional film, however there seems to be more room to experiment. I would like to see more money put into fashion film and for fashion film to gain more narrative and concept.
TRIP: What can a film capture that a still image can’t?
Rosa Rooney: Well, movement and sound. I wanted there to be a reason why I was using moving image as a medium for this project. This film is capturing this hypnotising synchronized movement of these everyday routines along with the intrinsic sounds. This combination cannot be captured through still image. However I do have huge amounts of respect for photographers as it takes vast skills to convey a concept or narrative through a selection of still images.
TRIP: What can we expect from you next?
Rosa Rooney: I am currently working with a friend for a promotional film for his fashion label, whilst also gaining freelance work in production.