Yesterday, Today, Tomorrow is the fully fledged seed of the filmmaker, journalist and model Emma Rosenzweig. The film was commissioned by Copenhagen based fashion label GANNI and features their collections, past, present and future. Ganni and Rosenzweig both wanted to explore the 'unknown' within a world stripped of care for what's new vs what's old. "The clothes have a meaning because it’s a film where people wear clothes, and clothes are history – the characters in the films are representing people who have stories and their smells and tears and dirt make clothes the carrier," says Rosenzweig.
Rosenzweig studies art at Stadelschule in Frankfurt where she works in a multidisciplinary way: images, words, sound and film. Her work as a model has developed her interest in combining fashion and art, "ever since I can remember I have been devoted and attracted by everything melancholic, nostalgic and superficial."
Rosenzweig took the idea of superficiality and wrote in strange characters that seem animalistic, like they are inhabiting the clothes; the clothes are the character's old, present and future habitats. “I had a vision of a boy in a car, driving away with a lot of clothes that he stole, driving to a forest only to put on the clothes and show it off for the trees and leaves – kind of like a crow showing off stolen treasures. I also wanted to show in a naive and childish manner the whole idea of the superficiality of the fashion industry where everything is based on collections that come and go.”
Yesterday, Today, Tomorrow's foundations are embellished with nostalgia as the film depicts cult influences; the title borrowed from the Italian film Ieri Oggi Domani (1963) by Vittorio De Sicas and a distinct interest in the behaviours of Buffalo Bill, the murderer from Silence of the lambs.
“I wanted to work with three totally different settings that complimented each other as well as distancing each other. I have a nostalgic affair to everything melancholic and I sometimes wish I could be invisible and walk into peoples houses and film them without them knowing. I can stand on the street and look into peoples apartments and houses through their windows for hours.”