Issue link: https://digital.copcomm.com/i/1545089
42 SUMMER 2026 PHOTO: LANCE BANGS When Advertisement Becomes Art • By Christina Matthews S O M E D A Y S O M E D A Y n 2025, Apple collaborated with acclaimed director Spike Jonze (Her, Where the Wild Things Are) on Someday, an emotionally resonant short film/ commercial spot highlighting the brand's noise- canceling earbuds (a commercial-length version was coordinated while filming the short film). Anchored by a nuanced performance from actor Pedro Pascal (The Last of Us, The Mandalorian), the commercial opens in a desaturated winter cityscape where a quiet, aching breakup sets the tone. Pascal's character dris through slate gray streets, the atmosphere heavy with loss … until he activates his headphones. A surge of dancers materializes around him, translating his emotions into movement. As the story transitions from winter to summer, so does the palee. Cool grays and muted blues give way to bright reds and warm yellows, mirroring the characters' emotional thaw. Pascal, dancing his way into a brighter chapter and the costumes evolving in tandem. While many viewers might assume a heavy reliance on digital manipulation, the production, refreshingly, embraced old-school practical effects. Entire city blocks were dressed from façade to sidewalk on the Los Angeles soundstages at Paramount. Most impressively: Nearly a hundred dancers and background performers moved through the frame in precisely coordinated waves of color. Costumes (Designed by Kim Barre) were key to the illusion— meticulously ploed ensembles, some bisected in contrasting hues, engineered to transform with each choreographic turn. Costuming plays a pivotal role: Layers of garments are ingeniously split down the middle and sides, allowing shiing formations to generate color-blocked illusions in real time. Having had the privilege of being onsite with the dancers for much of this ambitious shoot, I got a front-row seat to the extraordinary precision. The Costume Department operated with remarkable cohesion, highlighting the crasmanship that made Someday not just a commercial, but artwork come to life. I caught up with Stacia Lang (705 Women's Custom Made), as well as my fellow Set Costumer on the commercial, Nico Alvarado (705 Men's Finished), to discuss how they broke into the industry, geing into Local 705, as well as their take on the unique operations of Someday. What was your journey like geing into costuming and into 705? NA: I knew I wanted to pursue a career in filmmaking, but not much beyond that. Aer high school, I interned and PA'd on a few projects for Kevin Mann at Haven Entertainment. Aer my sophomore year of college, I informed Kevin that I was pursuing a degree in film and fashion, so he responded with, 'Come be a PA on a film this summer and see how you like it.' I immediately fell in love—costuming combines my two passions and I'm so grateful to Kevin, as I had not considered it as a career option. That first film was Hello, My Name Is Doris, costume-designed by the lovely Rebecca Gregg, and she hired me again the following summer. Aer college, Kevin once again swooped in and hired me on a web series costume-designed by the incredible April Dunlap. That job led to the next and so on and I gained entry to Local 705 in just over a year. SL: I had been in New York in the '80s doing costumes for theater and dance. Aer that, I went back to my home state of Minnesota to work with Prince. The incredible women I met there (among them, Costume Designers Lou Eyrich and Sister Daniels), were those I reached out to when I came to Los Angeles. We had all made the journey here to work in film. They were union members, and along with the late Costume Designer Lynn Bernay, they all encouraged me to join 705. I