Everyone’s Talking About Tessa Thompson’s Bold ‘His & Hers’ Wardrobe

“His & Hers,” Netflix’s adaptation of Alice Feeney’s psychological thriller, has ignited a frenzied discourse—not just about the finale’s bombshell revelations, but also Tessa Thompson’s monochromatic, leather-stacked wardrobe by costume designer Mirren Gordon-Crozier. “I've been getting a lot of DMs from people,” she says.  Moving the setting to Atlanta, from the novel’s London, gave Gordon-Crozier the opportunity to create an original, style-forward, and Easter egg-filled signature look for Anna (Thompson). After a tragic loss and a mysterious absence, the hard-nosed journalist returns to reclaim her star news anchor job. Instead, she finds she’s been replaced by the equally ambitious and tenacious Lexy Jones (Rebecca Rittenhouse). Anna then heads back to her hometown to investigate what becomes a series of murders targeting her former high school classmates—and reconnects with her estranged husband, Jack (Jon Bernthal), who happens to be the police detective on the case. Her striking, designer outfits immediately signal she’s the big-city outsider—and prodigal daughter returned home.

Florence Pugh’s “striking” blue 19th-century dress—designed by Holly Waddington for series creator William Oldroyd’s 2016 film Lady Macbeth—laid the groundwork for Anna’s color-saturated monochromes. “I knew that he was very into color, and that I could use color to tell a story,” says Gordon-Crozier, remembering her first meeting with Oldroyd “It's my favorite thing to do.”

In her research, she also found that real Atlanta news anchors gravitated toward bright, pattern-free monochrome wardrobes. So Anna stands strong in a jewel-toned color palette and sleek silhouettes inspired by ‘90s Gucci by Tom Ford—also to counter a “Fox News”-referential Lexy, in her bouclé Self Portrait mini-skirt-suits.  “I wanted [Anna's wardrobe] to have a little bit of a vintage flair to it,” says Gordon-Crozier.

Plus, the limited-series star was all in. “Tessa Thompson is very fashionable; she has great personal taste,” says Gordon-Crozier, recalling five-hour fittings. “Sometimes, if I put a pink Versace suit on another actor, they might be like, ‘Ah! That's scary.’ But she gets the kitschiness of things.”

‘Flashy’ Designer Pieces

Gordon-Crozier introduces Anna in a teal-blue look that carries her from indignation at her Atlanta television studio to on-the-ground investigative reporting in Dahlonega. “I didn't want to start the show in super bright colors,” says Gordon-Crozier. 

The moody, high-contrast blue reflects Anna’s ongoing grief and trauma and foreshadows the crime scene to come, which will unearth more dark secrets from the past. Gordon-Crozier immediately fell in love with a Versace-esque meander-print fabric she found at a local Atlanta store, using it to custom-design Anna’s blouse based on a billowy, large-collar ’90s vintage piece. “A lot of these anchors are a little bit flashy,” says Gordon-Crozier, envisioning Anna proudly wearing high-end designer labels. “I wanted to incorporate that [vibe] without the entire Gucci emblem.”

Gordon-Crozier then added a tonal tuxedo stripe to a pair of peacock-blue Argent trousers, finishing off with a vintage patent Dolce & Gabbana coat for Anna to assuredly report from the brutal murder scene for the evening news. “It’s a bit of armor. She puts it on as she enters the crime scene knowing that she'll probably see people [she doesn’t want to see],” says Gordon-Crozier. “It really hit the light beautifully, and was pearly, interesting, and made her stand out a little bit. It was really important for me to always have her in a statement coat.”

‘Fierce’ Snakeskin

Now embedded in Dahlonega, Anna, in a saturated-green python ensemble, confronts her mother Alice’s (Crystal Fox) worsening dementia and pays a visit to her all-girls high school, where she was a scholarship student. Her former mean-girl classmate Helen (Poppy Liu) stayed in town to become the headmistress. “Obviously, green has a lot of underlying meaning, like envy,” says Gordon-Crozier, referring to both Anna’s revelation of Jack’s dalliances during her absence and teenage dynamics with her wealthy, ruthless frenemies. “Python is also metaphoric.”

Adding to Anna’s sartorial arsenal, Gordon-Crozier custom-dyed a neutral-hued Isabel Marant snakeskin trenchcoat into the same green as a Los Angeles Apparel leather mini-skirt. With a coordinating silky blouse by Vince, Anna’s tonal outfit conveys a deeper emotion. “Dressing in one color—head-to-toe—is less complicated if you are mentally struggling,” says Gordon-Crozier. “But it is just bold and fierce, for lack of a better word.”

Casual, But Still Elevated Hometown Looks

Reunited with family and reckoning with ghosts from the past, Anna reveals a rawer, pared-back—but still armored— persona distinct from her monochrome signature. “She dresses more casually, but she's still very coordinated and cares,” says Gordon-Crozier. 

Anna stays elevated in vibrant knits, like a vintage red-and-blue striped Ralph Lauren Polo sweater and a multicolor argyle crewneck by &Daughter, and carries a luxurious, but refined Chanel Cerf tote.  “My prized possession,” says Gordon-Crozier, imagining Anna shopping on Net-a-Porter. Anna also cinches the waist of her Cos trenchcoat—nodding toward her detective skills—with a Khaite python belt. “She definitely wants to, subconsciously, differentiate herself from the town,” says Gordon-Crozier. “So when she is dressed down, she's still very well-dressed.”

Code Red

Barreling toward the finale, Anna uncovers Lexy’s shocking secrets and they face off in a savage, no-holds-barred showdown. Anna’s dressed for battle in dark-wash Khaite jeans and foreboding reds: a wine-hued, ‘80s-referential, and belted and cinched leather jacket and persimmon Sandy Liang sweater. “She's suspicious and she's probably scared she's going to be the next one to die,” says Gordon-Crozier. “Red is a bold and fearless color, and obviously represents blood. So tying it back to the blood that we saw in the first [murder scene] shot.” 

Finale Orange

A year later, the series concludes—and with a real twist. Jack and Anna are back together and expecting. She’s also resumed her lead news anchor status in Atlanta. Anna confidently wraps an on-air segment in a vibrant orange Dries Van Noten body-con dress. “I chose orange because the last time she was happy, she wore orange. It’s kind of sad,” says Gordon-Crozier.

In an episode-three flashback, Anna wears an orange outfit from work to a reluctant date night with Jack in Dahlonega. Her red-toned vintage Ralph Lauren leather blazer, over a silk Essential Antwerp sleeveless top, reads like a warning—not to go—while their baby daughter Charlotte dies from crib death under Alice’s watch. “So it's another tying-a-knot on the story,” says Gordon-Crozier.