In ‘One Battle After Another,’ Colleen Atwood Perfects the Art of Subtle Costuming

Colleen Atwood, an Oscar-winning costume designer, has crafted outfits ranging from the opulent Jazz Age of Chicago to whimsical realms inspired by Lewis Carroll. For Paul Thomas Anderson’s latest work, One Battle After Another, Atwood grounded herself in present-day realities, designing costumes for a range of characters including activists, high school students, and even weed-growing nuns. “This is one of the films I’m most honored to be involved with,” she shares.

Atwood’s connection with Anderson was sparked by a chance meeting during lunch. “I ran into him while leaving a restaurant, and he asked, ‘What are you up to?’ I replied, ‘Just hanging out,’ and he invited me to be part of his next project,” she recounts. And indeed, she eagerly accepted.

The film captivates audiences with its stunning visuals and thrilling score, while its costumes subtly enhance the storytelling. “It was a matter of conscious unconsciousness,” Atwood reflects on her approach to costuming. She emphasizes that when portraying characters like revolutionaries in hiding, understated attire is critical for authenticity. “There’s a temptation to romanticize figures like Che Guevara, but they wouldn’t want to draw attention to their clothing,” she explains. Take Regina Hall’s character, Deandra; her outfit signifies pure-heartedness—it’s not something she ruminates over.

During the initial costume development, Atwood and the actors gathered at Anderson’s residence in Los Angeles for fittings. “We worked on costumes with Leo [DiCaprio] and Chase [Infiniti], shooting on 35mm film and refining designs as we went,” she reveals. “Such collaboration between director and actor is often rare, but it was essential for this film.”

This collaboration led to DiCaprio adopting the persona of Bob, complete with a relaxed stoner dad aesthetic depicted by his custom-checkered bathrobe. Atwood recounts, “The first robe was a rental, but I loved the concept so much that I created several copies in the same style.”

Willa’s main outfit drew inspiration from a student Anderson observed in Eureka, California, who attended a school dance in a petticoat skirt. Instead of using polyester, Atwood created Willa’s airy skirt from silk gazar, designed for movement and agility. “I structured it with sufficient volume to catch the wind,” she explains. Furthermore, the layers added a delicate quality, ideal for the film’s darker scenes, paired with a rugged leather jacket that Atwood likens to an item from Grease. “It’s likely her prized possession—a jacket she truly cherishes,” she adds.

Atwood’s portrayal of the Christmas Adventurers Club—an affluent, real-life secret society of white supremacists, led by Tony Goldwyn—is imbued with a sense of documentary realism. A key scene unfolds during an urgent meeting with club members, all clad in various attire—from golf gear to pajamas. “One day at Orvis in Pasadena, I spotted a man dressed just like one of my characters; it inspired my designs for the scene,” she reveals.

For Sean Penn’s portrayal of Colonel Steve Lockjaw, who aspires to join the Christmas Adventurers, Atwood emphasized his discomfort in fitting in through his mismatched formal wear. “I aimed for a look reminiscent of what his mother might select for an Easter Sunday,” she says. In one pivotal scene, he dons his best outfit—a navy blazer, khaki trousers, and a crisp tie, intentionally chosen to appear fresh and new, which aligns with the poignant aspects of Penn’s performance.

Among the costuming highlights is Benicio del Toro’s Sensei Sergio St. Carlos—a figure that embodies a “Harriet Tubman” archetype for undocumented immigrants and also serves as Willa’s karate mentor. Initially, Atwood envisioned him in a gi, inspired by a martial artist she once saw wearing a turtleneck underneath his uniform. However, del Toro’s input shifted the design direction: “He asked, ‘Why would I be in my gi while doing paperwork?’” As a result, he sported gi pants but paired them with a sleek Puma track jacket that Atwood had intended for another scene.

In her quest for authenticity, Atwood’s field trips greatly influenced Sensei’s aesthetic: combining gi pants with an indigo denim jacket and cowboy boots—a look inspired by stylish finds during her visit to El Paso. “The incredible cowboy boots I discovered added a distinct touch,” she mentions. Atwood collaborated with New York’s Jimmy McBride to create a denim version of a leather jacket, encapsulating her vision.

For Atwood, the essence of Sergio’s layered, realistic ensemble symbolizes the overall costume-making journey: “It all came together in a flowing manner.”