In Bob Marley: One Love, the vibrant costumes are as integral to the storytelling as the reggae beats that defined a generation. Costume designer Anna B. Sheppard uses color and texture to highlight the contrast between the warmth of Jamaica and the starkness of London, capturing the essence of Bob Marley’s journey. In this exclusive conversation, Anna shares how her team’s deep admiration for Marley shaped the film’s costumes of Bob Marley: One Love, the stories behind the designs, and the hope she has for audiences to leave the theater uplifted by a celebration of love, culture, and resilience.
Spencer Williams: To start, I’d love to hear more about your research and preparation. I thought I knew Bob Marley, but I never really understood how he dressed, the area he lived in, or even the music he listened to outside of his own. How did you familiarize yourself with all of that for this project?
Anna B. Sheppard: When I moved to London in 1976, my first big cultural event was a Bob Marley concert. I remember that vividly—it made such a big impression on me. So, even though this film was very different from anything I’d done before, it was also much more interesting. I thought, Let’s go for the challenge.
I started by reading everything written about Bob Marley—biographies, books about his life. Everyone knows his music, but apart from gossip about his affairs and personal life in the papers, most people don’t know much about him. Not many realize he came from a very poor background.
Before our first trip to Jamaica, I told the director and the director of photography, You have to take the costume designer with you—I need to see Jamaica. I can’t do this film without seeing it myself. When I got there, I was overwhelmed.
Meeting people who knew him or worked with him was incredible. There aren’t many still alive, but in Jamaica, Bob Marley is everywhere. You can ask anyone, and they’ll have a story or an answer. I went to Trenchtown and the Marley Museum.
Seeing his surroundings, hearing how people talked about him, and understanding his message—it was incredible for the time. He wanted the best for his people and believed in their right to their own continent. Of course, his greatest love was music, and he was extraordinarily talented. He was also surrounded by great people who contributed to his success.
As for his costumes, I remember his style vividly—flare jeans, double-denim shirts. The big challenge was that Bob Marley was 5’7”, and Kingsley Ben-Adir, who plays Marley, is much taller.
Spencer Williams: Oh wow!
Anna B. Sheppard: Yes! Bob Marley often wore Cuban heels—about two inches—to add to his presence on stage. With Kingsley, we had to work backward to make him look less tall. Marley used to cut his shirts shorter to make his legs look longer. For Kingsley, we did the opposite—lengthening his shirts to adjust the proportions and making sure his legs didn’t look too long. We gave him flat boots to balance it all out.
We joked that Kingsley was the “film star” version of Bob Marley. He looked fantastic in the wig and dreads, but it was still a transformation. Kingsley worked incredibly hard—learning to sing, play music, and even play football, which was a huge part of Marley’s life. I witnessed his transformation over four or five months before we began shooting. By the time we did the first camera test, I stopped worrying—he felt like Bob Marley.
Then there was Lashana Lynch, who played Rita. The chemistry between them on screen was incredible. The film also gives insight into Marley’s family life and his kids. Ziggy Marley and Cedella Marley were involved—Ziggy was on set almost daily, sharing stories about his father.
That was my real research—hearing those personal stories and seeing family photographs. When making a film about someone so iconic, you don’t want to make mistakes. Ziggy’s input was invaluable.
Spencer Williams: Speaking of Rita Marley, I didn’t know much about her before this project. Was exploring her story a challenge for you?
Anna B. Sheppard: Yes, it was. You know, she was the woman behind the man but often kept in the shadows. While she was with him on stage, she was the driving force behind his career. I had so much fun creating the ’70s fashion for everyone—his musicians, the women, and especially Rita. I think her costumes in Bob Marley: One Love are my proudest achievement in the film.
Spencer Williams: That’s amazing.
Anna B. Sheppard: Even Cedella Marley, when she saw the research and costumes I had prepared, said, “Oh my God, I’d love to work with you.” I joked, “Please, feel free to visit my trailer, but don’t come every day—it’s not as glamorous as it seems!” Her stories about her mother were invaluable. I even had the chance to meet Rita in Jamaica and spend time with the family.
Spencer Williams: That must have been an incredible experience.
Anna B. Sheppard: It was. During the filming of Bob’s last concert in Jamaica, the family came to see Kingsley perform. Their support was incredible.
Spencer Williams: And the pressure must have been immense. Ziggy Marley called the film “a real representation of Jamaica, Bob, and the creation of his music.” That reminded me of the scenes with so many extras. How did your team manage to pull that off?
Anna B. Sheppard: I brought my crew from London, but we also had an incredible Jamaican crew. The local team’s dedication to this project was unmatched. I visited Jamaica months before shooting began to immerse myself in its culture—purchasing jewelry, fabrics, and even commissioning ’70s-style shoes. Some areas of Jamaica haven’t changed much since the ’70s, which helped immensely.
Spencer Williams: What about the Rastafarian culture? That must have been a learning curve.
Anna B. Sheppard: Absolutely. I didn’t know much about their traditions, diet, or clothing. It was an education in layers. To authentically represent Jamaica and its people on screen, we had to dig deep into its history and societal nuances.
Spencer Williams: Let’s talk about working with director Reinaldo Marcus Green, who co-wrote the film. What was your collaboration like?
Anna B. Sheppard: It was wonderful. He was deeply involved with every department, including ours. We had daily discussions about what was being shot and how the costumes contributed to the storytelling. I was on set every day, working hands-on, ensuring everything was perfect. Ray’s curiosity and passion for Jamaica fueled his direction, and it was a privilege to work so closely with him.
Spencer Williams: That close collaboration truly shines through in the film.
Anna B. Sheppard: Thank you. I hope more people rediscover the film because it’s such a powerful, moving story.
Spencer Williams: Let’s talk specifics about Kingsley and his portrayal of Bob. One thing I loved was Bob’s casual love for sportswear—like lounging in track pants while playing the guitar. So relatable!
Anna B. Sheppard: Absolutely. He made sportswear, especially Adidas, incredibly popular. It’s funny to think how long ago that was, yet it still feels fresh. He was always in an Adidas tracksuit, always wearing their shoes. It became iconic for him.
Spencer Williams: It’s fascinating because it’s such an everyday style now, but he made it timeless.
Anna B. Sheppard: Exactly. Actually, it’s funny—I was born the same year as Bob Marley, so I always feel this connection when I think about his legacy and how young he was when he passed. It’s such a tragedy.
Spencer Williams: It really is. You mentioned you have lived in London for a while. There’s a part of the film where Bob moves to London for his music. Do you think that influenced his style, or did he stay true to himself?
Anna B. Sheppard: I think he stayed true to himself. If anything, his presence influenced those around him more than the other way around. As the film shows, Jamaican fashion had a strong American influence because Miami was just a two-hour flight away. You’d see a lot of American-made jeans and similar styles. But Bob? He didn’t change. He wasn’t someone who paid much attention to fashion in a conventional sense.
Spencer Williams: It was about being authentic.
Anna B. Sheppard: Exactly. He was unapologetically himself. That’s what made him so special. He cared deeply for people, especially in Jamaica, where so many came to him for help. He shared everything he had.
Spencer Williams: That generosity and authenticity really shine through. Speaking of Jamaica, I wanted to ask about the Rastafarian influence on costumes. How did that shape the way you approached the costumes?
Anna B. Sheppard: Rastafarian culture is deeply rooted in their beliefs and way of life. It’s tied to Haile Selassie, who was a revered figure for them. Early Rastafarians often lived in isolation, away from the big towns, because their way of life was so distinct. They were vegetarians, avoided meat and fish, and had this profound connection to nature.
In terms of clothing, it wasn’t about luxury. They wore loose, functional garments. Many were so poor that they made sandals out of old car tires. We recreated those for the film. Their style was practical and simple, reflecting their lifestyle and beliefs.
Spencer Williams: One thing I’ve always noticed about your work, especially in Bob Marley: One Love, is how intentionally you use color and fabric. This film is so vibrant—it’s like every costume tells a story. Could you share how color played into your process for this movie?
Anna B. Sheppard: Absolutely. I wanted to make a clear distinction between London and Jamaica. When I think of Jamaica, I see sunlight, joy, and vibrancy, even in poverty. People wear these beautiful, sunny colors that seem to lift their spirits, despite not having much. It’s like celebrating life through what they wear. In contrast, London during that time was so gray and muted. I love London, but the weather—oh, the weather—it really is gloomy.
For the London scenes, we leaned into that with browns, greens, grays, and blacks, reflecting the more reserved, traditional tone of the city. But when we transitioned to Jamaica, even the poorest characters were dressed in vibrant colors. It’s about that contrast—how a place’s atmosphere can influence its people.
Spencer Williams: I imagine that must have been particularly stark for Bob Marley, moving from such a colorful place to somewhere so gray.
Anna B. Sheppard: Exactly. When he moved to London after the attempt on his life, I believe the environment affected him. They lived in a nice house near King’s Road, but the weather and the cultural shift—it can make you feel so heavy. They tried to hold onto their roots, cooking traditional Rastafarian meals, maintaining their community, and staying connected to their culture.
I hope this contrast between Jamaica and London is clear in the film. You can feel the warmth of Jamaica and the starkness of London.
Spencer Williams: It absolutely comes through. The colors, the textures—it’s like the costumes are an extension of the settings. Wrapping up, I’d love to know—what do you hope audiences take away from Bob Marley: One Love?
Anna B. Sheppard: I think we live in very difficult times—wars, climate disasters, so much sadness. I’m afraid to turn on the news each morning. But when you see One Love, you leave the theater feeling uplifted. You listen to Bob Marley’s music, see his life, and it brings happiness.
There’s something so pure about it. You come out of the film smiling. It’s a story of positivity, love, and connection, which is rare nowadays. Everyone on this film loved Bob Marley deeply. We shared anecdotes, exchanged stories, and poured our hearts into this project. I hope that love is visible on screen.
Spencer Williams: Oh, it absolutely is. For those two hours, I couldn’t stop smiling. Thank you and your team for bringing that light to the world.
Anna B. Sheppard: Thank you. And thank you for doing your research and asking such thoughtful questions. It’s clear you’re a fan of Bob Marley now, too.
Spencer Williams: Definitely. You’ve deepened my appreciation for him and his legacy. I’d love to have another conversation someday about your incredible body of work.
Anna B. Sheppard: That would be lovely. Thank you so much, Spencer.
