Billie Lourd and Leslie Grossman Rate Their Most Iconic ‘American Horror Story’ Fashions

Billie Lourd and Leslie Grossman, both alumnae of American Horror Story, reminisced about their time on the hit FX anthology series, taking a stroll down memory lane as they reviewed and rated some of their most memorable on-screen styles. In a candid video clip, the co-stars shared their thoughts on the show’s costume department, including the comfort, practicality, and look of their characters’ wardrobes.

The review highlights the distinct visual identities of their characters, from the preppy menace of Chanel Oberlin to the tragic elegance of Winter Anderson to the cult-leader chic of Ally Mayfair-Richards.

Billie Lourd and Leslie Grossman looked back on their past American Horror Story costumes in a recent video feature. Lourd praised the practicality of her Cult tracksuits, but admired the high-fashion elements of her Scream Queens (crossover) and AHS looks. Grossman talked about the iconic status of her Chanel Oberlin uniforms and the emotional weight of her Apocalypse and 1984 ensembles. The actresses credited the show’s costume designers for creating character-defining styles.

To prepare for the feature, Lourd and Grossman sat down to watch images of their past characters, giving real-time reactions and numerical ratings for various outfits. It is both a look back at the show’s nearly decade-long run and a tribute to the detailed costume design that has become a hallmark of creator Ryan Murphy’s productions.

The actresses discussed the visual appeal of the clothes but also the physical experience of wearing them during long days of shooting. Topics ranged from the constricting nature of period-accurate corsets to the surprisingly comfortable modern athleisure worn in the Cult season.

Billie Lourd, who joined the cast in Roanoke and became a staple in later seasons, reviewed several key looks. In Cult, she played Winter Anderson, with a simple and graceful wardrobe that mirrored the character’s political ambition and cold personality. The tailored suits and neutral tones, Lourd said, let Winter’s personality come through.

Lourd also reflected on her role as Mallory in Apocalypse, where her character underwent a major change. The “Supreme” witch aesthetic, featuring dark, flowing robes and vintage-inspired dresses, was praised for its drama. Lourd also mentioned her role as Montana Duke in 1984, in which the aerobics-inspired workout clothes and campy 80s style contrasted sharply with her other roles. “I felt powerful in the suits,” Lourd said of her wardrobe for Cult, noting that the sharp tailoring affected her posture and delivery.

Leslie Grossman’s review was based largely on her breakout role as Chanel Oberlin on Scream Queens, which is often linked to AHS because of the shared creative team and cast overlap. Grossman’s cut-throat sorority president is all about the high-end designer labels, especially Chanel.

“I liked the authenticity of the luxury goods used in the production,” Grossman said. She added that using genuine designer items madeChanel’se elitist persona feel more real. But she also acknowledged how hard it is to maintain the pristine, high-fashion look required by the show’s signature horror scenes, which often involve strenuous physical activity.

Grossman’s costumes in her AHS appearances, such as in Apocalypse and 1984, evolved to represent various eras and archetypes. In 1984, the formal, authoritative business clothing of her character Margaret Booth contrasted with the more flamboyant clothing of the camp staff, mirroring the class dynamics central to the season’s plot.

Both actresses emphasized their collaborative relationship with the costume department. Like Lou Eyrich and Sarah Burton, other key designers for the series, who use clothing to signal character arcs before the dialogue even starts.

For Lourd, the transition from soft, vulnerable looks in Roanoke to the hardened, structured silhouettes in Cult mirrored her character’s hardened psychology. “The clothes tell half the story,” Grossman said. For Grossman, the constant red and high-end branding in Scream Queens was a visual shorthand for danger and status. “When you put on that jacket, you know exactly who you’re supposed to be.

Fashion is a huge part of American Horror Story’s success. Fans often recreate looks for Halloween and cosplay events, and pop culture often references it for its aesthetic influence. Lourd and Grossman give fans a better sense of the craftsmanship behind television production by looking at these costumes.

The segment also shows how versatile both actresses are. Lourd’s ability to switch from the retro camp of 1984 to the political thriller of Cult shows her range, while Grossman’s switch from comedy-horror to dramatic horror shows her adaptability within the genre.

American Horror Story is still going strong, with seasons recently centered on the punk scene in New York City and celebrity-obsessed Los Angeles. While Lourd and Grossman haven’t been officially confirmed for the next batch of episodes, the duo’s long-standing popularity hints at the possibility of their eventual return. Fans are still discussing which historical periods or horror tropes the show will tackle next and, by extension, which fashion trends it will bring back.