Lead: Margot Robbie, 35, leaned into Victorian and gothic motifs across the Wuthering Heights press tour from Jan. 26 to Feb. 12, appearing at stops in Los Angeles, Paris, London and Sydney. Partnering with stylist Andrew Mukamal, Robbie reworked corsetry, lace and archival pieces into contemporary red‑carpet statements, often accessorized with historic jewels and couture collaborations. Her looks ranged from mini silhouettes and snake‑print edge to full couture gowns, with several outfits explicitly nodding to Emily Brontë’s Catherine Earnshaw. The tour culminated in Australia on Feb. 12 with a custom Ashi Studio corseted gown.
Key Takeaways
- Robbie’s press tour ran from Jan. 26 (Los Angeles) through Feb. 12 (Sydney), covering major stops in LA, Paris, London and Sydney.
- Designers featured include Roberto Cavalli, Alexander McQueen, Victoria Beckham, Mark Gong, Schiaparelli, Chanel, Thom Browne, Dilara Fındıkoğlu, John Galliano, Maison Margiela, Vivienne Westwood and Ashi Studio.
- Signature motifs were corsets, hoop‑era silhouettes, lace, feathers and archival garments—many reinterpreted with modern cuts and materials.
- Notable jewelry: the late Elizabeth Taylor’s Taj Mahal diamond necklace was worn with Schiaparelli at the LA world premiere; a Victorian mourning bracelet said to contain Emily and Anne Brontë’s hair appeared at the London premiere.
- Robbie worked with Andrew Mukamal, who blended literary references (Emily Brontë) and method‑dressing to coordinate the tour wardrobe.
- Several looks drew on archival Galliano and Vivienne Westwood pieces from the late 1980s and 1990s, highlighting a mix of runway history and bespoke couture.
Background
The Wuthering Heights press tour coincided with the film’s rollout in early 2026 and offered a focused platform for star‑led styling narratives. Robbie’s portrayal of Catherine Earnshaw—an emotionally intense Victorian heroine—created fertile territory for a visual campaign that could reference period costume without becoming literal period dress. The team’s approach fused costume inspiration with contemporary red‑carpet codes: corsetry, layered textures and mourning motifs reinterpreted for modern silhouettes.
Andrew Mukamal, known for his work on Robbie’s Barbie press tour, served as the architect of the promotional looks. His direction emphasized thematic continuity—gothic glamour and literary allusion—while sourcing both modern runway pieces and archival treasures. The combination of custom couture (Schiaparelli, Chanel) and rescued archival items (Galliano, Westwood) is part of a broader trend in celebrity styling that values provenance and storytelling.
Main Event
On Jan. 26 in Los Angeles, Robbie opened the tour in a black Roberto Cavalli minidress with billowing sleeves and velvet trim, paired with Christian Louboutin pumps; the same day she appeared on Jimmy Kimmel Live! in a sheer Alexander McQueen dress from the spring/summer 2026 collection, notable for its embroidered devoré and asymmetrical hem. The Cavalli look also marked the first time she wore her Cece Jewellery signet rings with costar Jacob Elordi.
Across Jan. 27–28, Mugamal staged looks that leaned into Brontë‑inspired motifs: a feathered minidress and top from Victoria Beckham’s spring/summer 2026 line referenced the novel’s more fevered passages, while a layered Mark Gong slip dress, worn over a red bra and floral midi, created a coquettish, layered effect for an LA appearance on Jan. 28.
The LA world premiere on Jan. 28 saw Robbie in a custom Schiaparelli gown by Daniel Roseberry: a black lace bodice with sweetheart neckline, a red‑to‑black ombré skirt and period echoes in the drop waist. That ensemble was accessorized with the Taj Mahal diamond necklace formerly in Elizabeth Taylor’s collection and custom Lorraine Schwartz earrings. Robbie’s global junket, photocalls and premieres in Paris and London (Feb. 2–6) included a red velvet, corseted Chanel gown by Matthieu Blazy, an all‑black Thom Browne corseted look, multiple Dilara Fındıkoğlu statements and archival John Galliano coat and layered suits sourced from the 1992 and 1997 collections.
Robbie closed the tour on Feb. 12 in Sydney wearing a custom Ashi Studio couture gown featuring an 18th‑century–inspired silk corset by Mr. Pearl, distressed tulle sleeves and a hand‑painted bodice described by the house as aged or ‘centuries old’ in appearance.
Analysis & Implications
Robbie’s sustained Victorian throughline reinforces how celebrity styling can extend a film’s narrative beyond screens into a sustained, visual discourse. By repeatedly referencing corsetry, mourning aesthetics and archival fashion, the campaign framed Wuthering Heights not only as an adaptation but as a cultural touchstone ripe for sartorial reinterpretation. For luxury houses, the tour served as a marketing moment: custom couture and runway pieces received high‑visibility placement tied to a widely covered film release.
The use of archival garments—Galliano and Westwood pieces from the 1980s and 1990s—highlights the appetite for fashion history in contemporary red‑carpet programming. Archive sourcing signals rarity and storytelling currency, lending authenticity to a concept‑driven tour. It also raises practical challenges around fit, conservation and provenance when vintage is repurposed for modern events.
Commercially, the strategy supports multiple stakeholders: stylists and talent gain a cohesive narrative; designers benefit from press exposure; and jewelry houses enjoy museum‑grade associations. The visible borrowing from historical motifs may also spur renewed public interest in Victorian dress, costume scholarship and the ethics of wearing historically sensitive objects (for example, mourning jewelry with human hair).
Comparison & Data
| Designer/House | Event & Date | Key Element |
|---|---|---|
| Roberto Cavalli | Los Angeles, Jan. 26 | Black minidress with billowing sleeves |
| Alexander McQueen | Jimmy Kimmel, Jan. 26 | Sheer embroidered devoré dress |
| Schiaparelli | LA premiere, Jan. 28 | Custom ombré gown with lace bodice |
| Chanel (Matthieu Blazy) | Paris photocall, Feb. 2 | Corseted red velvet gown with underskirt |
| Ashi Studio | Sydney premiere, Feb. 12 | Hand‑painted silk corset, distressed tulle |
The table above samples headline looks and shows the geographic spread and designer mix across the tour. The lineup balanced haute couture (Chanel, Schiaparelli, Ashi) with contemporary and archival runway (Dilara Fındıkoğlu, Galliano, Westwood), illustrating an editorial strategy that combined exclusivity with narrative consistency.
Reactions & Quotes
“It is such an honor to wear this look designed by Matthieu,” Robbie said about the Chanel gown, tying the red carpet choice to the film’s significance.
Margot Robbie, Vogue (interview)
“The dress in rusted écru evokes 18th‑century corsetry… artfully distressed tulle sleeves and skirt are completing the look,” Ashi Studio wrote when describing the Sydney gown.
Ashi Studio, Instagram (brand statement)
Unconfirmed
- The provenance of the bracelet described as woven with Emily and Anne Brontë’s hair has not been independently verified in public records cited by the campaign.
- Details about the exact lenders or private owners of specific archival Galliano and Westwood garments were not disclosed in all cases, so full provenance chains for those pieces remain unconfirmed.
- Any behind‑the‑scenes alterations to vintage garments (extent of restyling or conservation work) were not fully detailed by stylists or houses and thus are not independently confirmed.
Bottom Line
Margot Robbie’s Wuthering Heights press tour demonstrated how a tightly curated wardrobe narrative can amplify a film’s themes while generating sustained media attention. The creative team fused Victorian references, archival fashion and bespoke couture into a cohesive gothic‑glam story that played across photocalls, talk shows and premieres.
For fashion observers and industry stakeholders, the tour underscores a continuing appetite for historically inflected, story‑driven dressing on the red carpet. Moving forward, how designers, archivists and stylists manage provenance, conservation and cultural context will be central to similar campaigns that draw on sensitive historical sources.