Margot Robbie Is Method Dressing For Her Newest Press Tour, Again

When Margot Robbie attaches her name to something, she goes all in. Not only does she star in major blockbuster films, but she’s also a producer on most of her recent projects. Now, you can add Wuthering Heights to her resume. Two years after it was announced that Robbie’s production company, LuckyChap Entertainment would be teaming up with MRC and Emerald Fennell to adapt Emily Brontë’s 1847 novel to the big screen, it’s finally almost here. Set to be released in theaters right before Valentine’s Day, the actor has begun her press tour in the most Robbie way possible: she’s method dressing again.

This time, Robbie’s character was written an entire century before the original Barbie even existed, so you can imagine there will be no hot pink outfits in sight. So what can you expect? You don’t have to keep guessing because she stepped out in her first Catherine Earnshaw-inspired ensembles and she looked...incredible. And of course she did, after all, she’s back working with her stylist Andrew Mukamal, the man responsible for all of her iconic Barbie-coded appearances.

Robbie’s back-to-back black and white looks with pops of red served as a preview of what she has in store for her latest Victorian-era, but there were still hints of Robbie’s own DNA. First up on Jan. 26th was a Roberto Cavalli babydoll dress from the designer’s resort 2026 collection. The fluted sleeves and square neckline felt like the quintessential modern nod to the 18th and 19th centuries, but it was really her accessories that cemented it.

Aside from her insanely high Louboutin pumps (Barbie would approve), Robbie’s other accessories invoked an overall romantic gothic feel. She wore a stunning ruby and gold pendant necklace on a black velvet rope that looked like something her character would have easily worn in the film. She went even further with two custom 18 carat gold signet rings by Cece Jewellery, with a signature Emily Brontë engraved quote: “Whatever our souls are made of, his and mine are the same."

Jacob Elordi, who plays opposite Robbie in the film, also has a set of the bespoke rings, according to a press release from the jewelry designer. Additionally, Robbie wore a pair of gold horseclip hoop earrings from the label with diamond drop hearts.

The Oscar-nominee slipped into her second look of the day to appear on Jimmy Kimmel Live! There, she kept the gothic theme going with another long-sleeved fluted mini dress. This time it was from Alexander McQueen’s spring/summer 2026 ready-to-wear collection. The design featured a keyhole front, an asymmetric hem, and a sheer floral print fabric throughout. Robbie wore the look almost exactly as it was intended on the runway, with just a pair of simple black underwear underneath and her own added touch of Jessica McCormack diamond pave hoops.

Next, Mukamal shared photos of his muse’s feathered black and white looks to his Instagram on Jan. 27, along with an accompanying quote to provide more context. “Tossing about, she increased her feverish bewilderment to madness, and tore the pillow with her teeth…she seemed to find childish diversion in pulling the feathers from the rents she had just made, and ranging them on the sheet according to their different species.”

Although Robbie’s most recent silhouettes were from Victoria Beckham’s spring/summer 2026 collection, their feathered design worked as a contemporary bridge to the past. Her shoes, also from the VB runway, pointed more towards the future. They were ankle-strap sandals with footbeds that rose above the toe, proving that this press tour is all about the past with a modern spin.

So even though Robbie is fully in her Brontë era, she’s still making sure to subtly work her own signature style into every outing. Take this latest monochromatic look for instance. At first glance, you’d never even know that this was even part of any Earnshaw homage. But that’s precisely what Robbie does so well: she makes an outfit completely her own while also doing right by her character.

On Jan. 28th Robbie and the cast attended a press junket in Beverly Hills ahead of the world premiere later that night. For her daytime photocall, the Once Upon A Time actor wore “Sharp Heart” look 29 from Dilara Findikoglu’s autumn/winter 2025 collection.

The red three-piece consisted of a lacquered bra, lace ribbon corset, and ruffled mini skirt. She paired the snakeskin look with matching Manolo Blahnik slingback pumps and Jessica McCormack jewelry. Here CeCe Jewellery signet ring made another appearance, too.

To keep her message consistent, Robbie changed into her best look yet: a black and red ball gown. This time, she stunned at the Hollywood premiere in a Daniel Roseberry Schiaparelli original that was as couture as they come. “The silhouette was drama. The lace was the romance. The red was the passion,” Roseberry said of the gown on Schiaparelli’s Instagram. The artistic director clearly understood his Earnshaw-core assignment.

Also part of the ensemble was a rare heart-shaped necklace previously owned by Elizabeth Taylor. The ruby, diamond, and jade encrusted Taj Mahal diamond pendant comes with its own layered romantic history that made it the right accessory for Robbie’s big night.

Just when you thought it couldn’t get any better, Robbie outdoes herself with another major designer moment. On Feb. 2, she arrived to the film’s Parisian premiere at the Grand Rex Theater wearing her favorite local designer — how fitting? Not only did she wear Chanel (she’s had a contract with the brand since 2018), but the actor debuted her first red carpet look designed under the maison’s new creative director, Matthieu Blazy. And it was absolutely breathtaking.

The custom couture ball gown was the perfect choice to add to Robbie’s method dressing spree. It featured a rich red velvet corseted upper with a long train that flowed behind her. The Victorian-inspired bodice was meticulously draped over a white skirted portion of the design.

From the back, you could see feathered details throughout — which are quickly becoming one of Blazy’s signature codes at Chanel.

The look was only complete with another show-stopping piece of jewelry: a custom nude 100 carat diamond choker necklace on matching red velvet fabric by Lorraine Schwartz. Robbie is quickly taking her jewelry game to a whole new level.

She may havecalled it a night in Paris, but not without one more custom design: a black lace up Thom Browne couture dress with a detachable skirt and custom Jessica McCormack jewelry.

And it keeps getting better...

Robbie was photographed arriving to BBC Radio Studios in England on Feb. 4th wearing London-based designer, Dilara Findikoglu for the second time this press tour. This time, the corseted lace up top and low rise buckled trousers, were more casual than her previous look by the label. The outfit was still very much part of her method dressing stint (and perhaps a preview for what’s still to come).

Later that day, Robbie changed into another look for the cast photocall at Spencer House, but instead of trying to come up with something new, she copy pasted an archival John Galliano runway look circa spring/summer 1992. At first glance, you could see why Mukamal pulled it. The jacket’s Victorian-esque pale pink feather trim coupled with its dramatic floor-length was in line with the Earnshaw of it all. The rest of the look? Not so much.

The jacket was paired over a black micro mini skirt and red thigh-high garter stockings with a pink ribbon tied at the thigh. This Robbie Earnshaw hybrid felt right, however, in more ways than one.

On Feb. 5th, the actor wore her most conceptual — and arguably most breathtaking — look yet. For the London premiere, Robbie posed in a custom Dilara Findikoglu silk tulle corseted dress, complete with a gathered silk French chiffon train.

The silhouette was inspired by Charlotte Brontë’s mourning bracelet made from the hair of her sisters, a common Victorian era practice to honor deceased loved ones. The reference went beyond Wuthering Heights and touched on the Brontë family’s larger legacy.

According to the Turkish designer, “synthetic hair has been hand-dyed to precisely match the hair of Anne and Emily Brontë, which has been individually hand-braided together to encapsulate their connection.” Findikoglu further detailed that the gown’s boning was adorned with mourning hair flowers, braids, and a hair choker necklace attached to an antique brooch.

Robbie even wore a replica of “The Bracelet of Charlotte,” created in partnership with the Brontë Parsonage Museum, as detailed by Mukamal. The nude and green look was complete with custom earrings by Jessica McCormack and bespoke Manolo Blahnik shoes.

Robbie rounded out the week on Feb. 6th with two more archival looks, beginning with another John Galliano design. This time the light sage long-sleeve top corset top and fringed sarong was from his spring/summer 1997 collection.

Robbie then made her way to the Global Content Creator Q&A at Claridge’s wearing a black leather Vivienne Westwood two-piece set from the designer’s fall/winter 1988 collection. She paired the corseted top and bubble mini skirt with another pair of sky-high, sculptural Louboutin pumps, complete with a lace-up detail at the back, which subtly echoed the corsetry of it all.

The day before the film’s worldwide theater release, Robbie stepped out in Sydney, Australia for one last finale look. She landed on the red carpet in her home country on Feb. 12th, along with her cast mates (and a surprise appearance from Hailey Bieber), in a custom Ashi Studio couture gown.

She floated, effortlessly inside the room wearing an 18th-century inspired rusted ecru tulle look with a corseted bodice layered on top. According to the designer’s Instagram, the lace up corset was hand-painted to make it appear as a period piece.

Robbie wore Lorraine Schwartz jewelry and custom Manolo Blahnik shoes to bid farewell to a truly memorable press tour.