Across the global promotion for Wuthering Heights, Margot Robbie delivered a tightly curated succession of fashion moments that married gothic romance with modern red carpet strategy. Working closely with stylist Andrew Mukamal, Robbie rotated through couture and vintage pieces—each choice reinforcing the film’s mood while sparking significant media attention. This overview traces the major outfits, the creative teams behind them, and a few concrete metrics that show how fashion amplified the film’s publicity.
The tour included appearances in Los Angeles, Paris, London, and Sydney between January and. Each public outing functioned as a deliberate style beat: from edgy mini-dresses to full couture gowns, Robbie’s looks juxtaposed corsetry, Victorian references, and contemporary tailoring. Jewelry, footwear, and archival pieces often completed the storytelling, converting wardrobe selections into conversation starters for press and social media.
Key looks and their creative teams
On January 26, 2026, at a Los Angeles press event, Robbie opened the circuit in a black Roberto Cavalli mini with voluminous sleeves, paired with sleek Christian Louboutin heels and sparkling Cece Jewellery accents. That same day on Jimmy Kimmel Live!, she embraced a gothic lace silhouette from Alexander McQueen (the house under Sean McGirr’s direction), accessorized with Jessica McCormack jewels and crimped waves for texture. These two early looks set the tonal range for the tour: romantic darkness with refined polish.
Throughout the junkets and photocalls Robbie leaned on a roster of designers who share a dramatic sensibility. On January 28, 2026, a Dilara Findikoglu three-piece—complete with a corseted top, lace-up sleeves, and snakeskin detailing—arrived alongside Manolo Blahnik pumps and Jessica McCormack jewelry. Later that evening at the world premiere at the TCL Chinese Theatre in Los Angeles, she wore a custom Schiaparelli Couture gown by Daniel Roseberry, notable for black Chantilly lace overlay, golden eyelet details, and a red-to-black ombré skirt. The Schiaparelli look was accentuated by Elizabeth Taylor’s Taj Mahal diamond necklace and custom Lorraine Schwartz earrings, a pairing that fused cinematic romanticism with iconic jewelry provenance.
International moments and signature details
In Paris on February 2, 2026, Robbie selected two contrasting statements. For the Hurlevent photocall at Le Grand Rex she wore a custom Chanel Couture by Matthieu Blazy in red velvet—an elegantly restrained gothic echo—paired with bespoke Lorraine Schwartz jewels. Later in the evening she opted for an all-black custom Thom Browne Couture dress featuring a cut-out skirt and a bold jewelry pairing by Jessica McCormack. These choices demonstrated how color and silhouette could be used strategically to echo a film’s palette.
London provided some of the tour’s most editorial moments. On February 4, 2026 the Spencer House photocall saw her in a vintage John Galliano coatdress (SS92) with metallic sheen, Manolo Blahnik pumps, and striking red stockings—a clear runway-to-photocall lift. The UK premiere on February 5, 2026 produced a viral moment: a sheer custom Dilara Findikoglu gown woven with braided hair details, complemented by a replica of “The Bracelet of Charlotte” (a collaboration with Wyedean and the Brontë Parsonage Museum) and vintage Boucheron brooches. Actor Jacob Elordi’s protective gesture in the rain during that evening’s arrival became an instantly shared image tied to the look.
Runway references and archival choices
Robbie frequently referenced fashion history while engaging contemporary houses: a Vivienne Westwood mini from Fall/Winter 1988 appeared at a London event on February 6, 2026, paired with sculptural Christian Louboutin wedges, and archival John Galliano reappeared for a photocall. These vintage insertions created a layered narrative—mixing present‑day couture with recognizable fashion moments from previous decades.
Accessories, impact, and measurable results
Jewelry and shoes weren’t incidental; they were part of the narrative scaffolding. Custom Jessica McCormack pieces recur across multiple looks, while Lorraine Schwartz provided several high-carat statements. WWD and Launchmetrics reported concrete media impact: the Schiaparelli red-carpet look generated approximately $5.9 million in media impact value (MIV), the Dilara Findikoglu appearances contributed roughly $4.2 million, and the Chanel look produced about $3.3 million. These figures illustrate how carefully planned wardrobe choices can produce measurable returns in publicity and cultural resonance.
The tour closed on February 12, 2026 in Sydney, where Robbie honored her Australian roots with a custom off-the-shoulder collaboration between Ashi Studio Couture and Mister Pearl: a couture corseted bodice with cascading sheer ruffles. Post-premiere, she changed into a floral-embroidered corset mini by Ashi Studio for the celebration—both looks finished with Jessica McCormack and Lorraine Schwartz jewels and custom Manolo Blahnik footwear.
Why the tour mattered
Beyond aesthetics, the press tour functioned as a sustained exercise in visual storytelling. Each outfit acted as a scene within a broader promotional arc: gothic motifs reinforced the film’s themes, while archival and high-fashion pairings amplified media interest. The measured return in MIV, combined with the viral images and red-carpet narratives, demonstrates how wardrobe strategy remains an essential tool in contemporary film promotion.
