Cover Margot Robbie’s ‘Wuthering Heights’ press tour style features Gothic romance and literary symbolism (Photo: David Jon/Getty Images to Warner Bros Pictures)
Margot Robbie’s ‘Wuthering Heights’ press tour style features Gothic romance and literary symbolism (Photo: David Jon/Getty Images to Warner Bros Pictures)
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Margot Robbie channels Catherine Earnshaw’s madness, obsession and tragic romance through couture
If Margot Robbie’s Barbie press tour was a bright, plastic fantasy, her Wuthering Heights wardrobe is its dark, windswept counterpoint. Orchestrated by stylist Andrew Mukamal, each ensemble deconstructs the tortured psychology of Emily Brontë’s Catherine Earnshaw through a lens of bruised romanticism. From blood-red velvets to shredded feathers referencing specific chapters of the 1847 novel, Robbie’s tour wardrobe proves that method dressing has evolved beyond literalism into atmospheric storytelling. Here, fashion becomes a supplementary narrative—one of passion, decay and the suffocating weight of doomed love.
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The blood-red Schiaparelli gown worn with Liz Taylor’s beloved jewels
Margot Robbie’s custom Schiaparelli couture gown for the Wuthering Heights world premiere in Los Angeles features a black lace corset transitioning into a mermaid skirt with dramatic ombré bleeding from black to crimson. The colour shift symbolises decay and passion—as though the gown absorbs the blood and earth of the moors. The Cartier Taj Mahal necklace, once gifted by Richard Burton to Elizabeth Taylor, adds meta-textual weight, linking Hollywood’s most volatile romance to Cathy and Heathcliff’s doomed obsession.
The spectral Alexander McQueen lace that channelled the moors
Chaotic, cobweb-like black lace cascades in a high–low hemline, channelling the spectral atmosphere of the Yorkshire moors. This look nods to Catherine’s restless presence in Wuthering Heights, evoking the novel’s obsession with longing and the pull between the natural and the supernatural. The sheer construction, paired with a deliberately unpolished, windswept hairstyle, creates an ethereal effect that mirrors the book’s elemental landscape and its heroine’s untamed spirit.
The archival John Galliano moment that recalled Catherine’s wild youth
This archival masterpiece from John Galliano’s legendary Spring 1992 collection features floral-embroidered toile—typically a test fabric—left provocatively open to expose the midriff. Paired with red thigh-high stockings, it references the rebellious French Incroyables subculture. For Catherine, it symbolises her feral youth running wild on the moors with Heathcliff, defying stuffy social codes through chaotic, aristocratic rebellion.
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The heavy Chanel velvet that symbolised Catherine’s crushing choices
Matthieu Blazy’s custom creation for Chanel features heavy burgundy velvet asymmetrically draped to reveal a pristine ivory silk-faille underlayer. The construction creates visual tension—white innocence struggling beneath consuming red passion. Burgundy feathers cascade down the train, giving the impression that the dress is bleeding into the carpet, symbolising Catherine’s inability to escape the moors and the crushing weight of her choices.
The modern Victorian in Roberto Cavalli that launched the tour
This black mini dress launched the Wuthering Heights tour with a modern Victorian thesis statement. The historical Tudor square neckline and exaggerated bell sleeves clash deliberately against a contemporary micro-hemline. A black velvet choker adorned with a ruby pendant completes the look, introducing the tour’s recurring motif of entrapment—the choker symbolises Catherine’s suffocation within the social codes that separate her from Heathcliff.
The crimson Dilara Findikoglu snakeskin that literalised toxic love
Stylist Andrew Mukamal captioned this with a direct quote from the novel: “I’d rather be hugged by a snake.” The structured corset and high-low ruffled mini skirt, constructed entirely in crimson snakeskin, literalise the toxic, dangerous nature of Catherine and Heathcliff’s love. The Victorian corset, worn as aggressive outerwear in predatory red leather, subverts period modesty, creating armour from the very symbol of danger.
The feathered Victoria Beckham dress that referenced Catherine’s madness
Mukamal cited a specific passage for this look: Catherine, delirious with brain fever, tears open her pillow with her teeth. The white mini dress, obscured entirely by textured, shredded feathers, embodies that moment of psychological unravelling. Paired with nude heels, this ensemble literalises Catherine’s descent into feverish bewilderment and madness.
The unhinged Mark Gong slip dress with falling straps
Margot Robbie wore a chaotic white slip dress featuring three deliberately visible straps in red, white and cream, slipping off the shoulder beneath sheer black panelling. This unhinged construction visualises Catherine’s loss of propriety and internal chaos. The exposed lingerie and strappy cut-out boots represent the shedding of her polished upper-class facade as madness takes hold—intimacy worn as outerwear.
After more than a decade in lifestyle media, Clifford has mastered the art of writing seriously about things that are fun—and writing fun things about people who take themselves very seriously. At Tatler Asia, he helped steer its flagship lists, Tatler’s Most Influential and Asia’s Most Stylish. And today, he leads T-Labs, Tatler Asia’s content innovation hub, where he continues the noble pursuit of lifestyle storytelling, spinning stories on wealth, entertainment, necessary style, Hallyu, Hollywood, beauty and more for audiences across Asia.
