A Red Carpet That Felt Like a Storm Scene
Margot Robbie did not just walk the red carpet for the new film adaptation of “Wuthering Heights.” She swept onto it like a Brontë heroine stepping straight out of the moors, wrapped in crimson, lace, and a piece of Old Hollywood history that once belonged to Elizabeth Taylor.
At the Los Angeles premiere of the Emerald Fennell-directed adaptation, the Australian star turned the carpet into a gothic love story in motion. Beside her, Jacob Elordi, her brooding Heathcliff, played the part in head-to-toe black, like a shadow to her flame.
A Schiaparelli Gown That Looked Possessed
For the premiere, Robbie, who plays Catherine Earnshaw, chose a dramatic Schiaparelli gown that looked like it had risen out of the very soil of the Yorkshire moors. The dress featured a sheer, strapless, close-fitting black lace bodice that clung to her torso, floating above a dramatically flared skirt shaded in layers of black and deep red.
The color story felt deliberate. Black that hinted at death and obsession, red that suggested blood, roses, and the kind of dangerous romance Emily Brontë built her legend on. The skirt seemed to darken as it reached the floor, like a hem that had soaked up rain and earth.
Robbie herself confirmed that nothing about the look was accidental. Speaking to Variety about the inspiration behind the ensemble, she explained, “This is Wuthering Heights, and if we were to make Wuthering Heights into a dress, what would it look like? This idea of it soaking up the ground and seeping up into the dress, with the dark lace and the decay.”
She added, “Our outfits are going to evolve throughout the press tour to cover some of the seats and ideas in the film.” It is method dressing, but with a literary, slightly haunted twist.
Old Hollywood Magic Around Her Neck
The dress alone would have been a moment. Robbie turned it into an instant fashion time capsule by reaching deep into Hollywood history for her accessories.
On the carpet, her hair was swept into an elegant updo, the perfect frame for Elizabeth Taylor’s famed Taj Mahal necklace. The heart-shaped jewel, gifted to Taylor by Richard Burton for her 40th birthday in 1972, carries its own legend, soaked in romance, excess, and heartbreak. Now it rests at Robbie’s throat for a story about doomed love on the moors. That is the kind of full-circle glamour fashion obsessives live for.
Margot Robbie wears custom Schiaparelli with Elizabeth Taylor’s $8M Taj Mahal necklace at the “Wuthering Heights” World Premiere pic.twitter.com/fDFrLXN5LB
— beyza misses chandler (@beyzanurapaydin) January 29, 2026
She completed the look with a Fred Leighton ring, another nod to high luxury and old school red carpet dressing. Every detail felt intentional. A modern star playing dress up with the relics of an earlier golden age, while stepping into a period drama that itself is baked into literary history.
Jacob Elordi Keeps It All in the Shadows
Next to her, Jacob Elordi opted for an all-black ensemble that was the sartorial equivalent of a low growl. The “Euphoria” star, who plays Heathcliff opposite Robbie’s Catherine, wore a black jacket layered over a black shirt and black pants, plus a black scarf and a black cummerbund.
The effect was severe and stripped back. No splash of color, no playful print. Just a wall of darkness that made Robbie’s crimson skirt and historic jewels blaze even brighter when they posed together.
For a story built on obsession and torment, it is a perfect visual pairing. She is the flame. He is the smoke.
The Red Hot Photo Call That Started It All
Hours before the premiere, Robbie had already been sending the fashion world buzzing at a “Wuthering Heights” photocall, where she arrived in a red snakeskin Dilara Findikoglu look that pushed the gothic romance into far more provocative territory.
The outfit featured a shell-covered bra, a corset, and a barely there lace-up miniskirt in a snakeskin pattern. The skirt dipped low in the front and flashed swaths of thigh, a siren call compared with the heavier drama of her premiere gown.
She dialed up the opulence with an enormous pear-shaped diamond choker. On her hand, she wore a custom Cece Jewellery ring that Robbie had gifted Elordi. The piece depicted two skeletons intertwined, a tiny piece of jewelry that quietly echoed the story of Catherine and Heathcliff, locked together long after their bodies give out.
At the same photocall, Elordi softened his Heathcliff darkness just slightly, wearing a cropped Chanel jacket over a black T-shirt. It was still monochrome, still moody, but with a subtle flash of fashion insider cool.
From ‘Barbie’ Pink to Brontë Black
Robbie has been here before, at least when it comes to using a press tour as a character study in motion. With “Barbie,” she became a pioneer of the method dressing trend, delivering look after look that nodded to specific dolls and iconic outfits from decades of Mattel history.
Now she is trading plastic pink for decaying lace, religious iconography, and feathers that feel like they have been ripped straight from a broken pillow in a gothic bedroom. The style evolution tracks perfectly with the move from a sunlit fantasy to an Elizabethan era torment piece.
For a stop at “Jimmy Kimmel Live!” Robbie wore a totally sheer black lace McQueen dress that clung close to the body, paired with heels featuring rosary bead embellishments. It was sensual, but also carried the suggestion of devotion and suffering that suits “Wuthering Heights” to the bone.
She has also leaned into bell sleeves as a recurring silhouette, a quiet tribute to the period setting. One look featured a Roberto Cavalli mini dress with dramatic sleeves and sky-high Christian Louboutin heels. It is not a strict historical costume, but the reference is unmistakable, like a ghost of the era draped over a modern cut.
A Press Tour Built Like a Novel
Behind the scenes, stylist Andrew Mukamal has been shaping this visual narrative with the kind of intensity you usually see in a director’s shot list. He spoke about a pair of feather-filled Victoria Beckham looks, one built around a black corset and another a very angelic minidress, revealing the literary inspiration behind the texture.
On Instagram, he quoted a fevered passage that felt ripped straight out of Catherine’s madness. “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,” he wrote, tying the plumes on Robbie’s dresses to Brontë’s own words.
It is not just about pretty outfits. It is about building a chapter-by-chapter journey, where each appearance hints at another mood, another scene, another unraveling. Decay in the lace. Obsession in the jewelry. Violence in the feathers.
Why This Feels So Addictive To Watch
There is something deeply escapist about watching a star commit this hard to a story through fashion. You are not just seeing a celebrity in a nice dress. You are being invited into a fully built universe where every necklace choice and hemline is a clue.
With “Wuthering Heights,” Robbie and Elordi are giving us a gothic saga before the opening credits even roll. A Taj Mahal necklace that once symbolized one of Hollywood’s great love affairs now hangs over a tale of wild, destructive passion. A skeleton ring quietly promises that love will not die, even when the lovers do. Lace bodices and snakeskin corsets whisper that pain and desire are hopelessly tangled here.
The duo has promised that their outfits will continue to evolve throughout the press tour, mirroring what Robbie calls the “seats and ideas” of the film. That means more romantic, more frenzied, more haunted looks are still to come.
So if you find yourself watching every carpet, every photocall, every talk show entrance like it is a new chapter in a serialized novel, you are not alone. In a world that moves too fast, Margot Robbie is slowing it down into a series of unforgettable images. Each one feels like standing on the edge of the moors, wind in your face, waiting for something wild to happen.
