Imagine Cathy Earnshaw strutting across the moors in red garters and a vintage Dior coat—it’s a far cry from Emily Brontë’s vision, but Margot Robbie is making it happen, and it’s utterly captivating. But here’s where it gets controversial: Is this bold reinterpretation of Wuthering Heights a genius fusion of classic literature and high fashion, or a daring departure that misses the mark? Let’s dive in.
On February 4, 2026, Robbie once again proved why she’s a fashion force to be reckoned with. Fresh off her groundbreaking Barbie press tour—where she and stylist Andrew Mukamal redefined red carpet expectations—the duo turned their attention to Wuthering Heights. While they’ve already tapped iconic houses like Chanel, Thom Browne, and Schiaparelli for custom looks that nod to Brontë’s world, their latest move is their most audacious yet: a deep dive into the Dior archives.
For the film’s London photocall, Robbie stepped out in a show-stopping ensemble from John Galliano’s Spring 1992 Dior collection. Picture this: a full-length toile coat with pale pink shearling trim, paired with a black micro miniskirt, a garter belt, and red thigh-high hosiery tied with a pink ribbon. It’s as if Penny Lane from Almost Famous had a glamorous rendezvous with Empress Joséphine—a blend of eras and aesthetics that somehow works. And this is the part most people miss: Robbie’s footwear choice. Instead of the two-toned shoes Helena Christensen wore in Galliano’s original ‘Napoleon and Joséphine’ runway show, Mukamal opted for pale silver, pointy-toe pumps, adding a modern twist to the vintage look.
Robbie’s approach to method dressing mirrors the film’s unconventional costumes, which have already sparked conversations about creativity versus authenticity. Here’s the question: Does her bold fashion statement enhance the Wuthering Heights narrative, or does it risk overshadowing it? Let’s discuss in the comments.
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Written by Hannah Jackson, a Vogue fashion writer whose work spans celebrity style, trends, and culture. Based in New York, her writing has also appeared in Elle, The Cut, Architectural Digest, Harper’s Bazaar, Rolling Stone, and W.
