There are still three weeks to go before anyone gets to actually see Greta Gerwig’s Barbie movie, but it’s already completely monopolised pop culture, from music to fashion to furniture. Google “Barbiecore” and you’ll find the film’s pink-plastic aesthetic infiltrating everything you can imagine, with TikTok clips offering detailed outfit suggestions to viral Twitter threads praising individual looks from the film’s characters. But nothing is getting quite as much attention as Barbie herself. Or, more specifically, the red carpet wardrobe of the actor playing her. Across social media, Margot Robbie has been the subject of endless posts, threads and reels as a result of her chosen ensembles. “Margot Robbie had the chance to do the greatest fashion press tour ever and lord did she take it,” reads one tweet. “Margot Robbie just absolutely slaying all her Barbie press tour looks,” adds another. Meanwhile, British Vogue recently described her as an “unstoppable fashion force”. In typical Hollywood, none of this would be particularly remarkable. Robbie is, after all, an A-list star with an entire entourage of people whose job it is to make sure she looks her best all of the time. The fact that she keeps knocking it out of the park on the Barbie press tour, then, should just be par for the course. But, for Robbie, this carries special significance. Rewind just a few months, and Robbie’s red carpet presence had become something of a political issue. In January, social media was alight with derision for her red carpet wardrobe, mostly due to her long-standing partnership with Chanel. According to Robbie’s fans, the actor’s sense of personal style had been neutered by the luxury Franch conglomerates, with many insisting – albeit without any real evidence – that she was being forced into wearing garments she didn’t actually like. Celebrity stylist Elliot Garnaut labelled Robbie the “worst-dressed” celebrity in Hollywood, adding that someone at Chanel “obviously hates her”. Of course, nobody knew how true or false such claims were. But fans noticed a marked difference in Robbie’s demeanour whenever she stepped out in a designer ensemble that wasn’t Chanel. There was an entire Bottega Veneta phase, for example, where photos of the actor went viral alongside speculation that she was entering her “new fashion era”, finally unshackled from Chanel’s chains. What all of this taught us was that people quite clearly care quite a lot about what Robbie wears. Now it seems they care more than ever. The actor truly hasn’t missed a beat with her press tour wardrobe, tapping into cult vintage looks and recreating actual Barbie doll outfits. As is expected, there is a lot of pink. But it’s not just happening on the red carpet. Remember the iconic tweed blazer originally worn by Claudia Schiffer on the spring/summer Chanel 1996 runway? Robbie was spotted wearing it with jeans and a white crop top when she landed at Sydney airport last month. Her luggage was also pink, naturally. Another Chanel moment came via a sunshine-yellow tweed suit that looked like it had been plucked straight out of Cher Horowitz’s wardrobe. Speaking of co-ords, we’ve seen plenty. There was the pink gingham Prada set Robbie wore to CinemaCon 2023, and the bespoke Bottega Veneta pleated skirt and crop top that the label made especially for the press tour (the exact shade of pink matches that of Barbie’s car). Elsewhere, we’ve seen Robbie wearing the iconic pink polo neck and metallic skirt by Versace from its autumn/winter 1994 collection – fashion fans will remember photos of Kate Moss wearing this on the runway. She paired the look with white platform sandals and lilac socks: a perfect way to accessorise like a doll. Another standout vintage Versace look from the same collection came at a Barbie event in Sydney, where the star wore a pink sequin minidress complete with a corseted bodice. But the undisputed highlight has been the moments in which Robbie directly references Barbie herself, with looks taken from 1950s dolls. At a press conference in Seoul, Robbie dressed in a pink sparkling skirt suit covered in crystal studs, complete with a heart-shaped bag and a pillbox hat. Then there was the “day to night” doll look from 1985 that Robbie recreated – courtesy of Versace – in a pink pencil skirt suit with white lapels and matching high heels. The actor referenced another look worn by the same doll later that night, in a tulle Versace dress complete with a sparkling bodysuit. Over in Sydney, we saw the actor don a striped bodycon minidress by Hervé Léger that paid homage to a swimsuit worn by a Barbie doll from 1959. And at a photocall in LA, Robbie wore a pink polka dot cutout dress from Valentino that referenced a similar frock worn by another original Barbie doll. And in a double whammy of references, it was also a remake of a similar gown worn by Karen Mulder on the brand’s spring 1993 runway. All of this has been the work of celebrity styling mastermind Andrew Mukamal, who has worked with everyone from Zoe Kravitz and Billie Eilish to Kieran Culkin and Irina Shayk. “We’re always thinking about risks to take,” Mukami once told Vogue of his long-standing partnership with Kravitz. “We want to make an impact and create iconic moments that people will remember and be drawn to.” It seems he’s taken this exact modus operandi and applied it to Robbie, too. And thank goodness, because Barbie is nothing if not defined by what she wears. In 2023, that might sound reductive. But given Gerwig’s esteemed reputation and what we know about the film so far, we have every reason to believe that fashion, much like everything else, will prove to be an important and meaningful platform in the script. Robbie’s archival wardrobe also marks the latest sign that red carpet fashion is leaning increasingly backwards. The only outfits that matter are those that we’ve seen before. At least, that’s how it seems when you consider the fanfare surrounding celebrities any time they get their hands on a cult vintage look. This taps into the sartorial zeitgeist of shunning fast fashion in favour of sustainable alternatives. But it also suggests a slightly less exciting prospect that fashion is running out of new ideas. Even at the Met Gala, fashion’s greatest global stage, some of the most talked-about looks were vintage. Is this the death knell for originality? And what of Robbie’s own style progression? Once the Barbie press tour is over, will she go back to grinning weakly in Chanel pastels? Nodding to fashion history is a worthwhile cause. But it’s something the Queen of fashion herself, Vogue’s Anna Wintour, famously despises: “Fashion’s not about looking back. It’s always about looking forward,” she once said. Try as she might, Robbie can’t dress like a doll for the rest of her life. So perhaps this marks the start of a new costume-orientated era for the actor, one where fashion will be taken more seriously than ever before. Funnily enough, it’s a modus operandi that puts her more in sync with Barbie than anyone could have anticipated. ‘Barbie’ is in cinemas from 21 July Read More Hostage to fashion: Margot Robbie’s Chanel problem speaks to a wider red carpet crisis Walk this way... but not like that: How men’s walks became sexualised Plastic fantastic: Barbiecore is the fashion movement turning hyper-femininity on its head

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Public interest in the deep ocean went into a frenzy this week as the search for the doomed Titan submarine played out – and Oscar-winning film director has made no secret of the fact that he is obsessed with the subject. Since it emerged on 22 June that the Titan was destroyed in what US authorities called a “catastrophic implosion”, Cameron has been telling media outlets that he knew what the five-man crew’s fate was since Monday, four days earlier. After calling up his “contacts in the deep submersible community” Cameron said he had already ascertained that the vessel had been destroyed in an implosion. “I felt in my bones what had happened.” Sign up to our free Indy100 weekly newsletter But why does Cameron know so much about the ocean depths? Titanic, Avatar and The Abyss First of all, Cameron has made a lot of films about the bottom of the sea. His 1997 film, Titanic, won 11 Oscars and was the first movie to earn more than $1bn worldwide, and Cameron went deep on his research – literally. The filmmaker has visited the real-life wreck of the Titanic 33 times, making his first trip in 1995 to shoot footage for the film. One of those dives even involved getting trapped with the wreck for 16 hours, with currents of water holding the director’s submarine at the bottom of the ocean. He has even written a book about his experiences, Exploring The Deep, which includes details of his dive journey, photos and maps from his own explorations of the wreck. He told ABC News: “I actually calculated [that] I've spent more time on the ship than the captain did back in the day.” Long before Titanic, Cameron directed The Abyss in 1989. The premise of the film is that an American submarine sinks in the Caribbean – sound familiar? That prompts a search and recovery team to race against Soviet vessels to recover the boat. Meanwhile, the last movie in Cameron’s famous Avatar franchise, The Way of Water, is set on the aquatic ecosystems of a world 25 trillion miles from Earth. "Some people think of me as a Hollywood guy … (but) I make 'Avatar' to make money to do explorations," Cameron told The Telegraph. Going even deeper In 2012, Cameron went a step further, plunging nearly 11km down to the deepest place in the ocean, the Mariana Trench in the western Pacific. The filmmaker made the solo descent in a submarine called the Deepsea Challenger, and it took more than two hours to reach the bottom. The submarine he used was years in the making, designed by Cameron himself with a team of engineers. The trip was only the second manned expedition to the Mariana Trench. The first was in 1960, when US Navy Lieutenant Don Walsh and Swiss scientist Jacques Piccard descended to the ocean floor. “It was absolutely the most remote, isolated place on the planet,” Cameron said in a later interview. “I really feel like in one day I've been to another planet and come back.” He was even underwater when 9/11 happened His obsession with the ocean goes back to age 17, he told the New York Times, when he learned to scuba dive, when he said he felt like he had discovered the "keys to another world”. And between making Titanic in 1997 and Avatar in 2009 Cameron didn’t make a feature film. But he did make documentaries about sea exploration. One of those, 2003’s Ghosts of the Abyss, showed Cameron's travels to the Titanic, while the other, 2005’s Aliens of the Deep, saw Cameron team up with NASA scientists to explore the sea creatures of mid-ocean ridges. Cameron’s fascination even meant he was inside a submersible vessel exploring the Titanic on 11 September 2001, when terrorists flew two passenger jets into the World Trade Centre. It was only after the now-68-year-old director and his crew finished their expedition and returned to the main ship that Cameron learned what had happened. “What is this thing that’s going on?” Cameron asked the late actor Bill Paxton, who played treasure hunter Brock Lovett in the film. “The worst terrorist attack in history, Jim,” Paxton said. Cameron realised he “was presumably the last man in the Western Hemisphere to learn about what had happened,” he told Spiegel in 2012. Have your say in our news democracy. Click the upvote icon at the top of the page to help raise this article through the indy100 rankings.

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