#margot robbie red icons

[barbie-girlll]

Margot Robbie dressed up as the "Solo In the Spotlight" Barbie doll during the premiere of Barbie the Movie, and she literally ate it up

[bluemarinedoll]

met gala 2023

[talyayet474]

Margot Robbie

[iknowplaces-tv]

Barbie icons

5 icons with variatons in purple, cyan and red under the cut

please give credit if you use

do not repost or claim as your own

requests are open!!

[armasbw]

ㅤ⠀⠀⠀⠀ㅤ⠀⠀⠀⠀ㅤ⠀⠀⠀⠀ㅤ⠀⠀⠀⠀☆

[eemcintyre]

My personal favorite 12 red-carpet dresses of all-time + why

I tried with everything in me and could not narrow it down to 10

1 | Zooey Deschanel in Oscar de la Renta (2014)

This look contains so many fun, small details, without any of which it wouldn't feel complete. It meets all of my expectations for what a red carpet dress should be- glitzy and glamorous, sure, but not *too* much. While there are a lot of textures and embellishments going on, it's all one neutral color. It's giving flapper vibes that I love, plus we don't see crop tops too often and her contrasting hair color and pop of red lipstick are what bring it over the edge to complete perfection for me.

2 | Lana Del Rey in Gucci (2018)

This gown lived rent-free in my head for days after. I appreciate the vintage reference, especially to such an iconic lady as Hedy Lamarr, while Lana also makes it her own rather than doing a direct copy. You can tell great attention was paid to the details- the lariat necklace, accumulations of star beading, and the corsage. It's just far-out enough that only the premier goddess of angelic sad girl music could truly pull it off. It's also unusual and thrilling to see a crown, and her hair provides a necessary color contrast.

3 | Natalie Portman in Gucci (2018)

Not only is this look proof that you can, in fact, mix metals, but it is the perfect complement to and embodiment of the A-list icon that Natalie is. She exudes classic Old Hollywood glamor with the shoulder pads and glittery silhouette- I'm not usually a shoulder pad fan, but with this sleek silhouette, it adds some really nice dimension. Then, she exudes drama and sexiness with the V-slit neckline without it being distracting. Finally, the eye-catching bow might be my favorite part of the whole thing.

4 | Rebecca Ferguson in Vivienne Westwood (2023)

This dress was deceptively a bit boring to me at first glance, but the longer I studied it, I realized that there are so many lovely, complex details to this look. The monochromatic color palette is made fascinating by the usage of different textures that look like they are dripping off of her. Girl is literally dripping gorgeousness and the abstract draping of the pearls and skirt make her look like a work of art. While it's maybe not the best color for her and I personally think it makes her look a tiny bit washed out, it was my favorite of everyone's outfits during the Dead Reckoning tour by far.

5 | Lupita Nyong'o in Calvin Klein (2015)

Pearl accessories have been agreed upon by most to be the classiest accessories out there- so what does that say about this gown?? While the color and silhouette are unassuming at first glance, this dress is super decadent. There are few red carpet looks I've seen where the hours of meticulous craftsmanship that went into it are this evident. I love that the beads also are not organized to only display one texture, and the peephole below the neckline is a flirty touch of contrast. The way the gems interact with light is ethereal, and that one large pearl at the base of the neckline is just eye-catching perfection.

6 | Vanessa Kirby in Valentino (2022)

This set of separates is all about bold, powerful, and modern femininity. With the slit and open midsection, it reads as very flirty and sexy, while also being comfortable and confident in that sexuality. Since it's such an unconventional, attention-grabbing outfit, I like that Vanessa went simple on the rest of the look, but it seems like it's missing the tiniest final touch, like a cocktail ring or some silver earrings to match the shoes. Overall, I love that it's different and memorable from what I normally see, and totally encapsulates the phrase "fun, fresh and flirty."

7 | Natalie Portman in Schiaparelli (2024)

When I say mother is mothering. This is another prime example of a look that is deceptively simple at first glance but really has all kinds of intriguing layers to it. The cheeky cutout, the dramatic makeup, the "reputation"-esque clutch, and then on top of it all, the chunky chain neckline is my favorite touch, adding delightful texture and draping elegantly down her shoulders. A timeless and versatile ensemble you'd be hard-pressed to go wrong with. My queen is in her revenge dress era for sure.

8 | Natalie Portman in Dior (2024)

Again I am stunned by the hours of expert craftsmanship that must have gone into this dress. Collabs between her and Dior are practically a never-miss kind of deal- just serve after serve after serve. This gown is also amazing because of how timeless it is- the style could easily have come from a number of different decades, and its simplicity leaves the door open for all kinds of accessorizing. Speaking of which, it does feel like it's missing some miniscule detail, and I personally would have worn my hair down or in a ponytail with a less severe part. But this is ultimately yet another instance of an actress looking like a work of art- the delicate color gradient resembles a serene Monet or Seurat painting.

9 | SZA in Versace (2018)

This gown was everything that I believe the Met Gala "Heavenly Bodies" theme was supposed to be about, from the delicate celestial halo to the cloud-like skirt in sunrise pastel pink. The skirt is also a really cool silhouette that we don’t see very often and adds to the illusion of her floating on the clouded sky. Finally, the thigh-high matching boots were a super-fun surprise. It could fit a tiny bit better at the waist where it's bunching up, but by far the best look of the event that year.

10 | Amy Adams in Valentino (2014)

This look perfectly straddles the two extremes of simple and dramatic, as well as vintage and modern. While there aren't any patterns, ruffles, bows, beads, or any of that jazz, the small train is very sophisticated and the deep V neckline is an alluring and attention-commanding focal point, especially accented with a lovely pendant. I also love a good color block moment, and most of the look is very Old Hollywood. And whether it was intentional or coincidental, she truly looks meant to be at the red carpet, matching perfectly with it.

11 | Diane Kruger in Elie Saab (2016)

While I don't think that this was the right dress for the hair color and makeup she chose, I love the gown itself. Very evocative of lovecore (one of my favorite aesthetics) with the fun and intricate heart pattern. The belt is also a nice resting point for the eyes that keeps the pattern from getting overwhelming and gives the gown structure. It is flirty, flowy and a touch playful while also giving off an aura of edginess and mystery.

12 | Margot Robbie in Versace (2017)

This look is a wonderfully kitschy 90s throwback and not everyone could pull it off on the red carpet without looking tacky. However, the way she keeps it simple with the hair and accessories is perfect. The twist of the fabric at the waist makes the pattern more interesting and dynamic to look at when it might otherwise seem a bit static. While it wouldn't necessarily work for any occasion, during the right one I think it wins by an absolute runaway.

[gwshead]

margot robbie met gala icons

[arvichesrobbie]

Icons 💖

[giorgio52fan]

Red Carpet Shenanigans at the 80th Venice Film Festival: When Fashion Takes Center Stage

Venice Lido, August 30, 2023 – The 80th Venice International Film Festival has officially kicked off, and while the strikes and waivers have made attendance a bit sparse, the red carpet is bursting with glamour, drama, and a touch of hilarity. As celebrities graced the scene, their outfits seemed to be telling stories of their own, much like a silent film where the attire speaks louder than…

[juniorcaptain]

As much as I enjoy Margot Robbie attending red carpets and award shows in designer replicas of iconic Barbie gowns, I really hope she arrives at the Oscars as Scuba Barbie or Veterinarian Barbie or literally any other Career Barbie

[brian-in-finance]

Photo: Oliver Holms / EE BAFTA Film Awards • Charles Finch & Chanel Pre-BAFTA Party • 17 February 2024 / Found on Twitter

Video 📹 from Instagram

Harper’s Bazaar UK • May 2024

FLASH! We join Lon­don’s glit­terati at Chanel and Charles Finch’s an­nual star-stud­ded pre-Baf­tas bash

Dramatic skies poured outside on the eve of the Baftas, but the intimate corners and warming fireplaces of 5 Hertford Street drew in Britain’s best-loved talents and Hollywood stars for the annual Charles Finch and Chanel party. Emily Blunt and Tom Ford kissed hello, before collecting glasses of champagne and going over to greet Gwendoline Christie and Giles Deacon. As the mariachi band played a lively set, Gugu Mbatha-Raw, George MacKay and Minnie Driver chatted together, while Bel Powley and Douglas Booth unwound after a busy day, having first attended a birthday lunch for Powley’s mother, before the Simone Rocha A/W 24 fashion show, declaring with intent: ‘Now we can relax!’

Bob Geldof and Mariella Frostrup linked arms to lead the charge down to dinner, followed by Isla Fisher, who was admiring the interiors. Once everyone was seated, Charles Finch addressed the room: ‘It has been an incredible year for cinema,’ he said, also paying homage to his co-host Chanel and its historic affinity with film – creating haute-couture outfits for productions such as the New Wave Last Year at Marienbad, and countless memorable red-carpet looks. Over lobster salad and poussin, conversation and wine flowed: the nominees Margot Robbie and Greta Gerwig were deep in conversation, and Richard E Grant caught up with his Saltburn director Emerald Fennell. Last year’s winner Emma Mackey was all smiles in anticipation of presenting the Rising Star Award, saying, ‘It’s quite mad, I’ve no idea who will get it, so I hope I don’t mess it up.’ It was almost midnight when guests began to descend on the dancefloor, where the party was only just beginning.

Page 170

60 SECONDS WITH…

CAITRÍONA BALFE

Who would play you in a film of your life?

‘Saoirse Ronan – she would make me very fabulous.’

Your all-time favourite soundtrack

‘Le Mépris. It’s so evocative and takes you somewhere incredible.’

The movie that changed your life

‘Dead Poets Society. It showed me the power of storytelling and solidified the fact that I wanted to be an actor.’

A silver-screen icon you’d like to meet

‘Gena Rowlands is my absolute idol – I’m holding out hope.’

Page 174

Remember… the people I find beautiful are the people who inspire me. I love unusual beauty like Peggy Guggenheim, who had incredible style and taste. Gina Rowlands is also someone I think of as beautiful. I like women like that. I like men like that. It's not all necessarily about the Best Body or the Best Hair. I think it's much more important to do incredible things with your life. — Caitríona Balfe, Cara (magazine), August 2016

[seeingivy]

Roommate/MA!Eren def took Y/n to see Barbie

BARBIE SPOILERS PLS SCROLL PAST IF YOU DIDN'T WATCH IT YET!!!!

roommate eren sees all the barbenheimer posts and tells y/n that they should go. y/n gets so excited to go that she dresses in a nice sparkly pink dress and begrudgingly (totally not, he's so excited) dresses up as ken with her! eren is suddenly thanking miss greta gerwig herself for creating a movie that makes you dress up like this. eren cries throughout the movie, totally holds readers hand during america ferrera's iconic monologue and totally sobs during the woman montage because it reminds him of you, and carla, and his sweet goddaughter sophia. (he's also buying her a thousand barbies after the movie is over and taking sophia AND carla to see it) he totally drinks respect women juice on the daily so eren and y/n have a long talk about feminism, the patriarchy, what it's like to be a woman and its so wildly wholesome that it makes eren love YOU more and you love eren MORE because he's a totally supportive and loving partner. eren also unironically keeps saying "I am kenough" after

method acting eren will be playing a ken in the movie. not ryan gosling or even simu liu ken, totally a background ken. same for y/n, she's totally a barbie as well - maybe the nobel prize physics barbie cuz she's my personal favorite. ive thought about different roles that my characters in method acting would play (like how i totally canonically in my story made levi and hange the actors of la la land) and I have always thought that historia would be perfect for sterotypical/margot robbie barbie. eren's totally the cast member after the movie talking about the role he has as a man in the industry and how he was lucky to be in this film because he really wanted to uplift womens voices. eren and y/n wear matching barbie outfits to the premiere and are super duper cute on the red carpet (when are they not, this is a power couple your honor) somehow, eren's ken becomes a meme ken and he becomes a very famous reaction image.

**side note, method acting megumi totally plays alan.

[opalsiren]

rikki with red streaks in her hair. rikki with a pixie cut. rikki with pink hair. rikki with an undercut. rikki with two high pigtails à la fellow bisexual icon harley quinn played by margot robbie. rikki as a brunette. rikki with one random blue streak in her hair. rikki with short spiky hair. you agree

[mariacallous]

Amid a desert landscape a visionary unveils an invention that will forever change the world as we know it.

That’s the climactic scene of the Christopher Nolan biopic Oppenheimer, about the eponymous J. Robert Oppenheimer, the “father of the atomic bomb.” It’s also the opening scene of the Barbie movie, directed and co-written by indie auteur Greta Gerwig, which opened on the same day as Oppenheimer.

Despite the two films’ radically different subject matter and tone—one a dramatic examination of man’s hubris and the threat of nuclear apocalypse and the other a neon-drenched romp about Mattel’s iconic fashion doll—they have far more in common than just their release date. Both movies consider the complicated legacies of two American icons and how to grapple with and perhaps even atone for them.

In Oppenheimer, the desert scene depicts the Trinity test, the world’s first detonation of a nuclear bomb near Los Alamos, New Mexico, on July 16, 1945. A brilliant but flawed theoretical physicist and the rest of his team work frantically to develop the weapon for the United States before the Nazis can beat them to the punch; they then gather on bleak, lunar-white sands near their secret laboratory to test the terrifying creation.

The countdown timer ticks to 00:00:00, the proverbial big red button is pushed, and a blast ignites the sky—a blinding white flash that quickly morphs into a towering inferno. Everything goes silent as Oppenheimer stares in awe from behind a makeshift protective barrier at what he has created.

Suddenly, he begins experiencing flashes of a different kind, premonitions of the human horror and suffering his weapon will wreak. Nolan is unambiguously signaling to the audience that this is a pivotal moment for the world, and for Oppenheimer personally, as what was once merely a theoretical idea has become monstrously real. The fallout, both literally and figuratively, will be out of Oppenheimer’s control.

Barbie’s critical desert scene comes not at the film’s climax but at its very beginning. The movie opens with a parody of the famous “The Dawn of Man” scene from Stanley Kubrick’s classic 1968 science fiction film, 2001: A Space Odyssey. As a red-orange sunrise breaks across a rocky desert landscape, a voiceover (from none other than Dame Helen Mirren) begins: “Since the beginning of time, since the first little girl ever existed, there have been dolls. But the dolls were always and forever baby dolls.” On screen, underscored by the ominous notes of Richard Strauss’s “Also Sprach Zarathustra,” little girls sit amid dusty canyon walls playing with baby dolls.

“Until…” Mirren says. And then comes the reveal: The little girls look up to see a massive, monolith-sized Margot Robbie, dressed in the black and white-striped swimsuit of the very first Barbie doll. She lifts her sunglasses and winks. The little girls are stunned—and, like the apes in the classic sci-fi movie, they begin to angrily dash their baby dolls against the ground.

This is Barbie’s mythic origin story: Once upon a time, little girls could only play with baby dolls meant to socialize them into wanting to be good wives and, eventually, mothers. Then came Ruth Handler, who in 1959 decided to create a doll with an adult woman’s body, adult women’s fashions, and adult women’s careers so that little girls could dream of being more than just wives and mothers. And the rest is history. Thanks to such iterations as doctor Barbie, chef Barbie, scientist Barbie, professional violinist Barbie, and beyond, Barbie opened up young girls to a world of possibilities and, Mirren says, “All problems of feminism and equal rights [were] solved.”

Well, not so fast: Mirren adds one final, snarky beat: “At least,” she says, “that’s what the Barbies think.”

Thus Gerwig introduces the central tension that animates the movie: Handler set out to create a feminist toy to empower and inspire young girls. But we sitting in the audience in 2023 know that things worked out a little differently. In the intervening years, Barbie would come under fire from feminists and other critics for a whole host of sins: encouraging unrealistic and harmful beauty standards that contribute to negative body image issues, eating disorders, and depression among pre-adolescent girls; lacking diversity and perpetuating white supremacy, ableism, and heteronormativity; objectifying women; promoting consumerism and capitalism; and even contributing to greenhouse gas emissions.

And here is the core parallel between Barbie and Oppenheimer: Two iconic American creators who ostensibly meant well but whose creations caused irreparable harm. And two iconic American directors (Nolan is British-American) who set out to tell their stories from a very modern perspective, humanizing them while also addressing their harmful legacies.

But while Nolan obviously had the much harder task—no matter how much harm you think Barbie has done to the psyches of young girls over the years, there’s simply no comparison to the human toll of the bombing of Hiroshima and Nagasaki, the environmental impact of decades of nuclear testing, or the cost of the nuclear arms race—oddly enough, it’s Gerwig who ends up taking her job of atonement far more seriously.

As its opening scene shows, the Barbie movie lets the audience know right from the start that it’s self-aware. It knows that Barbie is problematic. And it’s going to go there.

And it does—almost to the point of overkill. The basic plot of the movie is this: Barbie is living happily in Barbie Land, a perfect pink plastic world where she and her fellow Barbies run everything from the White House to the Supreme Court and have everything they could ever want, from dream houses to dream cars to dreamy boyfriends (Ken)—the last of which they treat as little more than accessories.

But suddenly, things start to go wrong in Barbie’s happy feminist utopia, and to fix it, she is forced to journey into the real world—our world—accompanied by Ken, who insists on going with her. When she does, she realizes that contrary to what she believed (as Mirren told us in the opening scene), the invention of Barbies didn’t solve gender inequality in the real world. In the real world, Barbie is confronted not only with the dominance of the patriarchy (she discovers, for instance, that Mattel’s CEO is a man, played by Will Ferrell), but also with the fact that young girls seem to hate her.

In a crucial early scene, Robbie’s Barbie encounters ultracool Gen-Z teen Sasha (played by Ariana Greenblatt), who delivers a scathing monologue about everything that’s wrong with Barbie, the doll and cultural symbol—basically a checklist of all the criticisms lobbed at Barbie over the years, from promoting unrealistic beauty standards to destroying the planet with rampant capitalism. Barbie is crestfallen.

Meanwhile, there’s a subplot involving Ken’s parallel discovery of patriarchy, and how awesome and different it seems to be from his subjugated life in Barbie Land. Ken proceeds to go full men’s rights, heading back to Barbie Land and seizing power. He transforms Barbie’s dream house into Ken’s Mojo Dojo Casa House, where Barbies serve men and “every night is boys’ night!”

Barbie enlists the help of Sasha and her mom (played by America Ferrera)—a Mattel employee who secretly dreams up ideas for new, more realistic Barbies such as anxiety Barbie—to unseat Ken and restore female power in Barbie Land. Along the way, Ferrera’s character delivers the film’s other major feminist monologue, about how hard it is being a woman in the real world.

The monologues are unsubtle, as are the repeated mentions of concepts like the patriarchy. In every scene and nearly every line, the movie hits the audience over the head with the pro-feminism message. Gerwig knows what her job is—to atone for Barbie’s sins (and, yes, help Mattel sell more dolls)—and she makes sure everyone knows that she has fully understood the assignment.

But it’s in the film’s quieter, more tender moments that Gerwig’s background as an indie filmmaker and her true talent shine through, and where she’s able to communicate the message in a subtler, but ultimately more impactful, way. The scene where Barbie in the real world sees an elderly woman for the first time (old people and wrinkles don’t exist in Barbie Land, obviously) and is stunned at how beautiful she is, wrinkles and all. Or the scenes where Barbie talks quietly with her deceased creator, an elderly Handler (played by Rhea Perlman), who explains that the name Barbie was an homage to Handler’s daughter, Barbara, who inspired her to make the doll.

The overall result is a movie that, even if a bit ham-fisted in its over-the-top messaging, doesn’t shy away from the uglier parts of Barbie’s legacy. It looks them right in the face, wrinkles and all.

I said above that the Trinity test scene is the climactic scene in Oppenheimer, but that’s not really the case. For a movie about the complicated life and legacy of the man credited with creating the world’s most destructive weapon, it should be the climax. You might imagine it would follow with a denouement of the inventor confronting the reality that his creation is used to kill tens of thousands of Japanese civilians and sparks an arms race that threatens to destroy all of humanity.

These scenes are in there, but they are given short shrift next to the other story Nolan wants to tell: that of how Oppenheimer, once considered an American hero, was mistreated by his country in the postwar years. As McCarthy-era fears of communist infiltration grip the country, Oppenheimer’s previous ties to the Communist Party (he never joined the party himself, but he had close family members and friends who were members, and he supported various left-wing causes) are mysteriously brought to the FBI’s attention despite already being well documented. His security clearance is revoked, and his career working with the U.S. government on nuclear issues ends.

It is this storyline—not the apocalyptic destruction of two Japanese cities—that is given the most pathos. Much of the movie’s three-hour run time—and nearly all of its third act—centers on what we are clearly meant to see as the great evil that was done to this man who did so much for his country. The real climax of the film is not the Trinity test, nor even the bombings of Japan (which are not even shown in the movie), but rather the moment we learn who betrayed Oppenheimer by handing over his security file to the FBI.

This is the shocking revelation that is meant to induce gasps in the audience, not the images of charred and irradiated bodies. In fact, those images aren’t even shown to us, the viewers. In the scene where Oppenheimer and his team are shown photos of the aftermath of Hiroshima and Nagasaki, the camera stays tight on Oppenheimer’s face as he reacts to the images—a reaction that consists of him putting his head down to avoid seeing them.

It is an act of cowardice on Oppenheimer’s part, yes, but also on Nolan’s. Indeed, the only glimpses we get of the macabre effects of the atom bomb take place in Oppenheimer’s fevered imagination, and even then, they are brief flashes used for shock value: skin flapping off the beautiful face of an admiring female colleague; the charred, faceless husk of a child’s body Oppenheimer accidentally steps on; a male colleague vomiting from the effects of radiation. Of the Japanese victims, there is nothing. They remain theoretical, faceless.

Nolan has said that he chose not to depict the bombings of Hiroshima and Nagasaki not to sanitize them but because the film’s events are shown from Oppenheimer’s point of view. “We know so much more than he did at the time,” Nolan said at a screening of the movie in New York. “He learned about the bombings of Hiroshima and Nagasaki on the radio, the same as the rest of the world.”

But in reading the numerous interviews he’s given about the movie, it’s also clear that Nolan fundamentally sees Oppenheimer as a tragic hero—Nolan has repeatedly called Oppenheimer “the most important person who ever lived”—and Oppenheimer’s story as a distinctly American one. “I believe you see in the Oppenheimer story all that is great and all that is terrible about America’s uniquely modern power in the world,” he told the Bulletin of the Atomic Scientists. “It’s a very, very American story.”

That Nolan’s film devotes so much runtime to Oppenheimer’s point of view and how he was tragically betrayed by his country is partly due to the fact that the film is not an original story but rather an adaptation of the Pulitzer Prize-winning biography of the great scientist, American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer. That book also places Oppenheimer being stripped of his security clearance at its center. But that didn’t mean Nolan had to do the same in his adaptation. That was a choice. And the end result is what military technology writer Kelsey Atherton aptly described as “a 3 hour long argument that the greatest victim of atomic weaponry was Oppenheimer’s clearance.”

At a time when Americans are struggling to reckon with their country’s past and how it has shaped the present—from fights over how (or even whether) to teach children about the legacy of slavery and Jim Crow; to debates, including in these very pages, over the role (or lack thereof) of NATO expansion in Russia’s decision to wage war on Ukraine; to retrospectives on the myriad failures of the U.S. war in Afghanistan; and beyond—the fact that the two biggest films in theaters right now are attempting to confront the legacies of two American icons, the nuclear bomb and Barbie, is understandable and perhaps even impressive.

But the impulse to look away from the ugliest parts of those legacies remains strong, and Oppenheimer never fully faces them.

[armasbw]

I can dim the lights and sing you songs full of sad things 🤲🏻 ⸺ 𝒬.

[eemcintyre]

Best black dress moments on the red carpet (according to me)

Margot Robbie

Janelle Monae

Rebecca Ferguson

Adele

Rebecca Ferguson

Natalie Portman

Cynthia Erivo

Mia Goth

Natalie Portman

Gillian Anderson

Zoe Kravitz

Renee Zellweger

Lana Del Rey

Natalie Portman

Natalie Portman

Kate Middleton

Gillian Anderson

Courtney Love

Sheryl Lee

Nicole Kidman

Diane Kruger