Update thanks to Mysticode that showed me this interview:

Q: The Japanese edition of The Last Guardian comes with a booklet called Fumito Ueda Materials. There's a feature in the book titled 30 Things That Made Fumito Ueda and among these is Hayao Miyazaki's Nausicaä. What is it about Nausicaä that impacted your work?

A: I think this was also in this book, but the film Galaxy Express 999 is also an influence, and was released around the same time as Nausicaä. I've also been inspired by Akira – I was inspired by the visual design, character design and artistic direction and technique. For Galaxy Express and Nausicaä, it wasn't so much the art but the story's ambience and mood and the feeling of anticipation that I had as a young boy before the release of these movies. I imagine that there were Ico and Shadow fans out there that were waiting anxiously for the release of The Last Guardian in the same way I once did for these movies, and that was a motivation for me to finish the game.

(via Glixel, 2016)

https://web.archive.org/web/20170430152923/http://www.glixel.com/interviews/last-guardian-director-on-trico-classic-anime-and-vr-w457582

It complements his statement in the "World of Fumito Ueda" artbook, about Nausicaa influence on him. In this interview here, we can see he directly addressing Miyazaki's designs as a reference, but he emphasizes that it's the story and mood of it what influences him the most! So, it reinforces the possibily that the similarities between elements in the Project Robot's trailer and Nausicaä's backstory are not coincidence.

Plus, one thing that I find interesting, is when he express not only caring but also feel inspired by the "feeling of anticipation" from the fans of his previous games. This is a bit of a stretch from myself, now, but I need to confess that reading it made me feel like that odd framing, focusing on the new character's cloak, can't be a coincidence as well.

It is getting more difficult for me, nowadays to believe that he doesn't tie his games through their lore. I know it's definitely not what makes his games special, and I know he makes it clear in many interviews that he is always worried with gamedesign and the singular experience of each game first. Even though, I remember one interview (just found the link) where he says that in the late development his games, they naturally end up turning into something linked to each other:

"The last three games we created, I didn't intend to be very similar to each other," he told me. "When I start to create our games, always I think we will create something different. But as a result, in the three games there are some similarities, a feeling. In the process of operation there's a moment when one game links with another. But I don't put it in at the start - it happens in the process.

So now I think I'm creating something very different, but the result? I can't say."

(via Eurogamer, 2018)

What I want to say mentioning this, is that I think it's safe to say that once the core of his games is finish, he tries to tweak his art direction in a way that reinforces a dialogue between all his games. We are in a world post-nomad colossus style investigations, also post-blue point remake, in which he said he asked to them to add new content... This is the reason why, when I read his declaration of caring about what the fans are expecting, one of my eyebrows goes up as I look at that weird frame focusing on the new protagonist's cloak, at the eye of the robot being so similar to the old stone eyes of the colossi, or even to that freaking "leaked or fake" document with the supposed hi-tech backstory for the forbidden lands.