Clothes on Film | Screen style & identity

Quadrophenia: Cream & Brown Print Shift Dress

A bobbed hair 'modette' girl wears a cute brown and cream mini-dress during the house party sequence.

Karl Urban in a natural linen tunic shirt; Kirill stands out, but only because he is supposed to.

A capitalist wet dream; one that we have long since woken up from screaming.

A straightforward loosely tied scarf around the handbag and Joan is the most stylish woman in the office.

Harold Ramis chats candidly about Ghostbusters 3. This provides perfect opportunity for a look at the guys' iconic work uniform - the jumpsuit.

Denim youth culture is not something we readily associate with Grace Kelly, though she carries the look off well here.

Moore manages a successful style coup early on in Live and Let Die. His cropped navy blue chesterfield coat.

A boisterous facade of rose-tinted Hollywood nostalgia. Public Enemies wears it well.

A final, favourite selection of Audrey outfits from Two for the Road.

Idly plotted and then tempered by a blunt ending. All of a sudden the viewer is left pondering ‘eh?’ as Pinter apparently run out of room on his pad.

Amelia Earhart was known for her modernistic sense of style throughout the 1920s-early 1930s.

This emerald green dress from Atonement could be the most famous item of clothing on film in the last decade.