Lights, camera, couture

For those of us whose idea of a ‘Winter collection’ means getting our black jumper out from under the cat, here’s our selection of some of the most stylish films ever to celebrate film director and fashion designer Tom Ford’s appearance on The Film Programme.

Rear Window (1954)

Grace Kelly has never looked more beautiful than she did in Hitchcock’s Rear Window, largely because of the five utterly breathtaking outfits she wore. No-one can shin up a drainpipe in a taffeta skirt better than Grace Kelly. Meanwhile Jimmy Stewart worked pyjamas and a leg in plaster, but with those eyes he can get away with anything.

La Dolce Vita (1960)

Fellini's masterpiece was one of the first films to put as much emphasis on what the man was wearing as the woman. But when that man was Marcello Mastroianni it’s easy to see why. Immaculate silhouettes, chic black dresses, cat-like sunglasses, the whole thing makes one want to go and live in Rome on espresso and decadence.

The Devil Wears Prada (2006)

Anne Hathaway as Andy Sachs gradually transforms into a high priestess of couture thanks to a brutal training from Miranda Priestly, her terrifying fashion mag boss. All the spectacle of fashion is here, along with its occasional lunacy.

The Great Gatsby (2013)

Prada worked with Baz Luhrmann on the costumes for The Great Gatsby, to create authentic costumes with a contemporary touch. Carey Mulligan was swathed in velvets and furs, there was a lot of sparkle and a lot of swanning about. Utterly gorgeous.

Clueless (1995)

Alicia Silverstone as Cher along with her friends Dionne and Tai totally rule school with tartan Chanel suits, knee high socks and berets. Oh and Azzedine Alaia (“he’s like a totally important designer”) and Calvin Klein for parties.

Annie Hall (1977)

Whether or not you wanted to strangle Annie Hall for her self-absorption, there’s no doubting Diane Keaton’s turnout in Woody Allen’s film looked great and started a craze for androgynous dressing. Wide-leg trousers, braces, floppy hats, men’s shirts and ties. As Annie herself would say, “Well, lah di dah.”

Breathless (1959)

Jean Seberg’s look in Jean-Luc Godard’s Breathless (‘À bout de souffle’ in the original, ineffably-stylish French) has an incredibly contemporary feel, or maybe it’s just so classic it’s become timeless. Cropped hair, ballet pumps, Breton-striped long-sleeved tops and black cropped trousers are still regularly worn by women around the world.

Reservoir Dogs (1992)

Reservoir Dogs is the reason any group of young men in suits put on sunglasses and look incredibly self-conscious as they walk to the pub. It’s because they’re all hearing Little Green Bag in their heads. Harvey Keitel's suit was a gift from Agnès B, the rest were vintage. And very good they looked, too.