Ellie Bamber joined leading lady Kate Moss at the premiere of the supermodel's Moss & Freud biopic on Friday night.

Kate cut an elegant figure in a statement white suit for the 69th BFI London Film Festival, held at the Curzon Mayfair.

New biopic Moss & Freud, released today, explores the unlikely bond between Kate and Lucian Freud, who together curated Titled Naked Portrait in 2002.

The distinguished artwork captured a nude, then 28-year-old Kate while she was pregnant with her daughter Lila, who she welcomed with ex Jefferson Hack. 

Kate served as executive producer, with British actress Ellie, 28, playing the iconic supermodel and 86-year old Emmy winner, Derek Jacobi, starring as Freud.

Kate flashed a hint of cleavage as she went braless in the plunging suit and posed for photos with Ellie, who put on a racy display in a semi-sheer dress, alongside dapper Derek.

Sexy, true and raw, the image, which was painted by Lucian - then 80 and at the time 52 years older than Kate - showcased the model in a way she'd never been seen before. 

The result was groundbreaking, with the painting fetching a whopping £3.5million at an auction years later.

Lucian and Kate's time together established a one-of-a-kind friendship, and the model would later describe him as ‘the most interesting person’ she'd ever met. 

So fierce was their bond, prying eyes have long questioned whether they shared something more than just friendship.

The German-born painter - also famed for his modern and selfie-esque painting of The Queen in 2001 - passed away aged 88 over a decade ago. 

Moss & Freud, aims to explore his life and art, and focuses strongly on how the 90s superstar came to be his beloved muse.

Kate's arrival on the scene in the early 90s signified a new era of models, joining the likes of Naomi Campbell, Cindy Crawford and Linda Evangelista as some of the biggest names in the industry.

Meanwhile Lucian Michael Freud, born in 1922 in Berlin, Germany, was by then a renowned painter and draughtsman who specialised in figurative art; his work on human subjects such as friends, family and lovers earned him the reputation as one of the foremost 20th-century English portraitists. 

Written and directed by James Lucas (and executive-produced by Moss herself), the film focuses not on the finished painting but on its creation, and the pair's evolving relationship.

As the film tells it, it was her idea to take all her clothes off, a response to his desire ‘to get to the core of the being’. To her initial consternation, he required her to pose three evenings a week at his Holland Park studio ‘until it is finished’. 

The project took him nine months, and in that time (during which Moss found that she was pregnant) they struck up a close friendship somewhat at odds with their age gap of more than 50 years.

It's an intriguing story but Moss & Freud doesn’t tell it especially well, never quite capturing the chemistry between the mighty artist and his beguiling subject.