We open with Edie in New York with then-boyfriend Chuck Wein (Jimmy Fallon). She’s wearing a coat with a pretty thick fox collar. Sadly it is not well filmed.

She and Chuck get an invite up to The Factory. Edie was a “socialite” and a product of some wealth, so she already had some furs in the closet. That includes this cross mink fur coat, probably the one non-spotted fur in the film with the most runtime.

This sequence is longer and gives decent shots of the cross mink coat as she walks around the Factory and chats up the “eccentrics” gathered there.

Warhol takes a fancy to Edie and becomes a rising star. This section leans heavily on montages. A quick one shows him taking shots of her in this short-haired, highly-fashioned, probably mink coat. It is very brief here but put a pin in that one.

The “rising star” section of the film bounces around a lot and, naturally, showcases Edie in various furs. The cross mink fur coat turns up again.

More importantly, and more frustratingly, this blue fox fur stroller coat shows up in one scene. It consists almost entirely of Edie and Warhol walking to the camera, and it’s a wide shot that never really gives Sienna Miller in a blue fox coat the attention it deserves. So, I fixed that for you:

There’s only a brief closeup of her in the blue fox at the end of the scene. Great coat, terrible fur cinematography.

Blink-and-you’ll-miss-it shot in a montage of not-Edie in a fox fur stole. For some reason, I think it’s in Paris. I say that mostly because Edie suggested Andy go to Paris in the scene with the blue fox fur, no other reason.

What follows is one of two long sequences with this spotted fur jacket, leopard presumably. I do not care for spotted fur, though I know others do, so I’m including them now. They are, I feel, too short and barely register as fur to the viewer.

Yet another blink-and-you’ll-miss-it shot of Mena Suvari as Richie Berlin in a very small mink-trimmed top.

This fox-collared coat shows up earlier in a montage, but it’s fully featured here. Edie’s fame has peaked, and she’s getting the cold shoulder from The Factory.

The spotted fur shows up again in what might be the most extended fur-wearing sequence in the film. Edie and not-Bob Dylan take a trip to a lake and talk about, like, really heavy shit, man.

The second fox collar coat shows up again later when she’s further into her downward spiral.

The film ends with an extended version of the sequence where Warhol films Edie in the short mink. So, as I said, if you liked that one, you get more of it.