Using photography to document style subcultures is nothing new, but the difference with the Exactitudes exhibition is that most of its subjects certainly wouldn't recognize themselves as members of any fashion tribe. In the murkier depths of Selfridges (down the escalators, via the decidedly unhip luggage department) photographer Ari Versluis and stylist Ellie Uyttenbroek make like crazed zoologists intent on documenting the distinctive markings of each subspecies. In their images, carefully numbered and categorized according to city and date, Versluis’ models are pinned out like exotic beetles under glass.

Some species are instantly recognizable: Formers - Rotterdam 2005, for instance, is a series of serious-looking female curators in black Yohji robes and ethnic jewellery who would be equally at home in a gallery in Shoreditch or Williamsburg. Likewise, the ranks of Gallic Johnny Borrell-a-likes in Zazous - Bordeaux Lac 2006 in their leather jackets are, apparently, a universal phenomena. And if nothing else, this exhibition has taught me that the German for Goth is ‘Ghoullie’ which is, I think, something definitely worth knowing.

Very much a work in progress, Exactitudes charts the rise and fall of trends over the past ten years. The grungy Chillers of 1999 have been replaced by equally sullen if more sharply dressed Emos of 2006 while the views of 1997’s environmentally aware Young Activists have gone mainstream; perhaps they’re making government policy now. Meanwhile, Versluis and Uttenbroek are updating the collection with the aid of a crack team of students from all the best acronyms - Central Saint Martins, London College of Fashion and London College of Communication - to identify the archetypal denizens of London circa 2008 and lure them down to the gallery-cum-studio. The resulting works will be unveiled on 6th April. The team won’t be drawn on their chosen groups but when I went along a neon haired lesbian couple and a pretty Japanese girl with a designer handbag were posing for the cameras.

Playing 'Spot the Stereotype' is, of course, excellent fun, but does it really qualify as art? What I think this exhibition is ultimately about is the failure individuals to conform to simplistic generalizations: glimpses of personality still shine though. After all, the angelic little girls dressed up for their First Communion in Little Brides - Maastricht 2006 may well resurface in a few years as, god help us, Emos - Maastricht 2015!