Brit should pick up a copy of What Would Audrey Do? Timeless Lessons for Living with Grace and Style by Pamela Keogh, author of Audrey Style, Jackie Style and Elvis Presley: The Man. The Life. The Legend.

Audrey Style took 10 years of research, interviewing relatives and Rob Wolders, Hepburn’s partner till she died in 1993 at 63 of cancer.

This is Audrey Lite, a self-help Audrey Primer like Miss Manners.

“Audrey Style, Jackie Style and Elvis were big, serious bios,” says Keogh over the phone from New York. “This is looser, rowdier and fun. What could we learn from A.H.?”

To wear undergarments, for one.

That it coincided with the meltdowns of the Lohans, Richies and Hiltons was fortuitous but coincidental. “This took so long, I was writing it way before they all blew.”

I was smitten with A.H., as are people of all demographics. She is an icon to girls and grandparents.

“The young girls know her movies. They don’t know World War II,” Keogh says. “They see her on- screen and she seems like a nice person. She is childish and grown-up at the same time. Her honesty, beauty, vulnerability and genuine guilelessness are appealing.”

A.H. is also a style icon: white shirt, LBD, ballet flats, oversized glasses and black capri pants. She was the muse for 30 years of Hubert Givenchy. An unrepentant clothes horse, A.H. stated, pre-Sex and the City, she’d “rather have more closets than a swimming pool.”

She traveled with 52 suitcases.

“That was when she was in her career prime,” Keogh specifies. “At UNICEF, she travelled with two suitcases – one for Rob Wolders – with jeans and polo shirts.”

She was a stick figure – size 2 and a 20-inch waist – but “she made non-sexy, sexy.”

“It was her intelligence that was sexy. There was a depth to her, and sophistication,” says Keogh. “She’d look at a guy and he’d fall over.”

Columbia Pictures is tuning up a “My Fair Lady” redo, with Keira Knightley in talks to star as the simple Cockney flower girl who is transformed into a lady.

The studio declined comment on casting of the project, being produced by Duncan Kenworthy (”Love Actually,” “Notting Hill”) and London legit maven Cameron Mackintosh.

CBS Films, which owns the film rights to the Lerner & Loewe musical, will co-develop.

While it’s being called an update, the film will use the tuner’s score and retain its 1912 setting. Where possible, Kenworthy and Mackintosh intend to shoot the film on location in the original London settings of Covent Garden, Drury Lane, Tottenham Court Road, Wimpole Street and the Ascot racecourse. (The 1964 Warner Bros. film was lensed entirely on Hollywood soundstages.)

The filmmakers plan to adapt Alan Jay Lerner’s b