I often hear lav clothes rustle in features, big budget TV shows etc.., but it's usually not to the point of being distracting for the viewer. In these days of multicam setups and complex compound camera moves, getting wired is the norm. As with background noise, A PSM must discern in realtime if the amount of clothing noise he/she is hearing is acceptable or not.
What's interesting is how with all this lav use, camera-perspective audio is slowely going by the wayside. As the proximity changes between the actor and the camera, the audio perpective just remains the same. On some multicam setups (wide and tight), there's not too much a mixer can do, so it's up to post to remix the ISO tracks to recapture proper camera perspective. Unfortunately, this very often doesn't get done. In my opinion, constant "up close" audio perspective detracts a bit from the voyeuristic acpect of movie watching. I'm not just talking about direct to ambience ratios, but actor's volumes as well.
Oh well... After the elements get handed off, my job is done. It's out of my hands.