I can remember when anything further downtown New York than Canal Street was risky and the whole area still looked like a 70s cop movie location; when the original loft-owners were more dash-than-cash, artistic types.

The White Company offers its loyalists an altogether better, whiter world. The White people have edited out any colours that aren't white, off-white, milk chocolate, grey, taupe or black. They can't be doing with Johnnie Boden's cheery Sloane jokes, his spots and stripes, his occasional 'if it's me, it's U' loud colours.

I can't actually read interviews with thesps now because they're almost always fantastically predictable, the men especially. Actors are forever stressing their ordinariness, their beer and football-loving commitments.

If you've done a bit of journalism, everyone assumes you must be moving into PR. We're absolutely not becoming a PR agency and we're not turning into Brunswick. We will remain SRU, but we will be owned by the Brunswick Group. It's quite different.

Sloanes aren't cafe society or NYLON hedge-funders with million-pound bonuses, or London Eurotrash wearing upgraded style anglais. Ann Barr's and my original picture of them in 'The Official Sloane Ranger Handbook,' published in 1982, was of an upper-middle-class world, conservative and fairly homogeneous, united by old attitudes and institutions.

Pop managers are fixed in the dramatic stock character repertoire too, ever since the first British pop film musical, Wolf Mankowitz's 'Expresso Bongo' of 1959, with Cliff Richard as Bongo Herbert and Laurence Harvey as his manager. The key components were cast as X parts gay, X parts Jewish and triple X opportunistic.

George Bush is by American standards rabidly Upper Class - Eastern, Socially Attractive, WASP, 19th-century money, several generations of Andover and Yale (and, while we're at it, his father, George H. W. 'Poppy' Bush, was a former president and his grandfather was the Nazis' U.S. banker in the 1930s).