All I'm saying is that Louis Vuitton and L'Oreal didn't invent branding at some point in the mid-Eighties. Big, reassuring names have been around a long time.

Girls like Diana Spencer, armed with nothing more than a guinea-pig-rearing certificate, proud to say in that old Sloane way that she was 'as thick as two short planks,' became the exception as girls from Benenden and Downe House started to fast-track towards the City and law, consultancy, media and the arts.

London clubland divides itself between the St James's refuge for toffs, and the Conquest of Cool, for the arts and media.

This may sound insulting to some of my cult studies friends, but there's a lot of cult studies people who ignore, shall we say, the wider canvas - because they simply don't know about its existence or they don't know how it operates.

Have you got a Beemer, an Audi, a Saab or a Volvo that replaced a Ford, Vauxhall, Rover or Nissan? Many Brits have. Your first Beemer. A particularly nice smell of leather. Something rather plain but satisfactory about the interior. And that lovely enamel wotsit in the middle of the steering wheel. A moment of quiet 'because I'm worth it' pride.

By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.

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.