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.

Socially smart people have always mocked the threateningly mobile, and anti-branding is a central strand of high-end status conflict now.

Rock and roll is the hamburger that ate the world.

All brands, whether high-ticket luxury ones such as Cartier or Rolls-Royce or 'masstige' ones with luxe-y overtones but altogether more affordable, all want to grow. Even brands that may have started in a modestly niche design and lifestyle fashion can find themselves under pressure to go global or to sell out at the top.

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.

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.

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.