And a hero who wore, and drove, and drank and moved through a whole department store of cool stuff that we ourselves couldn't afford and got to shag the villains' cast-off, vengeful mistresses, plus anyone else with breasts who wandered into the action. The movies existed in a bubble of faux sophistication, with rich, scarred villains bent on world domination, with homes in travel-guide locations and beautiful girlfriends whom they mistreated. The films were actually about as stylish as old Martini TV commercials, the kind that showed Mediterranean playboys relaxing on yachts with their laughing blonde companions. But we sort of know what Kenyon means, don't we? In 23 movies over five decades, the Bond films established a template of off-hand heroism and high-gloss adventure that effectively bullied the world into believing they were cool, stylish and happening. 'There has been no bigger icon of British design style over 50 years,' says the Barbican's genial boss Nicholas Kenyon, 'than James Bond.' Really? Has the fictional agent 007 been a more influential design creation in the last half-century than Mary Quant's miniskirts, Terence Conran's white plates, Ron Arad's furniture, James Dyson's household products or Vivienne Westwood's frocks?

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