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Greek Prime Minister Kyriakos Mitsotakis said he wants to preserve good relations with London, following a cancellation of

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Formula One bosses were facing up to one of the most embarrassing days in the sport’s recent history after practice for the much-anticipated Las Vegas Grand Prix was completed at 4am in an empty arena. After months of hype leading up to the £500million race, the first running was abandoned with just eight minutes on the clock. Second practice was then delayed by two and a half hours, and played out in front of vacant grandstands after furious fans were ejected to comply with local laws. Ferrari’s Charles Leclerc topped the order, with Max Verstappen sixth and Lewis Hamilton ninth, but the event - billed by F1 chiefs as the greatest show on earth - dramatically unravelled more than seven hours previously. A water valve cover broke free from the newly laid tarmac and tore into the underbelly of Carlos Sainz’s Ferrari at 210mph on the Las Vegas Boulevard. The force of the impact visibly jolted Sainz in the cockpit and, amid a flurry of white smoke and orange sparks, disabled his machine. Race director Niels Wittich red-flagged the session, but not before Esteban Ocon also struck the debris. On-board footage from Fernando Alonso’s Aston Martin captured the 42-year-old dramatically dodging the loose drain cover. Eleven minutes later, at 8:49pm, it was announced practice would not be resumed. Both Sainz and Ocon escaped without injury - but their cars were severely damaged. A giant hole tore through Sainz’s Ferrari leaving his mechanics facing an extensive repair job. Team principal Frederic Vasseur, who appeared in a pre-arranged press conference moments later, was furious. “We completely damaged the monocoque, engine and battery,” he said. “It is just unacceptable.” Second practice had originally been scheduled to start at midnight. But it was postponed as all 30 drain covers along the 1.2-mile Las Vegas Boulevard - which runs against the backdrop of Caesars Palace, Bellagio and Venetian hotels - were inspected. The covers were removed and holes filled with concrete and quick-drying resin in a hasty repair job. The track was finally deemed fit-for-purpose at 2:30am local time. However, when the running resumed the stands were empty after strict labour laws posed a security risk. Some disgruntled fans, who refused to leave, were moved on by police. A general admission ticket for the three-day event costs 500 US dollars (£400), while a hospitality suite was sold at an eye-watering 150,000 US dollars (£120,000) for the three days. The disastrous failure in Las Vegas comes 48 hours after a Superbowl-like opening ceremony, and a day on from triple world champion Verstappen heavily criticising the staging of the Grand Prix - the first here in four decades - as “99 per cent show, and one per cent sport”. F1 executives are keen to build on the sport’s growing popularity in the United States. The race in Nevada joins Austin and Miami as the third in America. Yet the mess here drew parallels with the 2005 United States Grand Prix at Indianapolis where only six drivers took part amid tyre safety fears. Leclerc finished half-a-second clear of team-mate Sainz. Verstappen, a winner of 17 of the 20 rounds so far, was nine tenths adrift with Hamilton 1.3 sec back in his Mercedes. Third practice is due to begin at 8.30pm on Friday (4.30am GMT on Saturday) with qualifying for Saturday’s 50-lap race taking place at midnight (8.00am GMT on Sunday). PA Read More Carlos Sainz handed ‘ridiculous’ penalty after drain cover crash at Las Vegas GP Empty grandstands at Las Vegas GP as chaotic practice session takes place at 3am Toto Wolff launches furious defence of F1 after absurd start to Las Vegas GP Empty grandstands at Las Vegas GP as chaotic practice session takes place at 3am Toto Wolff launches furious defence of F1 after absurd start to Las Vegas GP Ferrari boss rages at F1 after ‘unacceptable’ loose drain cover wrecks Sainz’s car

There’s Santa’s workshop, and then there’s Anthropologie’s on-site inventory. And the best part? The famous retailer’s stylish offerings — from glamorous baubles to practical pants, chic bar tool sets, and the like — are available all year round. So whether you’re getting a head start on holiday wishlists or prepping presents for your favorite Scorpio, we’re confident that there’s an Anthropologie on-site tab for that.

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“This is one of those quick and easy recipes that can be thrown together in next to no time,” says British-Iranian chef and author, Sabrina Ghayour. “I love this kind of dish with a green leaf salad and a simple vinaigrette on the side, but you can also cut it into smaller portions and serve it as snacks or light bites with drinks, too.” Courgette, lemon, feta and pine nut tart Serves: 4 Ingredients: 200g feta cheese, finely crumbled 250g ricotta cheese 1 tsp dried mint 1 tsp dried wild oregano 2 tsp lemon extractfinely grated zest of 1 unwaxed lemon 1 x 320g ready-rolled puff pastry sheet (about 350mm x 230mm) 1 courgette, very thinly slicedolive oil Handful of pine nuts 2 tbsp clear honey ½ tsp pul biber chilli flakes (omit if you prefer) Maldon sea salt flakes and freshly ground black pepper Method: 1. Preheat the oven to 220C (200C fan), gas mark 7. Line a large baking tray with baking paper. 2. Put the feta, ricotta, dried herbs and lemon extract and zest into a mixing bowl with a good seasoning of salt and pepper and beat together until smooth. 3. Place the puff pastry sheet on the lined tray and score a 1cm-wide border around the edges, then spread the cheese mixture across the pastry up to the scored border. 4. Lay the courgette slices, slightly overlapping, on the cheese mixture, season well with salt and pepper, and drizzle with olive oil. Scatter over the pine nuts and bake for 16-18 minutes until the pastry edges are nicely browned. 5. Remove from the oven and leave to cool slightly, then drizzle with the honey and sprinkle with the pul biber before serving. Crispy sticky harissa lamb “Cantonese crispy shredded chilli beef is one of my all-time favourite dishes,” says Ghayour. “This is very much my own creation and my nod to that wonderful combination of sweet and sticky, crispy and chewy bites of meat, but using lamb and adding peppers to the mix instead of carrots. It’s an explosion of flavour that ticks every box.” Serves: 3-4 Ingredients: 6 tbsp cornflour 350g lamb leg steaks, cut into 1cm-wide strips Vegetable oil, for frying 1 large onion, halved and thinly sliced into half moons 1 red pepper, cored, deseeded and cut into very thin strips 5 spring onions, thinly sliced from root to tip, reserve some for garnish Maldon sea salt flakes and freshly ground black pepper Steamed white rice, to serve For the sauce: 5 tbsp clear honey 4 tbsp rose harissa 3 tbsp rice vinegar 2 tbsp light soy sauce 2 tbsp cornflour Method: 1. Mix the cornflour with a very generous amount of salt and pepper in a mixing bowl, add the strips of lamb and really work the cornflour into the lamb for a minute or so. Set aside. 2. Heat a large frying pan over a medium-high heat, pour in about 2.5cm vegetable oil and bring to frying temperature (add a little bit of a lamb strip: if it sizzles immediately, the oil is hot enough). Line a plate with a double layer of kitchen paper. 3. While the oil is heating up, place a small saucepan over a medium heat, add all the sauce ingredients and whisk together until no lumps of cornflour remain and the mixture is smooth. Heat the sauce through, but do not let it bubble or burn, then remove from the heat. 4. Fry the lamb strips in batches in the hot oil for about two to three minutes, or until very crisp on the outside. Remove with a slotted spoon and transfer to the paper-lined plate to drain. 5. Heat another large frying pan over a high heat, add a drizzle of vegetable oil and stir-fry the onion and red pepper until browned a little. Add the lamb strips followed by the sauce and toss together until evenly coated with the sauce, then add the spring onions and combine well. Serve immediately scattered with the reserved spring onions and alongside steamed white rice. This needs no accompaniment. Tahini, almond and chocolate crumble cookies “I cannot tell you how satisfying these cookies are – so much so that I usually have a bag of the cookie dough balls stashed in my freezer ready for baking whenever the craving hits,” says Ghayour. “The texture is crumbly in an almost sandy way and the absolute optimum moment to enjoy them is 30 minutes out of the oven, when the cookies have cooled down, but the chocolate is still gooey.” Makes: 14 Ingredients: 125g salted butter, softened 125g soft light brown sugar 75g caster sugar ½ tsp ground cinnamon 100g tahini (use the solids and avoid the oil as much as possible) 150g plain flour ½ tsp baking powder ½ tsp bicarbonate of soda 50g blanched almonds, roughly chopped 200g dark chocolate chunks (70% cocoa solids) Method: 1. Beat the softened butter, sugars and cinnamon together in a mixing bowl until light and fluffy. Then add the tahini and mix until smooth. Next, add the flour, baking powder and bicarbonate of soda and mix until evenly combined. Finally, add the almonds and dark chocolate chunks and mix until evenly distributed. 2. Weigh the cookie dough, divide into 14 equal portions and form each into a ball. Chill in the refrigerator for at least four hours, or overnight if preferred. Once chilled, you can then freeze the cookie dough balls for later use. 3. To bake, preheat the oven to 180C (160C fan), gas mark 4. Line a baking tray with baking paper. 4. Place your dough balls, well spaced out, on the lined tray and gently flatten them (omit this stage if using frozen dough). Bake for 16 minutes (or 18 from frozen). Remove from the oven and leave to cool on the tray for 30 minutes, then enjoy. ‘Flavour’ by Sabrina Ghayour (Aster, £26). Read More Four delicious ways to use up leftover pumpkin this Halloween World Pasta Day: Nigella Lawson’s spaghetti with Marmite This speedy king prawn pasta has a supermarket secret weapon Midweek meals: Baked pasta Siciliana with meatballs How to make a classic lasagne Jack Stein’s Cornish mussels with spinach and cider

Not to be outdone by US-style spelling bee extravaganzas, Paris's most famous street the Champs-Elysees was transformed into an open-air mass "dictation" spellathon Sunday, pitting thousands of...

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I remember the day I realised the embodiment of my persona was a long-sleeve ironed shirt with only the collar close-lipped. Initially, I gravitated toward the crisp button-down for function, as my former workplace tended to emit heaps of chilly air, but a spontaneous feeling compelled me to button the top, leaving the rest of the shirt open. It may have been, in part, my obsession with wanting to define my look outside of popular construction or how this new silhouette framed my figure. Regardless, the androgynous piece of clothing left me feeling more confident than ever before. A clothing rack full of these formal tops sits perpendicular to my bed now, and I wear them strategically closed with almost every outfit. I couldn’t tell you exactly what it is about them that makes me feel alluring and powerful, but my style hasn’t been the same since. Now more than ever, women are setting aside archival forms of womenswear for the structure of men’s clothing, assuming their most confident, authentic selves. Mini denim shorts, bodycon dresses, and micro skirts are being swapped for baggy jorts and boxers. Individuals are donning contrasting proportions, taking risks, and exuding self-assurance in items that have historically been deemed representative of masculine codes in Western fashion. In doing so, women are diminishing the gap between gendered collections. According to Hazel Clark, professor of fashion studies at Parsons School of Design, women initiated the crossover between menswear and womenswear in the early 19th century when they started working in coal mines and riding horses. A working-class of women deliberately assumed the male dress code, whether business or activity related, because womenswear constricted their necessary movement with tight bodices and corded petticoats. Here, function and ability took precedent over society’s expectation of femininity as more opted to dirty a pair of trousers instead of their voluptuous gowns. Heading into the Second World War and the 20th century, the design gap minimised further when women’s roles in society advanced. In the 1940s, men were forced to leave their factory jobs for war, leaving their female counterparts to fill their positions. For women to be respected in the workplace, they mirrored the male look and wore the classic pantsuit. Francesca Granata, professor of fashion theory and history at Parsons, identified the “power suit of the 1980s” as “a classic instance of women trying to access men’s power in the workplace by wearing an outfit which imitated menswear and with wife shoulders: the ideal male physique.” She noted: “Yet the wide-shouldered suit jacket was often rendered appropriately feminine by being paired with a skirt.” With this came an influx of women wearing these masculine codes outside of the workplace. Though my grey dress pants from the men’s section of a closet sale were welcomed into my weekly rotation almost immediately, it took a lot of courage and self-assurance back then for women to wear similar pairs, just like it did for them to wear miniskirts when both styles were socially unacceptable. The initial need for “businesswear” transformed into desired style even if it meant a woman could be labeled as “inappropriate” or be refused at the door of an establishment. Looks from men turned to public disapproval, but that didn’t stop the progression of women dressing in menswear at all. “Although baggy clothing has been acceptable for men for quite some time, especially in the US, unlike older appropriation of menswear which were often adapted to be more skintight or revealing or somewhat rendered ‘feminine’ baggy clothes question the old dictum that women’s bodies should be on display for the male gaze,” Professor Granata remarked. In other words, this “sense of power dressing” left the confines of the office environment alongside any lingering thought to the heteronormative gaze. Fast forward to the early 21st century, when the groundwork for this fashion fusion had been laid in terms of utility and preference. As society began to understand sexuality and gender fluidity, non-gendered collections became increasingly popular. Designers became more proactive about creating androgynous clothing that didn’t need to be separated into the two typical identifiers: women and men. “Fashion must get to a point where we don’t have to talk about gender,” designer and creative director of Loewe Jonathan Anderson wrote in Amelia Anderson’s “What We Can Do Better” in 2021, nine years after he introduced the first transgender collection for his eponymous brand. “Fashion can be a way to experiment with character or to work out your identity, and I believe that clothes can have a protective role on a more emotional level.” Anderson’s obsession with how queer individuals dressed contributed to his perception that fashion can be used to “break the rules”. To him, clothing is a marker of individuality and subculture, which is what motivates him to create designs for people to express themselves free from outdated norms. Between boxy, textured T-shirts, bouncy blouses, and tailored high-waisted pants, Anderson’s worked to incorporate rival style cues even in his gender-specific collections. “Clothing is full of paradoxes, but ultimately it can empower us - and in a world that has historically taken power away from queer people, that can be vital,” he proclaimed. “In a world that often expects certain things for certain people when it comes to clothes - where society wants men, say, to wear some things, and women to wear others - I sometimes question why I do menswear and womenswear shows. But for me, it’s not about classifying people, it’s about using these categories as ideas - ideas to borrow from.” As designers helped bridge the gap, celebrities like Hailey Bieber and Bella Hadid have been seen being more experimental in campaigns for big name brands as well as in their personal street style. The 26-year-old Rhode Skin founder has been a recognised ambassador for the French fashion house, Yves-Saint Laurent, a company which has irrevocably impacted womenswear since their 1966 creation of a menswear-motivated tuxedo for women called “Le Smoking.” Both Bieber and Hadid blend feminine and masculine codes in everyday wear, leading the craze for oversized jean shorts and lengthy vintage sportswear paired with dainty ballet flats and platform boots. Other brands, such as Uniqlo and Thom Browne, design collections labelled and distributed as menswear and womenswear, but the items are still being bought and worn interchangeably. “It’s hard to explain,” Marissa Petteruti, senior menswear designer at Rag & Bone, tells The Independent when asked why she feels more assured in men’s clothing over feminine-labelled pieces. “I’ve always just felt more comfortable in, you know, oversized men’s shirts and pants. I kind of always have gravitated toward men’s fashion. I remember when I was a kid, my parents used to tell me: ‘You have to wear a skirt one day a week.’ I never saw why I couldn’t wear whatever I wanted. So maybe part of it became going against what my parents wanted me to do.” Petteruti has cultivated a closet full of suit pants, designer shirts, and vintage bomber jackets in pursuit of the perfect capsule wardrobe and collection of exclusive ready-to-wear. Ever since she attended the Parsons School of Design, pressure and expectation were absent from her style. Here, Petteruti was drawn to the serenity of menswear, and she appreciated the simplicity of its form more than women’s clothing. Her eyes wandered to streetwear brands such as Supreme and Hood-by-Air because the concept of a lux T-shirt intrigued her, and oversized pieces were pleasing. When she started at Rag & Bone, she learned that men’s tailoring was more extensive, but even so, the trends were ephemeral - meaning the pieces were inherently timeless. Womenswear detailing such as peplum cuts, scallop or lace trimming, floral embellishments, and sheer fabrics tend to cycle through seasonal collections more frequently than the stylistic choices and material preferences within menswear. The classic button-down may be presented in a specific range of colours depending on whether it’s fall or spring, but the shape and design stay the same. In other words, womenswear is more likely to follow suit with trends. Industry leaders and A-listers embracing a more avant-garde mindset in ready-to-wear and street style begs the question of whether brands will ever officially scrap the formal separation of womenswear and menswear. “Why do they have to be called ‘men’s clothing’? Just ‘cause you put the buttons on one side of the shirt and the fly on one side of the shirt and the reverse. It’s, it’s silly to me,” Petteruti agreed when asked if she thought the division was necessary. “I mean, the interesting thing about fashion now is at any given moment, it’s so diverse. We don’t all wear the same things to be in fashion. If we wanted to be in fashion, I mean, regardless of our sort of age or gender, you know, they’re like lots of different choices we can make, depending on the kind of the group we associate with or who we follow,” Clark explained. But Clark doesn’t believe concrete separation is on the horizon, due to the sizing and proportional differences between a man versus a woman. “Men’s and women’s bodies are different. You know, I mean, that’s part of it. Size and physique will prevent womenswear and menswear from being entirely infused with one another,” she proclaimed. Petteruti would argue that there’s potential. Already, she’s seen Rag & Bone mix more feminine codes into their menswear designs with varying fabrics and silhouettes. Being that inspiration is often plucked from the demand and visibility of others who motivate obsessions, the runway no longer dictates style fads. This means it may be expensive on the backend for companies, but we could see collections move away from the label if consumers want more androgynous, unisex pieces. As for Granata, she interprets the division of womenswear and menswear as already having been “tenuous,” which is exactly why women found themselves gravitating toward masculine codes to begin with. Read More How hip-hop went from being shunned by big business to multimillion-dollar collabs Dior celebrates 5 years as designer in gender-fluid Paris men's show Womenswear leads the way as Ted Baker sales soar