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Azerbaijan has launched what it has called an “anti-terrorist operation” targeting Armenian military positions in the breakaway region of Nagorno-Karabakh, as heavy artillery firing was reported around its capital. The Azerbaijani defence ministry announced the start of the operation hours after four soldiers and two civilians died in landmine explosions in the Nagorno-Karabakh region. It raises concerns that a full-scale war over the region could resume between Azerbaijan and Armenia, which fought heavily for six weeks in 2020. The ministry did not immediately give details but said “positions on the front line and in-depth, long-term firing points of the formations of Armenia’s armed forces, as well as combat assets and military facilities, are incapacitated using high-precision weapons”. The Azerbaijani statement said: “Only legitimate military targets are being incapacitated.” But ethnic Armenian officials in Nagorno-Karabakh said the region’s capital Stepanakert and other villages are “under intense shelling”. Earlier on Tuesday, Azerbaijan said six people died in two separate explosions in the region, which is partly under the control of ethnic Armenian forces. A statement from Azerbaijan‘s interior ministry, state security service and prosecutor-general said two employees of the highways department died before dawn when their vehicle was blown up by a mine and that a truckload of soldiers responding to the incident hit another mine, killing four. Nagorno-Karabakh and sizeable surrounding territories had been under ethnic Armenian control since the 1994 end of a separatist war, but Azerbaijan regained the territories and parts of Nagorno-Karabakh itself in a six-week war in 2020. That war ended with an armistice which placed a Russian peacekeeper contingent in Nagorno-Karabakh. But Azerbaijan alleges that Armenia has smuggled in weapons since then. The claims led to a blockade of the road connecting Nagorno-Karabakh to Armenia, causing severe food and medicine shortages in the region. Red Cross shipments of flour and medical supplies reached Nagorno-Karabakh on Monday but local officials said road connections to the region were not fully open. The hostilities come amid high tensions between Armenia and its longtime ally Russia. Armenia has repeatedly complained that the 3,000-strong Russian peacekeeping force was unable or unwilling to keep the road to Armenia open even though that duty was stipulated in the agreement that ended the 2020 war. Armenia also angered Russia, which maintains a military base in the country, by holding military exercises with the United States this month and by moving toward ratifying the Rome Convention that created the International Criminal Court, which has indicted Russian President Vladimir Putin. Russian foreign ministry spokeswoman Maria Zakharova on Tuesday denied claims that Russia was informed in advance of Azerbaijan‘s intention to mount the operation, saying the peacekeepers were notified only “a few minutes” before it began. Reporting by Associated Press.

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In 1953, Gabrielle “Coco” Chanel reopened her couture house after a 14-year hiatus at the age of 70. “Why did I return?” the legendary fashion designer later posited in an interview with Life magazine. “One night at dinner, Christian Dior said a woman could never be a great couturier.” It’s a quote that perfectly captures everything Chanel represents to this day, more than a century after she opened her first millinery shop in Paris in 1910. It also happens to be nestled in the enormous boarded timeline of the designer’s life that greets visitors to Gabrielle Chanel: Fashion Manifesto, a major retrospective of the French couturière’s work, at the Victoria and Albert Museum in London. Marking the first time that a UK exhibition has been dedicated entirely to Chanel, it charts the designer’s humble beginnings in the Loire Valley of France through to the establishment of her eponymous brand and the evolution of her creations throughout the years. Incorporating gowns, suits, jewellery, fragrances and accessories, the exhibition features more than 50 of the designer’s famous tweed suits alongside several fragile pieces usually stored deep within the belly of the V&A’s archive. “We were very aware of the classic things people know about Coco Chanel,” says curator Connie Karol Burks, referencing the designer’s famous little black dresses, the 2.55 handbag and her tweed suits. “We really wanted to spotlight much more of what she contributed to fashion, and a bit more of her approach to designing clothes, like her need for comfort, simplicity and freedom of movement.” It’s a modality easily expressed from the start of the exhibition, the entrance to which is a subtle, black, perfume-like box on the ground floor (the museum’s usual rotunda-like fashion space is currently occupied by its Diva exhibition). When downstairs, visitors may be surprised to find flowing frocks fitted with bows and pockets from as early as the 1930s. “She was an active independent woman, primarily designing for herself,” explains Karol Burks. “These were practical and elegant clothes.” Practicality, as we soon learn, was an integral part of Chanel’s oeuvre. The exhibition celebrates the designer’s penchant for streamlined garments, clothes that rejected the stiff and restrictive aesthetics that had defined women’s wear just a few years earlier. It also includes details of her deep connection to Britain, including her friendships with figures from high society. While staying at the respective homes of Winston Churchill and the Duke of Westminster, Chanel embraced British sport, which is thought to be how the corresponding aesthetics of tweed and knitted jerseys found their way into her collections. Also included here is a sketch of Chanel painted by Churchill while the two were staying at the Duke of Westminster’s Scottish retreat in 1928. “Coco is here,” he wrote to his wife at the time. “She fishes from morn till night, & in two months has killed 50 salmon.” Elsewhere, highlights include the Chanel “Ford”, the name given to the designer’s little black dress that became a global staple for women everywhere. There are evening gowns aplenty, and an optic-white room entirely dedicated to the creation of the designer’s iconic perfume Chanel No 5, as well as an oval-shaped section devoted to Chanel’s tweed suits, with two rows of them spanning the curve of the room. As has already been reported, the exhibition also doesn’t shy away from Chanel’s controversial wartime activities. It features previously unseen documents illustrating evidence of her collusion with Nazis during the Second World War, while also, confoundingly, unearthing evidence that indicates she was a member of the French resistance. “It’s such a complex thing to get your head around,” says Karol Burks. “We felt it was important to have it in the exhibition and to display those original documents. But they almost give more questions than answers.” Unlike the V&A’s Dior exhibition, which charted the brand’s existence beyond the life of its founder, the Chanel retrospective ends with the designer’s death in 1971. Given the label’s extensive history in modern culture, perhaps this makes sense: there’s only so much you can squeeze into one show. But in many ways, it is a limitation that produces a lingering sense of intrigue around the designer herself. “Despite there being over 175 biographies [of Chanel], she’s still being written about and new information is still coming to light,” Karol Burks adds. “I don’t think anyone has quite pinned down who Gabrielle Chanel was. The more you learn about her, the less you know.” ‘Gabrielle Chanel: Fashion Manifesto’ runs from 16 September until 25 February at London’s Victoria & Albert Museum Read More Loved in triangles, dressed for liberation: The queer fashion secrets of Virginia Woolf and the Bloomsbury Group Young people not snowflakes or wasters, says curator of rebellious fashion exhibition Pharrell Williams designed his first collection for Louis Vuitton for himself