BEIJING China's industrial output in September grew 4.5% from a year earlier, matching the pace in August, as

Red Bull’s Helmut Marko says Mercedes made a last-ditch attempt to sign Adrian Newey as the Silver Arrows desperately look to haul in the deficit to Formula 1’s dominant team. Newey, the lead designer behind Red Bull’s rapid RB19 car this season, last week extended his deal with the Milton Keynes outfit. Yet F1 Insider report that the 64-year-old received a phone call from a Mercedes assistant, who formerly worked at Red Bull, about opening talks regarding a potential move to Toto Wolff’s team. But Newey, who has been at Red Bull since 2006, rejected the offer and Red Bull’s special advisor Marko seemed to confirm the report while speaking at the Miami Grand Prix. “Mr. Wolff may not seem to have the full confidence in his own people to fix the problems with their car,” said Marko. Mercedes recently announced a job swap in their department, with James Alisson returning to his role of technical director and Mike Elliott taking up the position of Chief Technical Officer. Wolff labelled the W14 a “nasty piece of work” over the weekend in Miami, where George Russell and Lewis Hamilton finished fourth and sixth respectively. Mercedes, the constructors’ champions in F1 from 2014-2021, are pinning their 2023 hopes on a highly-anticipated upgrade at the next race at Imola in the hope it reduces the gap to Red Bull out in front. Red Bull, meanwhile, are expanding to become an engine manufacturer for the new set of regulations in 2026, partnering with American automotive giant Ford to form Red Bull-Ford Powertrains. Newey, who is seen by many as the main reason behind Red Bull’s supreme RB19 this season given his experience in ground-effect aerodynamics, will play an important role as the division launches in Milton Keynes. “Adrian has been such a fundamental part since almost the beginning,” Red Bull team principal Christian Horner said. “He covers a lot of a lot of areas and, to have the depth of his experience and knowledge to draw upon, and the way he works with the young guys, it’s great. “He’s just as motivated as he always [has] been. Obviously, he has a great interest in what’s going on in Powertrains, and Red Bull Advanced Technology as well. So, he covers the three pillars of the campus in Milton Keynes.” Read More Red Bull chief ‘signs new contract’ in blow to rival F1 teams ‘Nasty piece of work’: Lewis Hamilton’s Mercedes slammed by Toto Wolff Where are Mercedes and Ferrari? Frankly, you don’t want to hear the answer Max Verstappen claims Miami boos are due to his success: ‘They don’t like who wins’ George Russell takes aim at ‘distracting’ razzmatazz before Miami Grand Prix

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Plus-size model Ashley Graham took to the runway in a glamorous corset for the Harris Reed show. The show marked the informal start of London Fashion Week – officially running from September 15-19. Graham donned a black gown with a shimmering gold corset and a sweeping shawl, as part of the 10 look show. This isn’t the first time Reed has worked with Graham, 35, having dressed her in a sculptural pale pink and black gown for the 2023 Met Gala. Reed’s catwalks are typically dramatic – previous shows have had performances from actor Florence Pugh and singer Sam Smith – and this season was no different. Entitled ‘Duet’, the collection was inspired by Old Hollywood styles, mixing together masculinity and feminity. Designs on the catwalk used deadstock black velvet and white duchess satin with pops of gold, and played around with exaggerated proportions. One of the standout looks of the show was a black and white evening gown with statement shoulders and a revealing low cut-out at the back – which could have been inspired by the low-slung ‘bumster’ trousers popularised by Alexander McQueen in the Nineties. The largely monochrome nature of the collection was punctuated by metallic accents, with silver and pearl half-moon breast cups on one look, showcasing Reed’s partnership with London-based jewellery brand Missoma. The show was accompanied by vocals from Cosima, a Peckham-born singer-songwriter who wore an off-the-shoulder black and white gown to perform. Watching front row at the Tate Modern in London were activist and model Monroe Bergdorf, Game Of Thrones actress Maisie Williams and Bridgerton’s Charithra Chandran. The show was inspired by Virginia Woolf’s 1928 historical novel Orlando, often seen as one of the earliest representations of trans identity in English language literature. Reed cited the quote: “Different though the sexes are, they intermix. In every human being a vacillation from one sex to the other takes place, and often it is only the clothes that keep the male or female likeness, while underneath the sex is the very opposite of what is above.” Backstage, Reed expressed the need for LGBTQ+ representation. “It’s more important today than ever, because we are seeing so much more hate on the streets. I think it’s getting rapidly more aggressive and more unsafe to be queer and queer presenting in the city,” the Evening Standard reported him as saying. “Casting trans and non-binary individuals in my show potentially runs the risk of turning off some of my Middle Eastern and Asian clients. “As a designer, I walk a very fine balance of not offending too many people to equal sales and build my brand, but I still need to stand behind my messaging.” Reed’s designs are often concerned with gender fluidity and theatricality, both at his eponymous label and in his role as creative director of French fashion house Nina Ricci. In January 2024 he will publish his first book, called Fluid: A Fashion Revolution. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Football legend Michael Owen: My four kids all have opinions about my fashion choices How homeowners are creating pet-specific stylish spaces Sex Education season 4: How vintage finds help characters get their unique style

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