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Player ratings from Barcelona's 2-1 La Liga win over Osasuna on Sunday night.

By Andrius Sytas RIGA (Reuters) -In a Stalinist skyscraper which dominates the skyline of Latvia's capital, dozens of elderly Russians

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Arsenal boss Mikel Arteta has called for the Saudi Pro League transfer window to close in line with Europe’s – but refused to rule out selling players beyond September 1. Some of football’s top names have made the move to Saudi Arabia this summer as PIF investment in four of the country’s top clubs has allowed for a vast increase in transfer fees. Arsenal host Fulham in the Premier League on Saturday and, while the Gunners have not lost any of their squad to Saudi, their visitors will be without talismanic forward Aleksandar Mitrovic, who moved to Al-Hilal last week. Head coach Marco Silva rejected overtures from the Gulf before the start of the new season while winger Willian was also unsettled by transfer speculation. The Premier League window closes next Friday but Saudi clubs will be able to sign and register new players until September 20, something Arteta believes needs to be addressed. Asked if the extra two and a half weeks to conclude business was fair, the Spaniard replied: “No, because it is a competitor now. No, I think we have to change that.” Pushed on whether the Pro League deadline should fall in line with Europe, Arteta continued: “That is my opinion, yes. “It is another competitor and it brings other opportunities for players, for managers and for people that work in the industry to decide. “In the end, we are free to decide when clubs, players or whoever has to agree to something, you have to have the intention to go and find agreements, that is why there are contracts. It is another competitor and it brings other opportunities for players, for managers and for people that work in the industry to decide Mikel Arteta on the Saudi Pro League transfer window “If people agree to go it is because someone agrees to go there but that someone agreed to sell him, so it goes two or three different ways.” No Arsenal players have headed to the Middle East this summer but there has been reported interest from Saudi clubs in both Gabriel Magalhaes and Thomas Partey. While he wants to see a uniform transfer deadline, Arteta stopped short of saying Arsenal will refuse to sell players beyond the Premier League’s window closing on September 1. “Well, the principle would be that (we would not consider offers),” he said. “But I cannot make the decision for the club. It is a lot of people involved in that process and they would have for sure a say, the ownership, would do the same. “It would be on the table like with any offer and you have to look at it. The only thing I’m saying is it’s not ideal because they are a competitor.” Asked if losing a player after the window closed would be destabilising, he added: “Yes, very much. Yes.” Arsenal welcome their London rivals having won their first two league games and could welcome Gabriel Jesus back from knee surgery to play a part on Saturday. The Brazil forward went under the knife for a minor procedure before the start of the campaign but Arteta is hopeful he could feature against Fulham. “It was a big blow for him after the pre-season he had to have another surgery. He’s looking really sharp. He trained the full week good. He’s ready to go, that is great,” he added. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live ‘This is unacceptable’ – Alexia Putellas after Luis Rubiales refuses to resign Manchester United boss Erik ten Hag avoids questions about Mason Greenwood Kevin Sinfield says England’s pre-World Cup setbacks are bringing squad together

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There are still three weeks to go before anyone gets to actually see Greta Gerwig’s Barbie movie, but it’s already completely monopolised pop culture, from music to fashion to furniture. Google “Barbiecore” and you’ll find the film’s pink-plastic aesthetic infiltrating everything you can imagine, with TikTok clips offering detailed outfit suggestions to viral Twitter threads praising individual looks from the film’s characters. But nothing is getting quite as much attention as Barbie herself. Or, more specifically, the red carpet wardrobe of the actor playing her. Across social media, Margot Robbie has been the subject of endless posts, threads and reels as a result of her chosen ensembles. “Margot Robbie had the chance to do the greatest fashion press tour ever and lord did she take it,” reads one tweet. “Margot Robbie just absolutely slaying all her Barbie press tour looks,” adds another. Meanwhile, British Vogue recently described her as an “unstoppable fashion force”. In typical Hollywood, none of this would be particularly remarkable. Robbie is, after all, an A-list star with an entire entourage of people whose job it is to make sure she looks her best all of the time. The fact that she keeps knocking it out of the park on the Barbie press tour, then, should just be par for the course. But, for Robbie, this carries special significance. Rewind just a few months, and Robbie’s red carpet presence had become something of a political issue. In January, social media was alight with derision for her red carpet wardrobe, mostly due to her long-standing partnership with Chanel. According to Robbie’s fans, the actor’s sense of personal style had been neutered by the luxury Franch conglomerates, with many insisting – albeit without any real evidence – that she was being forced into wearing garments she didn’t actually like. Celebrity stylist Elliot Garnaut labelled Robbie the “worst-dressed” celebrity in Hollywood, adding that someone at Chanel “obviously hates her”. Of course, nobody knew how true or false such claims were. But fans noticed a marked difference in Robbie’s demeanour whenever she stepped out in a designer ensemble that wasn’t Chanel. There was an entire Bottega Veneta phase, for example, where photos of the actor went viral alongside speculation that she was entering her “new fashion era”, finally unshackled from Chanel’s chains. What all of this taught us was that people quite clearly care quite a lot about what Robbie wears. Now it seems they care more than ever. The actor truly hasn’t missed a beat with her press tour wardrobe, tapping into cult vintage looks and recreating actual Barbie doll outfits. As is expected, there is a lot of pink. But it’s not just happening on the red carpet. Remember the iconic tweed blazer originally worn by Claudia Schiffer on the spring/summer Chanel 1996 runway? Robbie was spotted wearing it with jeans and a white crop top when she landed at Sydney airport last month. Her luggage was also pink, naturally. Another Chanel moment came via a sunshine-yellow tweed suit that looked like it had been plucked straight out of Cher Horowitz’s wardrobe. Speaking of co-ords, we’ve seen plenty. There was the pink gingham Prada set Robbie wore to CinemaCon 2023, and the bespoke Bottega Veneta pleated skirt and crop top that the label made especially for the press tour (the exact shade of pink matches that of Barbie’s car). Elsewhere, we’ve seen Robbie wearing the iconic pink polo neck and metallic skirt by Versace from its autumn/winter 1994 collection – fashion fans will remember photos of Kate Moss wearing this on the runway. She paired the look with white platform sandals and lilac socks: a perfect way to accessorise like a doll. Another standout vintage Versace look from the same collection came at a Barbie event in Sydney, where the star wore a pink sequin minidress complete with a corseted bodice. But the undisputed highlight has been the moments in which Robbie directly references Barbie herself, with looks taken from 1950s dolls. At a press conference in Seoul, Robbie dressed in a pink sparkling skirt suit covered in crystal studs, complete with a heart-shaped bag and a pillbox hat. Then there was the “day to night” doll look from 1985 that Robbie recreated – courtesy of Versace – in a pink pencil skirt suit with white lapels and matching high heels. The actor referenced another look worn by the same doll later that night, in a tulle Versace dress complete with a sparkling bodysuit. Over in Sydney, we saw the actor don a striped bodycon minidress by Hervé Léger that paid homage to a swimsuit worn by a Barbie doll from 1959. And at a photocall in LA, Robbie wore a pink polka dot cutout dress from Valentino that referenced a similar frock worn by another original Barbie doll. And in a double whammy of references, it was also a remake of a similar gown worn by Karen Mulder on the brand’s spring 1993 runway. All of this has been the work of celebrity styling mastermind Andrew Mukamal, who has worked with everyone from Zoe Kravitz and Billie Eilish to Kieran Culkin and Irina Shayk. “We’re always thinking about risks to take,” Mukami once told Vogue of his long-standing partnership with Kravitz. “We want to make an impact and create iconic moments that people will remember and be drawn to.” It seems he’s taken this exact modus operandi and applied it to Robbie, too. And thank goodness, because Barbie is nothing if not defined by what she wears. In 2023, that might sound reductive. But given Gerwig’s esteemed reputation and what we know about the film so far, we have every reason to believe that fashion, much like everything else, will prove to be an important and meaningful platform in the script. Robbie’s archival wardrobe also marks the latest sign that red carpet fashion is leaning increasingly backwards. The only outfits that matter are those that we’ve seen before. At least, that’s how it seems when you consider the fanfare surrounding celebrities any time they get their hands on a cult vintage look. This taps into the sartorial zeitgeist of shunning fast fashion in favour of sustainable alternatives. But it also suggests a slightly less exciting prospect that fashion is running out of new ideas. Even at the Met Gala, fashion’s greatest global stage, some of the most talked-about looks were vintage. Is this the death knell for originality? And what of Robbie’s own style progression? Once the Barbie press tour is over, will she go back to grinning weakly in Chanel pastels? Nodding to fashion history is a worthwhile cause. But it’s something the Queen of fashion herself, Vogue’s Anna Wintour, famously despises: “Fashion’s not about looking back. It’s always about looking forward,” she once said. Try as she might, Robbie can’t dress like a doll for the rest of her life. So perhaps this marks the start of a new costume-orientated era for the actor, one where fashion will be taken more seriously than ever before. Funnily enough, it’s a modus operandi that puts her more in sync with Barbie than anyone could have anticipated. ‘Barbie’ is in cinemas from 21 July Read More Hostage to fashion: Margot Robbie’s Chanel problem speaks to a wider red carpet crisis Walk this way... but not like that: How men’s walks became sexualised Plastic fantastic: Barbiecore is the fashion movement turning hyper-femininity on its head

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