As a student in the 1960s, Zandra Rhodes would often visit the costume court of the Victoria and Albert Museum in London to study the Elizabethan doublets. She went on to incorporate elements of Tudor costume into many of her couture collections.

Now things have come full circle. As an icon of British fashion – and a dame – Rhodes’ collections are providing inspiration for a new generation of students. Upon receiving her honorary doctorate of the arts from De Montfort University (DMU) in 2023, Rhodes announced her decision to donate her archive to the university.

These remarkable archives are at the heart of a major new public exhibition across the DMU campus. The University Gallery will explore Rhodes’ creative process and design collaborations with brands such as Ikea, Marks & Spencers and TopShop.

The University Museum will also present an in-depth study of her autumn/winter 1983 Medieval Collection. Together, these displays draw on material from the Zandra Rhodes Foundation’s donation to reveal both the breadth of the designer’s career and the rich educational potential of her archive.

Rhodes originally studied printed textile design at the Royal College of Art in London. After graduating in 1964, she became frustrated with clothing manufacturers who considered her textile patterns too outlandish to use on their garments, so she decided to move into fashion design.

Rhodes ensured that each garment she designed would perfectly showcase her own textile prints. Her trademark diaphanous dresses have been worn by royalty and celebrities, from Princess Diana to Elizabeth Taylor and Debbie Harry. Rhodes herself embodies a flamboyant personal style and is famed for her bright pink hair, theatrical make-up and bold costume jewellery.

Fashion and textiles have been taught at DMU for over 150 years, from corsetry and footwear to knitwear and textile design. The university’s special collections hold numerous archives which reflect this background in fashion and textiles teaching.

Rhodes’ archive collection spans 1964 to 2021, and provides a wealth of useful material including: samples of mock-ups and final garments from ready-to-wear collections; documents that chart the development of a design from initial sketches through to fabric sampling, patterning, costing and marketing; press cuttings; photographs; and audio-visual recordings.

Exploring the creative process

Rhodes was very specific that her collection was to be used for teaching the next generation of fashion designers. We have been delighted to incorporate it into a wide range of teaching activities.

Beyond vague ideas about “vintage style”, few students will have considered using heritage or historic costume as inspiration for their own work, even though this approach is increasingly championed by the wider fashion industry.

The scope of Rhodes’ collection allows us to trace the development of a garment from initial conception to finished product, following the chain of design, production and marketing. Reviewing the methods and practices of a globally successful designer is invaluable to students who are at the very start of their own careers.

It demonstrates for them first-hand how much trial and error, collaboration and sheer effort goes into the creative process, and how the path from concept to completion is strewn with mistakes and revisions. That is a powerful lesson for students, who may mistake difficulties in their own work for a lack of talent. The archive shows instead that uncertainty and imperfection are normal parts of the creative process.

The value of hands-on learning

During archive sessions, we take an object-based learning approach. Students are encouraged to get hands-on with the garments and other items in the collection, analysing their cut, construction, materials, techniques, patterning, embellishment and visual impact. This champions the value of materiality in a digital, AI-driven age where many students experience fashion primarily through a screen.

We have also developed creative approaches to lessons that allow the students to engage with the archive in a stimulating way. Sketching from the archive helps build confidence in drawing, supported by seeing real examples of how vital drawing is to Rhodes’ practice.

In another exercise, students analyse the wide range of influences that inspire Rhodes’ pattern designs, from nature and landscapes to urban cityscapes, found objects and folk art. They then find and photograph their own inspirations and create their own Rhodes-inspired patterns.

Adapting the Rhodes signature style

Academic staff collaborating with special collections have designed an increasing number of module assessments that require students to use the archive as direct inspiration for their own designed collections. This has expanded to include numerous design and creative subjects.

Footwear students have made Zandra Rhodes-inspired collections, while fashion marketing students have designed and promoted collaborations between existing brands and the designer. Elsewhere, students of the interior design theatre module have created stage sets drawing on her work on opera costuming, and museum design students have prepared proposals for exhibitions showcasing the archive collection.

Our work shows that there is significant benefit to students when they gain an understanding of creative processes and methods through hands-on handling of heritage collections and archival papers.

The excitement of our students when they encounter the Rhodes’ collection is palpable, and we have noted improvements to their work once they have been immersed in the archive.

One described experiencing the archive first-hand as a “really special moment. It was actually really moving being able to dive into someone’s work and life – it felt very personal.”

It is clear that having access to a rich and comprehensive fashion archive from a top British designer has the capacity to engage and inspire the upcoming designers of the future.

Zandra Rhodes: Archive Unfolded will be on show at De Montfort University, Leicester until January 16 2027

Marks and Spencer’s new autumnal range features some cosy, chic and country-core styles that we think Celebrity Traitors icon Claudia Winkleman would be proud of says senior fashion writer Eve Rowlands

I don’t know about you, but I cannot wait for the new series of Celebrity Traitors to return to our screens next week after a monumental first series in 2025 – with our favourite TV host, Claudia Winkleman, at the helm, no less. While I’m absolutely buzzing for the new twists and turns, drama and gasps of the new series, I am also chomping at the bit for the reveal of the show’s host’s enviable designer-country-core-gothic-inspired wardrobe (see here for my roundup of her looks from The Traitors season 4).

The new series is set to begin on October 1 (8 pm, BBC One), making it the perfect way to settle into the cooler autumnal evenings. With a new season – weather-wise and on telly – in full swing, the high street is currently overflowing with cosy jumpers, chunky boots, plaid, and more that we think our Claud would be all over. In particular, at Marks and Spencer.

So, inspired by past looks of the 54-year-old on the mystery show, I went to my local M&S to challenge myself to create some looks that would receive the seal of approval from the Celebrity Traitors host and her long-time stylist, Sinead McKeefry. It was a success, if I do say so myself – and the ensembles are all under £100.

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Working with what was in stock at my local store, I came up with about four looks that made me feel cosy and weather-appropriate, and that oozed the androgynous style the TV star is so famous for. Expect checks and plaid, cosy, textured jumpers, wax car coats, ruffles, and more – devastatingly, though, I couldn’t find a mallard-decorated knit (if you know, you know).

This jumper screamed out to me when I was wandering around my local M&S and reminded me of the famous Yeti coat look (from designer Raey) mixed with the sheep-ish £1,290 designer Isabel Marant Moka Sweater. Costing £55 from the brand’s Per Una range, the Fringe Detail Relaxed Jumper with Wool comes in XS to XL, and features fringe tassels all over the body and arms – both front and back – and has a lovely relaxed fit, ideal for layering. Personally, I would have liked it a little longer to cover the tops of my legs.

It is cut with a crew neckline and comfy long sleeves, which is ideal for slotting something like this Pure Cotton Checked Shirt, £24, underneath, buttoned up with the collar poking over the top (very Claudia, if you ask us) for a little pizzazz.

For anyone who’d rather have something with a little more neck protection – a la Claudia – this Lipsy Cream All Over Fringe Knitted Jumper from Next, £54, has a similar style with all over fringe and a turtle neck design.

As she’s known for her love of Spanx leggings (£80) and chunky Dr Martens 2976 Chelsea or Bottega Venetta boots, (£1,080), the alternatives I found in store were these Jersey Slim Fit Ankle Grazer Trousers, £19.50, which did the job nicely, alongside the Cowboy Block Heel Knee High Boots, £60. The boots were so comfortable, with my only gripe being that they weren’t very large-calf-friendly; they were quite tight on my calves and had limited stretch.

When teaming this look with the brand’s Cotton Rich Waxed Tie Neck Car Coat, £90, it’s an ideal breakfast greeting and first-challenge fit, wouldn’t you say?

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Leaning into the country-core style we often see during the course of the show, this Nobody’s Child V-Neck Longline Jumper with Wool, £69, layered over the Nobody’s Child Checked Collared Shirt, £65, is a great casual look that instantly looks put together when buttoning up the shirt to the top.

The woolly texture of the jumper neatly complements the soft checks of the shirt, which is loose and long enough to be worn confidently with leggings and boots. Adding a wool coat, like this Checked Double Breasted Longline Coat (£90), with its brown flecks, adds a cosy touch that would be topped off with a thick woven hat (like this from Etsy, £51.27) and some fingerless gloves.

Swapping out the trousers for a Checked Midi Circle skirt pays homage to the kilt-style skirts Claudia has worn on the show. While the checks are small and not quite as prominent as what the TV star has previously worn, the skirt’s shape has the same elegant swish and subtlety that makes it work with other patterns – like in the shirt worn here. For anyone wanting more of a tartan-style print, this ASOS DESIGN tailored midi kilt in brown check with a button detail (£35) is a great option, featuring traditional pleats and a side zip fastening.

Stumbling on this gorgeous M&S £36 Wool Blend Cable Knit Jumper, I was instantly reminded of the Mr Mittens knitted red oversized jumper Claudia wore in Series 2, Episode 9. While I didn’t have an equally chunky olive scarf (this Regatta Women’s Aleena Shawl Scarf | Khaki Green, £28, is a great alternative that’s just as cosy), the Cotton Rich Waxed Tie Neck Car Coat echoed the original look’s green hues and helped me complete a look worthy of the Queen of TV.

For something worthy of her roundtable looks, which often feature ruffles, lace, statement silk, or a power suit, I found this gorgeous Lace Collared Ruffle Shirt, £55, which ticked several boxes. With a feminine button-through front that’s covered in romantic ruffles, it has a sheer, lace design (and comes with an under-vest) and long, cuffed sleeves. We can see it pairing nicely with an emerald-green or purple velvet suit and loafers.

Shildon’s Anthony Gillan and his partner attended the celebration on April 15, 2023, where they enjoyed a night of drinking.

But Durham Crown Court was told the mood changed when they returned to the woman’s home.

Andrew Espley, prosecuting, told the court: “He suddenly flipped, punching and slapping her and stamping on her head, before pushing her into a bed frame.”

Gillan also grabbed her by the neck, pulled out her hair extensions and punched her again when she tried to flee, before throwing her out of her own home.

In clear distress, she rang a friend and reported the attack.

Police found her crying, suffering several injuries, which they photographed.

In the days that followed, Gillan sent her deeply offensive and degrading messages.

After his arrest, he tried to explain the injuries by claiming his partner liked rough sex, including being strangled by him.

He denied committing any offences, but changed his pleas on the day of his recent trial, admitting intentional strangulation and assault causing actual bodily harm.

Gillan, 39, of Redworth Road, was said to have 12 convictions for 21 offences, including battery on a former partner, in 2020.

Mr Espley said the victim of these offences had no desire to move and chose not to make an impact statement.

Robert Mochrie, in mitigation, said Gillan eventually pleaded guilty, “albeit with some reluctance”, after his trial began.

“He’s struggled with his memory of that night due to the amount of alcohol consumed by both parties during the day after the wedding.”

Mr Mochrie said a long time had passed since the offence and Gillan is now in good employment, leading a four-strong team of gas engineers working in London.

He added: “In his absence all of those men would lose their employment.”

Judge Nathan Adams told Gillan: “You subject her (his then partner) to a horrendous and prolonged assault in her own home.

“She was beaten repeatedly, punched, kicked, stamped upon and dragged by the hair.”

The judge said Gillan subjected her to, “a torrent of abusive, degrading messages” over the following days.

Judge Adams said Gillan appeared to minimise his actions when interviewed by the Probation Service after changing his pleas on the day of trial.

“Despite your claims, you were quite clearly the aggressor that night.

Read next … more court stories from The Northern Echo, by clicking here

“It was a serious and sustained attack in a domestic situation in the victim’s own home.”

Judge Adams sentenced Gillan to 22 months in prison and issued a restraining order.

It prohibits him from approaching or contacting the victim for ten years.

He addressed more than 120 degree and higher-level students from York College & University Centre at their graduation ceremony at York Minster.

In his speech, Mr McClaren quoted his former mentor Sir Alex Ferguson, who once told him: “Top players, top people and successful people only need two words – well done.”

Mr McClaren said: “So, to every student, along with your families, friends and teachers, I’d like to say to you all – well done.”

He also spoke about growing up in York and riding his bike past the Minster on his way to school, recalling stories from his father who worked on the cathedral’s roof and walls, and reflecting on his own son’s graduation at the same venue.

The ceremony celebrated students from a wide range of courses, including those from the York School of Art and Institute of Technology, as well as programmes in business, teacher training, hair and beauty, construction, early years, esports and engineering.

Ken Merry, principal and chief executive of York College & University Centre, commended the graduates for their hard work and resilience.

Mr Merry said: “Education can be life-changing, it can be life-defining.

“I would not be where I am today if it was not for a strong education and the opportunities that this has presented to me.”

From left-to-right: George Garside, Grace Marris, Daniel Ellwood, Abi Horton, Jack Somerville and Robyn Bradley with their York College & University Centre Graduation awards and certificates in York Minster (Image: Supplied)

He encouraged graduates to continue pursuing learning, quoting Dr Seuss: “The more that you read, the more things that you will know, the more that you learn, the more places you’ll go.”

The ceremony also included a procession from the Merchant Taylors’ Hall, led by York Town Crier Ben Fry.

Special awards were presented to six graduates for outstanding achievement.

Abi Horton, who studied media make-up, special effects and hair design, received the Principal’s Prize.

Robyn Bradley was awarded the Governors’ Award for her achievements as an HNC Engineering for England student.

Other winners included Grace Marris, who received the York School of Art Outstanding Achievement Award, and Daniel Ellwood, who received the Professional Studies Outstanding Achievement Award.

George Garside won the Progression Outstanding Achievement Award, and Jack Somerville was honoured with the Institute of Technology Outstanding Achievement Award.

Mr Merry urged graduates to approach the future with the same commitment they showed in their studies.

He said: “If you do that, there will be no end to the remarkable things you can achieve in your life and career.”

President Donald Trump poked fun at Iran with a photo of the ‘Trump Strait’ shortly after rejecting a seven-day ceasefire and telling aides that he expects to continue bombing the country after the midterms in November.

Trump turned down a proposal that included Iran reopening the Strait of Hormuz and resuming nuclear talks, according to the Wall Street Journal.

About half an hour after the news broke, Trump took to Truth Social with a picture of the ‘Trump Strait,’ evoking shades of how he used his presidential power to rename the Gulf of America and Lake America.

In return, the US would have lifted its blockade of Iranian ports, which is hurting the country’s economy. Trump does not intend to end the maritime blockade.

Trump is skeptical about Iran meeting his demands and has reportedly told staff that another bombing campaign is likely slated for after the midterm elections, the outlet reported. 

The nature of the renewed strikes on Iran remains unknown, with the US’ diminishing reserve munitions being taken into consideration after months of war in Iran, according to the Wall Street Journal. 

Iranian Foreign Minister Abbas Araghchi said Friday that that the initial steps in the proposal would take about four to five days to complete, per the Associated Press.

On Tuesday, Trump addressed the United Nations General Assembly and warned that he may ‘annihilate’ Iran if a deal was not reached to end the war.

The proposal turned down by Trump included Iran reopening the Strait of Hormuz as part of a weeklong process

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Around a fifth of the world’s traded oil flowed through the strait, which is a narrow passage of water between the Persian Gulf and the Gulf of Oman, every day prior to the Iran war. 

Araghchi said a deal ‘would be much better if it is done before the midterm election,’ CNBC reported. 

‘But it depends on the US administration to decide,’ he added. ‘We are not in a hurry.’

Under the suggested proposal, the strait would open on the sixth day. Talks with the US would resume on the final day of the deal. 

Trump said Tuesday that he believed a deal would be struck ‘right after the election because it doesn’t make sense for them not to.’ 

‘They’re waiting to see how I do in the midterm election,’ Trump said. ‘What they don’t realize is that I’m not running.’

Disruptions on the strait as a result of the Iran war have pushed up crude prices worldwide. 

That has made gasoline more expensive for customers, which has become a talking point ahead of the midterms.

Trump warned that he may ‘annihilate’ Iran if a deal was not reached to end the war during his UN General Assembly speech earlier this week

Iranian Foreign Minister Abbas Araghchi said that striking a deal ‘would be much better if it is done before the midterm election’

Trump also mused at the UN that he had a ‘big decision to make’ with regards to the Middle Eastern country’s future. 

‘Will a deal be made with Iran that lets them rebuild and create a far greater country than it ever was before? Maybe one of the greatest in the Middle East or even the world?’ Trump said. 

‘Or do I annihilate the Islamic Republic and do it quickly, never giving them a chance to kill and destroy people and countries again?’ he continued.

The President previously said that the US would not ‘rush into a deal in that time is on our side.’

‘Both sides must take their time and get it right,’ he posted on Truth Social in May. ‘There can be no mistakes!’ 

The war in Iran has raged since February 28 after joint US-Israeli strikes that killed Iranian Supreme Leader Ayatollah Ali Khamenei.

Trump has not used his presidential power to rename the Strait of Hormuz as the ‘Trump Strait’ despite his Friday night post. 

In late August, he signed an executive order to rename Lake Ontario as Lake America. 

That came after Trump also signed an executive order on January 20, 2025, during his second inauguration as president, to effectively rename the Gulf of Mexico as the Gulf of America. 

The Daily Mail has reached out to the White House for comment. 

This is a breaking news story. More to come. 

By CHRIS POLLARD, NEWS REPORTER

Published: 00:54 BST, 26 September 2026 | Updated: 03:24 BST, 26 September 2026

OpenAI has acknowledged that it alerted “dozens” of global institutions that their websites may have been meddled with by its AI bots acting improperly.

AI agents attempted to get information from “governments, universities, public agencies, and other institutions”, including the SEC, Census Bureau and Education Department, the company said.

The disclosures come just days after Australian Prime Minister Anthony Albanese announced that OpenAI agents had breached non-public files on the website of its government-run health care scheme, Medicare.

Since August, public fears have grown around the potentially serious, even life-threatening, impacts of AI tools falling outside of human control.

OpenAI said that some of the data was accessed by AI agents, essentially bots that are designed and trained to operate somewhat autonomously, which were working to find “authoritative sources of public information”.

But the company noted that some of the bots went beyond that and worked to bypass security measures on websites.

When attempting to get information from the Census Bureau, for instance, AI agents used tools reserved for software developers to access it, the company said.

OpenAI said all of the government data accessed by bots was public.

However, it noted that information that its bots accessed from the SEC, which regulates the US stock market and protects investors, was later published by AI agents on another website. OpenAI says this action was not intended.

In other instances that OpenAI disclosed on Friday, its AI agents transferred data when it should not have.

Such activity resulted in at least 53 incidents where an OpenAI agent took an image from ChatGPT user activity and transferred it elsewhere.

The company said that in each instance of a user image being used and transferred by an AI agent, the user had opted in to allow OpenAI to train models using their data.

Nevertheless, OpenAI admitted: “This is not an appropriate use of this data”.

It added that the leak of user images occurred before it had put in place new safeguards on AI training, and it was working to get all the user images transferred to any third-party removed.

Reuters first reported the expanded investigations. OpenAI also published details to its public blog.

In certain instances of the agent activity, OpenAI said the tools “bypassed” security controls of some websites.

In other instances, the AI agents showed “misalignment” in attempts to get at information from websites. Misalignment is a term used by AI companies and researchers to describe instances where an AI tool did something that it was not trained to do or was otherwise unintended.

OpenAI said that it was limiting identifying what entities were impacted because many had asked the company to not disclose details.

“Our goal is to give each organization the facts and defer to them on if and when to make the incident public,” it said.

Not all of the instances involved in this incident were being considered a significant security breach, the company noted.

“Some organizations may review what we share and conclude that the information was intentionally public or that the model’s interaction was not concerning,” it explained. “Others may identify a design issue or security weakness they want to address.”

While the average charge for paid public toilets across the UK is 31p, people in Eastbourne face an average charge of £1 per visit, more than three times the national average.

Other towns with some of the highest toilet charges include Newbury (75p), Hackney and Norwich (60p) and Stornoway (40p).

Public unisex toilet with green, blue and yellow doors and a sign in Braille for the blind and visually impaired at the seafront at Weymouth Seafront in Weymouth, Dorset, England, UK. (Image: Getty Images)

The data also showed:

• Penzance is Britain’s ultimate pay-to-pee town, with its only mapped public toilet charging users.
• Blackpool has one of the highest proportions of paid facilities, with 74% of public toilets requiring payment.
• Boston (65%) and Lytham St Annes (65%) also rely heavily on charged toilets.
• Nationally, roughly one in seven public toilets (14.7%) now charge users.
• Some of the UK’s most visitor-heavy destinations, including Westminster, Eastbourne, Scarborough and Norwich, rank among the most expensive places to answer nature’s call.

See the full map here.

Britain’s 20 most expensive places to use a public toilet

(Ranked by average charge for paid toilets)

• Eastbourne — £1.00
• Newbury — £0.75
• Hackney — £0.60
• Norwich — £0.60
• Camden Town — £0.53
• Swindon — £0.50
• Penrith — £0.50
• Basingstoke — £0.50
• Milton Keynes — £0.50
• Dorchester — £0.50
• Helensburgh — £0.48
• Reading — £0.48
• Scarborough — £0.47
• Rhyl — £0.45
• Kendal — £0.45
• Inverness — £0.45
• Colwyn Bay — £0.43
• Westminster — £0.43
• Llangefni — £0.42
• Penzance — £0.40

Public toilet sign in Dorset, England (Image: Getty Images/iStockphoto)

Recommended reading:

20 cheapest places to spend a penny (where charges apply)

• Banbury — £0.10
• Rochdale — £0.10
• West Bromwich — £0.10
• Oldham — £0.10
• Clydebank — £0.10
• Motherwell — £0.10
• Wolverhampton — £0.11
• Livingston — £0.13
• Coalville — £0.13
• Crawley — £0.13
• Manchester — £0.15
• Cambridge — £0.18
• Coleraine — £0.19
• Wigston — £0.20
• Bath — £0.20
• Lincoln — £0.20
• Mansfield — £0.20
• Alloa — £0.20
• Worcester — £0.20
• Grantham — £0.20

The data also reveals huge regional variations, with dozens of towns offering entirely free public toilets and several charging nothing at all despite maintaining extensive networks of facilities.

Readers have criticised changes to Cambridge’s Ekin Road redevelopment. The council says all 78 planned council homes will still be delivered and the changes are needed to secure Homes England funding.

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CambridgeshireLive readers have been sharing their views on plans to reduce the amount of affordable housing on a council estate in order to secure funding from Homes England.

Cambridge City Council has been accused of “playing a dangerous game” after revising plans to redevelop a council estate in order to obtain funding. The vast majority of properties on Cambridge’s Ekin Road are scheduled to be demolished and rebuilt, with most now standing vacant.

Cambridge Investment Partnership (CIP), a joint venture between Cambridge City Council and The Hill Group, lodged plans to construct 136 homes on the site. The 91 council homes would be replaced with 78 on the estate, alongside a further 120 built on the nearby East Barnwell development on Newmarket Road.

However, residents were taken aback when informed the plans had been revised following a “viability assessment” which concluded it would not be financially feasible to build 40 per cent social homes on the Ekin Road development. Instead, it was proposed this be cut to 20 affordable homes, representing 15 per cent of those constructed.

The council has reassured residents that all of the council homes will still be provided and this reduction is essential to secure funding from Homes England to convert the remaining 58 homes to council housing.

One reader, Carling4727 comments: “It’s all for profit, not the tennants.”

Tartan53 says: “Obviously being built to suit the council and builders finances, never mind building what is really required affordable housing.”

Over on our Facebook page, Heather S comments: “Their usual game plan!”

Neil H feels: “It’s awful. Look what has happened to the Grafton Burley Sreet, and Fitzroy Street. Won’t be there in another two years. Also, much of East Road”

Only H says: “And where did the money come from for the eco-friendly pilot scheme in Ross Street? £100,000s. Council Tax? Ordinary home owners get next to no help with such schemes.”

Tiffy T exclaims: “Wait, reducing social housing to get more funding for social housing?!”

Dominic G asks: “How do you ‘convert housing into council housing’, what’s that about?”

Leah E says: “Let’s call it what it really is, social cleansing.”

Danny Z thinks: “Uni pulled some strings, they need all the council houses gone so they can buy the land cheap and build more labs and student slums.”

Nick T believes: “This council has been played by big developers for decades. We need a corruption enquiry.”

Paul L writes: “The relationship between the left and the remaining Labour Party is pretty remote. The total lack of understanding about politics is driven by our media, right-wing politicians and poor education.”

Do you think the Council are right to reduce social housing? Comment below or HERE to join in the conversation.

Russell – who begins the weekend 81 points behind the Italian – simply has to capitalise. And he really should do. Even if Antonelli hadn’t crashed out, he has looked on a different level this weekend, dominating practice and qualifying. Russell topped Q1, Q3 and Q3, securing the 12th pole of his career with a lap which was nine tenths quicker than his best lap in Q2 and eight tenths quicker than Ferrari’s Charles Leclerc, the next fastest driver. He could hardly believe it himself.

“That was a pretty decent lap,” he told his team over the radio on his cooldown lap. “How much was [the gap]?” 

“Just over eight tenths to Leclerc.” came the response. “Woah!”

This has not been the easiest season for Russell, who began the year the overwhelming favourite for the title, having dominated his younger team-mate over the course of last season. So he could be forgiven for feeling proud of having done such a good job.

“It’s been a while so it definitely feels good,” he admitted. “This was probably the biggest pole margin of my whole career, including my F2 and F3 days.

“The lap felt really sweet, car’s been feeling really great this weekend. On a track like this where you can hug it, it feels amazing.”