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McLaren’s Zak Brown believes there has only been one “credible” bid in the last decade from teams looking to enter the Formula 1 grid - from Guenther Steiner’s Haas team. In January, the FIA officially launched an application process for prospective F1 teams and it has now moved into the formal application stage. Several parties have reportedly declared interest in putting themselves on the grid in the future. The deadline for formal applications was 15 May, with the FIA planning to make a decision on those prospective teams by 30 June. “I think it’s exciting,” Brown said in Miami, of new teams potentially joining the grid. “I remember when I started following Formula 1, you had pre-qualifying, I think there were 30-31 cars trying to show up to make the show. “So, I think an increase in the grid of the right teams that bring the right resources and are additive to what we’re all trying to do and help grow the sport then I’m all for it. “What we can’t have is... really the only credible, sustainable team that I’ve seen in the last decade is Guenther (Steiner’s Haas). “And so, what we do need to make sure is if someone enters that they really have the commitment and can do what it takes. “Because in my experience, I think in a variety of motorsports, you do see a lot of dreamers and what we don’t need with the health of the sport is a team coming in underestimating what it’s going to take and two years later, they’re gone. “So, hats off to Haas for the commitment they’ve made and continue to make to the sport, so we need more teams like that.” The highest-profile prospective new team would be Andretti-Cadillac, while Hitech GP have also expressed an interest in joining the grid. Last week, The Independent interviewed Hong Kong billionaire Calvin Lo - who insisted he was keen on joining forces with a bid from Asia. Under the current rules, a maximum of 12 teams can be on the F1 grid. Additions to the current 10-team grid could be made as soon as 2025. Read More Lewis Hamilton and Mercedes are the biggest losers from Imola Grand Prix cancellation F1 Imola Grand Prix cancelled Inspired by Schumacher, meet the Hong Kong billionaire targeting a new Formula 1 team Where are Mercedes and Ferrari? Frankly, you don’t want to hear the answer ‘Nasty piece of work’: Lewis Hamilton’s Mercedes slammed by Toto Wolff

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While last summer was the season of the Hailey Bieber “glazed donut,” Sofia Richie’s embodiment of “quiet luxury” has become this year’s fashion obsession. However, the 24-year-old social media personality has revealed that she doesn’t consider herself to be the “queen” of the trend like so many people say she is. In a recent Who What Wear interview, Richie - now married to music executive Elliot Grainge - opened up about how she feels about the new title associated with her look. “Quiet luxury, the term, it sounds really nice, so I’m not knocking it,” she said. “But [my stylist] Liat Baruch and I started working together properly about three and a half years ago, and when we met, our word was ‘timeless.’” Baruch dressed the “it girl” for her April 2023 wedding in Antibes, France. The event has since been titled “a Chanel festival” and “this year’s royal wedding” by W Magazine and Vogue, respectively. During the ceremony, Richie wore a handful of custom couture designs for her welcome party, ceremony, and reception - all Chanel, of course. While speaking on the Who What Wear podcast with Hillary Kerr, Baruch spoke about the inspiration behind the lavish yet understated looks. “We were trying to elevate but stay young, be feminine, aspirational but also attainable - a little bit of everything while staying ageless and classic,” she remarked. “And we did that. She did that, too. It was a constant dialogue and true collaboration.” “She [Richie] was very clear on what she wanted and how she wanted to look: Not too overtly sexy, not too conservative,” Baruch added. “And she’s very focused on how she wants to dress in terms of style and her lifestyle in general, and we were very aligned with all of that.” The youngest daughter of Lionel Richie donned designs that were inspired by archival pieces, one of which Claudia Schiffer wore during a 1993 Chanel runway show. Other looks from the brand’s collection were showcased to fit the season and event theme. Richie’s desire to curate an effortless elegance in her personal style, especially for her wedding, has resonated with individuals striving for a “clean girl” aesthetic. While the A-lister’s closet may not reflect minimalism, her individual pieces are both simple and extravagant in the clever way that she styles them. Between structured blouses with ribbed flare pants and leopard print overcoats with cat-eye sunglasses, her outfits exemplify the perfect way to appear timeless and still have fun. Now, Richie has announced plans for her eponymous fashion line to capture her character in clothing. She intends to make the fashion brand accessible to fans of the put-together-but-without-trying look. “The aesthetic is very my vibe,” she admitted. “I made sure, trying on every single sample, that it embodies the aesthetic that I’ve been wearing. It’s 100 per cent me. No further details have been released about plans for the brand, other than that Richie will not be the fashion line. Read More Lionel Richie shares anti-ageing secrets after fans praise youthful appearance: ‘Sex will work also’ Sofia Richie opens up about early days of her relationship with Elliot Grainge Sofia Richie shows off ‘chic’ coronation concert outfit ahead of father Lionel Richie’s performance

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For a decade, Baohaus was one of the best-known restaurants for Taiwanese fare in New York City. According to Eater, the restaurant “helped lay the cultural and culinary groundwork for an ambitious class of modern Taiwanese spots” in the city. It also catapulted founder Eddie Huang to fame as his culinary expertise was thrusted into the spotlight with shows on the Cooking Channel (Cheap Bites), Viceland (Huang’s World) and MTV (Snack Off). He first opened Baohaus on the Lower East Side of Lower Manhatten in 2009, before relocating it to a bigger venue in the East Village. During the 10 years he ran Baohaus, Huang also wrote his memoir Fresh Off The Boat, which led to the TV series of the same name, starring Randall Park and Constance Wu. But in 2020, around seven months into the coronavirus pandemic, Huang announced that Baohaus would be no more. At the time, he wrote in an Instagram post: “I opened this restaurant to tell my family’s story through food at a time when no one was giving Asian Americans a chance in TV, film, books or media generally.” Since then, however, things have changed drastically for the diaspora; this year, the celebrated Asian-led cast of Everything Everywhere All At Once clinched seven Oscars, including Best Picture, Best Actor (Michelle Yeoh) and Best Director (Daniel Kwan and Daniel Sheinert). Now, Huang is casting his eye back to Baohaus, but this time he’s bringing it across the pond and into London. His three-month residency at Neighbourhood in Islington – which previously held “ramen junkie” Ivan Orkin’s Ivan Mazemen residency – will dominate this summer with his signature Taiwanese baos, fried chicken and noodle dishes, bringing a bowl of the Big Apple to the Great Smog. I sat down with Huang over a steaming, fragrant bowl of Taiwanese mince pork stew and rice to talk about what Baohaus’ legacy in New York was, its future in London, and what it means to have a vision. How did it feel when you closed Baohaus in NYC? I always loved having Baohaus. I never intended to close it, but the pandemic hit and I went to Taiwan to be safe, but our landlord kept on charging rent in New York. I just didn’t see an end to it. I’ve been wanting to reopen for a while but when I got home, I had to immediately get to work promoting Boogie. It was kind of bittersweet, but I try to think about everything from a more existential perspective. To have owned a restaurant for 10 years in New York while writing a memoir and doing all these shows, and then directing my first film… I just felt an immense sense of accomplishment and I felt like it was really a part of the fabric of downtown New York. So many people had come through those walls and it meant so much to me, so I was just really proud even though it was closing. It forced me to look back on everything and I had a sense of gratitude and pride, and I wasn’t angry at all. I think I was sad that it was closing, but thankful to the universe for the time that I did get. Baohaus left a legacy for Taiwanese food in New York that spread across the rest of the Western world. How does it make you feel? Even when I go back to Taiwan, people will say, ‘Yo, that’s the pork bun kid’. That’s my name back home. I’m very, very grateful that I made a lot of people happy and Taiwanese people were proud of it, and that New Yorkers were proud of it and loved it. But now, starting it back up in London is just par for the course for me. I’ve never lived in one place. Born in DC, grew up in Orlando, made New York my home. I would say I identified with New York more than anywhere else. I got dragged to LA for my work and then now I got dragged out to London to open Baohaus, so this [Neighbourhood] is now the new home base for the next three months. But the idea is to then start to look at brick and mortar spaces in London and hopefully make it more permanent. What makes Bao Haus stand out? There’s a lot of Taiwanese cooking in London now. What really defines my cooking is there is a straight line between my grandma, my mother, and myself. There are very, very small things I do to adapt it up for my taste or modern tastes, but it’s not adding trendy ingredients or smashing things together. For example, this mince pork stew is how my grandma and my mum would make it. The only thing I pay more attention to is knife skills and the exact cut of the pork belly mixed in with the ground meat. It’s the same with the Chairman Bao, it’s exactly like the baos you get in Taiwan except that I red-cook my pork instead of brown braising. So I stay within the Taiwanese pantry, but I really work on the technique. I read that you don’t really like being called a chef. What don’t you like about that chef territory? The thing is, I definitely think cooking is an art, right? Even the guy selling a dollar bowl of rice is just as artistic to me as somebody doing a tasting menu. But I feel like every generation has these chefs whose food always has to be about them. It’s less about culture and community, and more about, ‘Check out my new idea, my new thing’ and none of it ever has staying power. I get disappointed going to a lot of young chef restaurants because they’re working their s*** out and they want you to pay for their food because they feel they’re being creative. Like, ‘Because we were being creative, you should f***ing pay us and buy our food’. And I’m like, well, this just doesn’t taste f***ing good. If you’re going to charge people this, s*** should be good. There’s a lot of ego. A lot of people didn’t set out to be chefs, they say, ‘I was in fashion or I was in music, or I was a director and I busted out and ended up in food’. People see food as a place they can be all artistic and they think they can creative-direct a restaurant, but this s*** is a lot harder than you think. You can have a cool brand and a great vibe, but to keep people coming back for 10 years, your food’s gotta be really good and be a good deal for your customers. Everything is exciting when it’s new, but does it stand the test of time? Do you keep thinking about it the next day? Are you a perfectionist? Here’s an example: chips. We were known for our taro fries in New York. I did taro fries because you can get French fries anywhere, and they go great with our food, but I wanted to do something different. So I would brine the taro, black it and then double fry it, and they were some of the best fries I’ve ever had and people went nuts for them. But it’s much harder to source taro here in London, because I want the whole fresh taro, not frozen. It was proposed that we do French fries, but they were bringing in frozen ones. But I didn’t want anything like that on our menu that isn’t the best version of it. I guarantee you everything on our menu is the best version you can get here in London. No one’s going to touch my bao. I know there’s another place here, BAO. I’m not even going to eat there. I know mine’s better. I will not try it. I will not. So, back to the fries, I said those fries aren’t going on my menu because they’re not the best fries. So now we’re sourcing all kinds of potatoes. Certain restaurants like St John’s only have chips seasonally when the potato is consistent, and I like that. I like when people are like, when it’s good, it’s good, and I will serve it to you then, and when it’s not good, I’m not going to serve it to you. That philosophy needs to be adopted by more. You don’t have to serve everything, you don’t have to do everything. You don’t have to be the most clever. Just be the best version of you and do what you do best. You know, I got a dozen madeleines from St Johns and I smuggled them all the way back to LA. My wife was like, ‘Dude, are these going to be good?’ After my flight and then another day in between, I heated them up and they were phenomenal. I gave some to my dogs – my dogs got to eat St Johns madeleines! They went crazy. You used to host a TV contest show called Snack, where people got random ingredients and had to make something with it. What’s the best thing you made with random ingredients? I invented the Cheeto fried chicken. It happened when I was really high one night. I didn’t have any bread crumbs, so I crushed up Cheetos in a bag, then coated the chicken and fried it. This s*** is crazy. It was a lot of fun but I spent a lot of time on it and then I found the right Cheetos, the right cheese dust, and I think we really perfected the dish. We only offered it once a year on 4/20 at Baohaus, it became a tradition. So if we have a brick and mortar space in London, I would absolutely bring the Cheeto fried chicken bao back only on 4/20. You’ve worn a lot of hats in your lifetime, restaurant owner, chef, author, director, fashion designer. How do you feel about hustle culture? Everything right now is based on the image and identity that you’re selling. Who are my friends? How do I dress? How am I curating my life? What starter pack do I fit into? I get it – I definitely think it’s important to work extremely hard because it’s hard to make money right now. The income inequality gap is insane and my solution to that is to acquire a skill and just refine it. If you have a tangible skill, you’re already ahead of most people in your generation because most people have knowledge and contacts and willingness, but do they have an actual skill? For example, the idea of a creative director is just so funny. What’s the skill? There’s very few creative directors who are skilled and honour the craft, but being a creative director is not just knowing a few really good photographers and good graphic designers and telling them what to do. You’re telling a story, you’re directing the creative. Do you have the vision? It’s not just the mood board, they need to take it seriously. Read More ‘Ramen junkie’ Ivan Orkin on mazemen, MSG and the resilience of the human spirit BBQ salad recipes without a soggy lettuce leaf in sight Grace Dent’s quick and easy recipes that only require the microwave How to shop for and cook Japanese food at home like a pro

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More needs to be done to protect sportswomen from the abuse of power from coaches and other key figures in their professional life, Judy Murray has said. While the tennis coach, and mother of Wimbledon stars Andy and Jamie Murray, welcomed measures taken within the Women’s Tennis Association (WTA) – which recently appointed a director of safeguarding in an increased effort to protect professional athletes from predatory coaches – she said further action is needed in the industry as a whole. “I think it’s up to all of the individual governing bodies to have someone in that head of safeguarding role that, whether you’re a coach, a parent, a player or in sports science, when you see something or if something happens to you, you know that that’s the group you go to, that’s the person you speak to, it will be treated in confidence but there will be action taken from it,” Murray told PA Media. “I think we’ve all seen a lot of brushing under the carpet over the years. And often you don’t know who to go to, and even if you do go to someone, you’re concerned: ‘Is it going to affect my selection for the team or my funding?’” The former Scottish No 1 player and long-time coach, 63, was speaking while promoting her debut novel, The Wild Card. The book centres on a fictional professional tennis player, who is manipulated by her coach during her earlier career as a 17-year-old into a sexual relationship, fearing that he will ditch her if she doesn’t comply. “For me, having been round the women’s tour, it’s a very male-dominated domain in terms of the coaches and you realise that the young players in particular, they’re travelling all the time, they’re away from home, the coach becomes a crutch, not just a coach. You actually assume a parent role, a friend role,” Murray added. “It’s very easy for players to become dependent on coaches, and fall into something that they don’t really understand and feel they can’t get out of.” She said she welcomed the wider awareness created by athletes who have come forward about their own experiences, citing the case of multiple Olympic gold medal-winning US gymnast Simone Biles, one of many women sexually abused by former team doctor Larry Nassar (who was subsequently jailed for 40-plus years). “Over the last few years, we’ve seen examples in several sports of players/performers telling about what’s happened to them in terms of abuse of trust and abuse of power, none more so than Simone Biles and other gymnasts with the US doctor, which went on for years,” said Murray. “It [the US gymnasts’ case] encouraged more people to speak out, and highlights the need for ensuring that those in positions of power within sport are suitably qualified, vetted and insured, and also that somebody is accountable to somebody else. “It makes such a big impact when top athletes like Simone Biles speak out about what’s happened to them,” Murray continued. “And it gives confidence to others to come out and talk and to share, and it is about raising awareness. “But at the end of the day, you can raise awareness, but you need somebody to act on that. And that is starting to happen, but it’s probably still in its relative infancy.” The Wild Card by Judy Murray is published by Orion, priced £14.99. Available now. Read More Charity boss speaks out over ‘traumatic’ encounter with royal aide Ukraine war’s heaviest fight rages in east - follow live Nearly half UK adults believe LGBTQ+ representation important in storytelling – study What to wear to Glastonbury this year 11 ways to work white into your interiors