There’s a meal in Singapore called ‘scissors-cut rice’, a selection of dishes piled high over a plate of lovely fluffy rice and topped with curry sauce,” says chef Jeremy Pang. “Originating from Hainanese Chinese descendants, the dish can be seen as a cross between a Malaysian nasi lemak and a Japanese katsu curry.” Curry sauce and rice Serves: 2 Ingredients: 2 cups of jasmine rice 2 cups of water 1 onion, finely diced ½ thumb-sized piece of ginger, peeled and finely chopped 2 garlic cloves, finely chopped 3 green chillies, pierced with the tip of your knife 1 potato, peeled and cut into 5cm chunks 300ml chicken stock 200g okra (swapsies: green beans), cut into 3-4cm lengths Vegetable oil For the sauce: 150ml coconut milk 1 tbsp sambal (swapsies: chilli bean sauce/toban jiang) 1 tbsp light soy sauce ½ tsp salt For the spices: 2 star anise 1 cinnamon stick 1½ tbsp curry powder Method: 1. Wash the rice at least three times. Place in a bowl and run under cold water, gently moving the rice grains between the tips of your fingers. Pour the rice through a sieve in between each wash, until the water runs clear. Sieve one last time and set aside. 2. Mix the sauce ingredients together in a jug. 3. Build your wok clock: start at 12 o’clock with the rice, followed by the onion, ginger and garlic, the spices, green chillies, potato, the sauce, chicken stock and lastly the okra. 4. Place the rice in a saucepan with the measured water. Cover with a tight-fitting lid, place on a medium-high heat and bring to a vigorous boil. Then reduce the heat to low and simmer with the lid on for 12-15 minutes until the liquid has evaporated to the point where you start to see air pockets form in between some of the rice grains. Replace the lid, turn the heat off and leave the rice to sit for another 15 minutes or so until ready to serve. 5. Once the rice is cooking, heat one to two tablespoons of vegetable oil in a saucepan to a medium heat, add the onion and fry for two to three minutes. Add the ginger and garlic and fry for a minute or so. Then add all the spices together, the green chillies and potato in turn, frying for about a minute after each addition. Pour in a quarter of the sauce and bring to a vigorous boil. Add another quarter of the sauce and again bring to a boil, then repeat this process until all the sauce has been added. Bring to a boil once again, pour in the chicken stock and cook on a medium heat for 20 minutes. Then add the okra and cook for five to 10 minutes before serving with the rice. ‘Jeremy Pang’s School Of Wok: Simple Family Feasts’ (Hamlyn, £22). Read More Marina O’Loughlin is wrong – there’s joy in solo dining Budget Bites: Three recipes to keep food bills down before pay day Meal plan: Romesco chicken and other recipes to fall in love with The chef who hated food as a child Who knew a simple flan could be so well-travelled? How to make Thai favourite lemongrass chicken stir-fry

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At the moment it seems a grand prix does not go by without Red Bull – and their peerless linchpin Max Verstappen – setting milestones and breaking records. Such is their dominance in Formula 1 right now, winning 18 of the last 19 races, the double-symphony of the Dutch and Austrian national anthems on the podium is as much a regularity these days as five red lights going out to start the race. But Canada really did take the biscuit. Red Bull’s 100th race victory; Max Verstappen’s 41st grand prix win, equalling Ayrton Senna’s record; Verstappen brought up 250 consecutive laps led, dating back to Miami six weeks ago; Red Bull’s 10th consecutive victory, including Abu Dhabi at the end of last year. It was notable who was on the podium, too, celebrating Verstappen’s 20th win in his last 27 races. Adrian Newey, Red Bull’s mastermind-in-chief, who was unofficially celebrating his 200thF1 race win involvement, dating back to his first in Mexico 32 years ago. The man extolled, appropriately, with engineering the team’s latest RB missile on four wheels. By this season’s standards, Verstappen’s win in Montreal was far from a cruise. Qualifying on Saturday was tricky in wet-dry-wet conditions. But Max prevailed. An early safety car bunched the pack up on Sunday. But Max prevailed. Tyre wear was an issue in the cockpit with Fernando Alonso and Lewis Hamilton chasing; not on the pit wall who again oozed perfectibility. Again, Max prevailed. No 100 is a significant landmark for the team. An “incredible achievement”, as Christian Horner put it, becoming the fifth team to reach such a figure. When he spearheaded Red Bull’s involvement by taking over Jaguar in 2004, surely even he could not have forecasted such periods of dominance, up against the historic titans of world motorsport. Red Bull have won 28.1% of all the races they’ve entered in the sport as they hit a century. By way of comparison, Ferrari have won 242 races in 1060 – a hit-rate of 22.8%. McLaren’s is lower at 19.6%; Williams’ fewer still at 14.4%. But Mercedes at 44.8% beat the lot. Such was their near-decade of utter dominance – eight constructors’ titles in a row from 2014-2021 – Red Bull have some way to go before their percentage hit-rate matches the Silver Arrows. Currently, the difference is 16.7%. MOST WINS IN FORMULA 1 – 100 CLUB 1) Ferrari – 242 (22.8% hit-rate) 2) McLaren – 183 (19.6% hit-rate) 3) Mercedes – 125 (44.8% hit-rate) 4) Williams – 114 (14.4% hit-rate) 5) Red Bull – 100 (28.1% hit-rate) There are contentious points. For example, included in Mercedes’ tally is the nine wins from 1954-55, technically a different entity to the current works team. Yet on the whole, the difference is stark. But not insurmountable. It’s important to note this with caution. Predicting dynasties in sport is always a dangerous game: jump the gun on a Formula 1 forecast and the usual unpredictability of natural drama and human emotion can come back to bite you. Ferrari, for instance, have won just one drivers’ title in 16 years since their five-on-the-spin with Michael Schumacher in the early noughties. However, the outlook is particularly shiny at Milton Keynes. Red Bull have unequivocally nailed the current “ground-effect” regulations, not least due to Newey’s expertise in the area. This year is virtually sewn-up, with focus already switching to 2024 when they will be the heavy favourites once more. The next phase of regulations are not enforced until 2026. By that point, with Newey having recently signed an extension to stay, Red Bull could have secured another three world titles. It could be another 50 or so wins by that point, such is the current trajectory. And from then, the launch of their own powertrains division comes to fruition, with American giant Ford as a partner. In the constantly-shifting arms race that is Formula 1, Aston Martin, Mercedes, Ferrari and the rest – including new teams such as Audi – may well have something to say about that. Indeed, Red Bull have recently lost a key figure in engineer Rob Marshall, who joins McLaren next year. Dan Fallows similarly joined Aston Martin last year. Newey’s omnipresence is the unignorable advantage. Yet as the sun set in Canada on another victory, did the 64-year-old give Red Bull a scare? And the rest of the paddock a glimmer of hope? “My career can’t go on forever,” he said, post-podium. “As long as the team wants me and I keep enjoying it I’ll keep going. “But realistically it’s on a countdown.” When that time will be, only he knows. What is not in question, however, is the absolute supremacy of this current Red Bull machine. From top-to-bottom, they now set the benchmark. The statistics of the past allude to that; the projection for the future indicate there could be plenty more to come. Read More Max Verstappen wins Canadian Grand Prix to match F1 legend in race wins Red Bull mastermind Adrian Newey hints at retirement: ‘It’s on a countdown’ Lando Norris angry at penalty which cost him points in Canadian Grand Prix ‘It’s on a countdown’: Red Bull mastermind Adrian Newey hints at retirement F1 Canadian Grand Prix LIVE: Race updates and lap times from Montreal

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I remember the day I realised the embodiment of my persona was a long-sleeve ironed shirt with only the collar close-lipped. Initially, I gravitated toward the crisp button-down for function, as my former workplace tended to emit heaps of chilly air, but a spontaneous feeling compelled me to button the top, leaving the rest of the shirt open. It may have been, in part, my obsession with wanting to define my look outside of popular construction or how this new silhouette framed my figure. Regardless, the androgynous piece of clothing left me feeling more confident than ever before. A clothing rack full of these formal tops sits perpendicular to my bed now, and I wear them strategically closed with almost every outfit. I couldn’t tell you exactly what it is about them that makes me feel alluring and powerful, but my style hasn’t been the same since. Now more than ever, women are setting aside archival forms of womenswear for the structure of men’s clothing, assuming their most confident, authentic selves. Mini denim shorts, bodycon dresses, and micro skirts are being swapped for baggy jorts and boxers. Individuals are donning contrasting proportions, taking risks, and exuding self-assurance in items that have historically been deemed representative of masculine codes in Western fashion. In doing so, women are diminishing the gap between gendered collections. According to Hazel Clark, professor of fashion studies at Parsons School of Design, women initiated the crossover between menswear and womenswear in the early 19th century when they started working in coal mines and riding horses. A working-class of women deliberately assumed the male dress code, whether business or activity related, because womenswear constricted their necessary movement with tight bodices and corded petticoats. Here, function and ability took precedent over society’s expectation of femininity as more opted to dirty a pair of trousers instead of their voluptuous gowns. Heading into the Second World War and the 20th century, the design gap minimised further when women’s roles in society advanced. In the 1940s, men were forced to leave their factory jobs for war, leaving their female counterparts to fill their positions. For women to be respected in the workplace, they mirrored the male look and wore the classic pantsuit. Francesca Granata, professor of fashion theory and history at Parsons, identified the “power suit of the 1980s” as “a classic instance of women trying to access men’s power in the workplace by wearing an outfit which imitated menswear and with wife shoulders: the ideal male physique.” She noted: “Yet the wide-shouldered suit jacket was often rendered appropriately feminine by being paired with a skirt.” With this came an influx of women wearing these masculine codes outside of the workplace. Though my grey dress pants from the men’s section of a closet sale were welcomed into my weekly rotation almost immediately, it took a lot of courage and self-assurance back then for women to wear similar pairs, just like it did for them to wear miniskirts when both styles were socially unacceptable. The initial need for “businesswear” transformed into desired style even if it meant a woman could be labeled as “inappropriate” or be refused at the door of an establishment. Looks from men turned to public disapproval, but that didn’t stop the progression of women dressing in menswear at all. “Although baggy clothing has been acceptable for men for quite some time, especially in the US, unlike older appropriation of menswear which were often adapted to be more skintight or revealing or somewhat rendered ‘feminine’ baggy clothes question the old dictum that women’s bodies should be on display for the male gaze,” Professor Granata remarked. In other words, this “sense of power dressing” left the confines of the office environment alongside any lingering thought to the heteronormative gaze. Fast forward to the early 21st century, when the groundwork for this fashion fusion had been laid in terms of utility and preference. As society began to understand sexuality and gender fluidity, non-gendered collections became increasingly popular. Designers became more proactive about creating androgynous clothing that didn’t need to be separated into the two typical identifiers: women and men. “Fashion must get to a point where we don’t have to talk about gender,” designer and creative director of Loewe Jonathan Anderson wrote in Amelia Anderson’s “What We Can Do Better” in 2021, nine years after he introduced the first transgender collection for his eponymous brand. “Fashion can be a way to experiment with character or to work out your identity, and I believe that clothes can have a protective role on a more emotional level.” Anderson’s obsession with how queer individuals dressed contributed to his perception that fashion can be used to “break the rules”. To him, clothing is a marker of individuality and subculture, which is what motivates him to create designs for people to express themselves free from outdated norms. Between boxy, textured T-shirts, bouncy blouses, and tailored high-waisted pants, Anderson’s worked to incorporate rival style cues even in his gender-specific collections. “Clothing is full of paradoxes, but ultimately it can empower us - and in a world that has historically taken power away from queer people, that can be vital,” he proclaimed. “In a world that often expects certain things for certain people when it comes to clothes - where society wants men, say, to wear some things, and women to wear others - I sometimes question why I do menswear and womenswear shows. But for me, it’s not about classifying people, it’s about using these categories as ideas - ideas to borrow from.” As designers helped bridge the gap, celebrities like Hailey Bieber and Bella Hadid have been seen being more experimental in campaigns for big name brands as well as in their personal street style. The 26-year-old Rhode Skin founder has been a recognised ambassador for the French fashion house, Yves-Saint Laurent, a company which has irrevocably impacted womenswear since their 1966 creation of a menswear-motivated tuxedo for women called “Le Smoking.” Both Bieber and Hadid blend feminine and masculine codes in everyday wear, leading the craze for oversized jean shorts and lengthy vintage sportswear paired with dainty ballet flats and platform boots. Other brands, such as Uniqlo and Thom Browne, design collections labelled and distributed as menswear and womenswear, but the items are still being bought and worn interchangeably. “It’s hard to explain,” Marissa Petteruti, senior menswear designer at Rag & Bone, tells The Independent when asked why she feels more assured in men’s clothing over feminine-labelled pieces. “I’ve always just felt more comfortable in, you know, oversized men’s shirts and pants. I kind of always have gravitated toward men’s fashion. I remember when I was a kid, my parents used to tell me: ‘You have to wear a skirt one day a week.’ I never saw why I couldn’t wear whatever I wanted. So maybe part of it became going against what my parents wanted me to do.” Petteruti has cultivated a closet full of suit pants, designer shirts, and vintage bomber jackets in pursuit of the perfect capsule wardrobe and collection of exclusive ready-to-wear. Ever since she attended the Parsons School of Design, pressure and expectation were absent from her style. Here, Petteruti was drawn to the serenity of menswear, and she appreciated the simplicity of its form more than women’s clothing. Her eyes wandered to streetwear brands such as Supreme and Hood-by-Air because the concept of a lux T-shirt intrigued her, and oversized pieces were pleasing. When she started at Rag & Bone, she learned that men’s tailoring was more extensive, but even so, the trends were ephemeral - meaning the pieces were inherently timeless. Womenswear detailing such as peplum cuts, scallop or lace trimming, floral embellishments, and sheer fabrics tend to cycle through seasonal collections more frequently than the stylistic choices and material preferences within menswear. The classic button-down may be presented in a specific range of colours depending on whether it’s fall or spring, but the shape and design stay the same. In other words, womenswear is more likely to follow suit with trends. Industry leaders and A-listers embracing a more avant-garde mindset in ready-to-wear and street style begs the question of whether brands will ever officially scrap the formal separation of womenswear and menswear. “Why do they have to be called ‘men’s clothing’? Just ‘cause you put the buttons on one side of the shirt and the fly on one side of the shirt and the reverse. It’s, it’s silly to me,” Petteruti agreed when asked if she thought the division was necessary. “I mean, the interesting thing about fashion now is at any given moment, it’s so diverse. We don’t all wear the same things to be in fashion. If we wanted to be in fashion, I mean, regardless of our sort of age or gender, you know, they’re like lots of different choices we can make, depending on the kind of the group we associate with or who we follow,” Clark explained. But Clark doesn’t believe concrete separation is on the horizon, due to the sizing and proportional differences between a man versus a woman. “Men’s and women’s bodies are different. You know, I mean, that’s part of it. Size and physique will prevent womenswear and menswear from being entirely infused with one another,” she proclaimed. Petteruti would argue that there’s potential. Already, she’s seen Rag & Bone mix more feminine codes into their menswear designs with varying fabrics and silhouettes. Being that inspiration is often plucked from the demand and visibility of others who motivate obsessions, the runway no longer dictates style fads. This means it may be expensive on the backend for companies, but we could see collections move away from the label if consumers want more androgynous, unisex pieces. As for Granata, she interprets the division of womenswear and menswear as already having been “tenuous,” which is exactly why women found themselves gravitating toward masculine codes to begin with. Read More How hip-hop went from being shunned by big business to multimillion-dollar collabs Dior celebrates 5 years as designer in gender-fluid Paris men's show Womenswear leads the way as Ted Baker sales soar