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Sarah, Duchess of York has revealed she is recovering from an operation after being diagnosed with breast cancer during a routine mammogram. Here, the PA news agency looks into who can get a mammogram and what happens. What is a mammogram? A mammogram is a breast x-ray which looks for signs of cancer, according to the charity Breast Cancer Now. How can I get a mammogram? Patients can receive a mammogram to look for cancer that may be too small to see or feel as part of breast screening. Women aged between 50 and 71 are automatically invited for breast screening through their GP practice every three years. Those over the age of 71 can continue to have breast screening every three years by contacting their local screening unit through the NHS website or through their GP. The sooner breast cancer is diagnosed, the more effective treatment is likely to be, reducing the risk of more extensive surgery. Women may also be referred to a breast clinic for a mammogram by their GP if they have symptoms or a breast change that requires investigating. What are the symptoms of breast cancer? The first symptom of breast cancer that most women notice is a lump or an area of thickened tissue in their breast, the NHS website states. Women are advised to see their GP if they experience a new lump or area of thickened tissue in either breast, a change in the size or shape of one or both breasts or fluid discharge from either nipple. Other symptoms include a lump in either armpit or a change in the skin of the breasts, including puckering, scaly or itchy skin, crusting or a rash. How can women check their own breasts? As it is possible for breast cancer to develop in the three years between each mammogram, it is important for women to check their breasts regularly for any signs of cancer, according to the charity Breast Cancer Now. The NHS Breast Screening Programme recommends that women know what is normal for them, to look at their breasts and feel them, to know what symptoms to look for and to report any changes to a GP without delay. To check the breasts, the NHS website recommends looking at them and feeling each breast and armpit up to the collarbone. It may be easier to do this in the shower or bath. Women can also look at their breasts in the mirror both with their arms raised and by their sides. What happens during a mammogram? During a mammogram, a female doctor asks the patient to remove their clothes from the waist up and stand in front of the mammogram machine. The breasts are placed one at a time on the x-ray machine and images of each breast are taken. The scan itself should only take a few minutes, while the whole appointment should take about half an hour, according to the NHS website. The results of the mammogram are sent by post to the patient and their GP. According to Breast Cancer Now, around 4% of women are called back to a breast clinic after routine screening for more tests. While most women recalled will not have breast cancer, the follow-up appointment may involve a breast examination, further scans – such as a mammogram or an ultrasound – or a biopsy – where a small sample of tissue is taken. Breast cancer facts and figures Breast cancer is the most common type of cancer in the UK, and about one in seven women are diagnosed with the disease in their lifetime, according to the NHS website. More than 80% of breast cancers occur in women over 50 and the risk continues to increase with age. Mammograms are not often used in women under 40 as younger women have denser breast tissue, which can make the x-ray image less clear and changes harder to identify, according to Breast Cancer Now. However, for women with a family history of breast cancer, UK guidelines recommend they should start having screening mammograms every year in their forties. Screening prevents an estimated 1,300 deaths from breast cancer each year in the UK, according to Breast Cancer Now.

Sparks were seen flying from Carlos Sainz’s Ferrari as the first practice session for the highly anticipated Las Vegas Grand Prix descended into chaos. Thursday night’s practice (16 November) was cancelled after just nine minutes when Sainz hit a broken drain cover, damaging his car. CCTV footage from the Bellagio Hotel and Casino, which overlooks the track, shows the moment the Ferrari driver ran over the manhole. Sainz has been handed a 10-place grid penalty for the incident, and his car required repairs ahead of the second practice session, which took place in the early hours of Friday morning.

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In 1953, Gabrielle “Coco” Chanel reopened her couture house after a 14-year hiatus at the age of 70. “Why did I return?” the legendary fashion designer later posited in an interview with Life magazine. “One night at dinner, Christian Dior said a woman could never be a great couturier.” It’s a quote that perfectly captures everything Chanel represents to this day, more than a century after she opened her first millinery shop in Paris in 1910. It also happens to be nestled in the enormous boarded timeline of the designer’s life that greets visitors to Gabrielle Chanel: Fashion Manifesto, a major retrospective of the French couturière’s work, at the Victoria and Albert Museum in London. Marking the first time that a UK exhibition has been dedicated entirely to Chanel, it charts the designer’s humble beginnings in the Loire Valley of France through to the establishment of her eponymous brand and the evolution of her creations throughout the years. Incorporating gowns, suits, jewellery, fragrances and accessories, the exhibition features more than 50 of the designer’s famous tweed suits alongside several fragile pieces usually stored deep within the belly of the V&A’s archive. “We were very aware of the classic things people know about Coco Chanel,” says curator Connie Karol Burks, referencing the designer’s famous little black dresses, the 2.55 handbag and her tweed suits. “We really wanted to spotlight much more of what she contributed to fashion, and a bit more of her approach to designing clothes, like her need for comfort, simplicity and freedom of movement.” It’s a modality easily expressed from the start of the exhibition, the entrance to which is a subtle, black, perfume-like box on the ground floor (the museum’s usual rotunda-like fashion space is currently occupied by its Diva exhibition). When downstairs, visitors may be surprised to find flowing frocks fitted with bows and pockets from as early as the 1930s. “She was an active independent woman, primarily designing for herself,” explains Karol Burks. “These were practical and elegant clothes.” Practicality, as we soon learn, was an integral part of Chanel’s oeuvre. The exhibition celebrates the designer’s penchant for streamlined garments, clothes that rejected the stiff and restrictive aesthetics that had defined women’s wear just a few years earlier. It also includes details of her deep connection to Britain, including her friendships with figures from high society. While staying at the respective homes of Winston Churchill and the Duke of Westminster, Chanel embraced British sport, which is thought to be how the corresponding aesthetics of tweed and knitted jerseys found their way into her collections. Also included here is a sketch of Chanel painted by Churchill while the two were staying at the Duke of Westminster’s Scottish retreat in 1928. “Coco is here,” he wrote to his wife at the time. “She fishes from morn till night, & in two months has killed 50 salmon.” Elsewhere, highlights include the Chanel “Ford”, the name given to the designer’s little black dress that became a global staple for women everywhere. There are evening gowns aplenty, and an optic-white room entirely dedicated to the creation of the designer’s iconic perfume Chanel No 5, as well as an oval-shaped section devoted to Chanel’s tweed suits, with two rows of them spanning the curve of the room. As has already been reported, the exhibition also doesn’t shy away from Chanel’s controversial wartime activities. It features previously unseen documents illustrating evidence of her collusion with Nazis during the Second World War, while also, confoundingly, unearthing evidence that indicates she was a member of the French resistance. “It’s such a complex thing to get your head around,” says Karol Burks. “We felt it was important to have it in the exhibition and to display those original documents. But they almost give more questions than answers.” Unlike the V&A’s Dior exhibition, which charted the brand’s existence beyond the life of its founder, the Chanel retrospective ends with the designer’s death in 1971. Given the label’s extensive history in modern culture, perhaps this makes sense: there’s only so much you can squeeze into one show. But in many ways, it is a limitation that produces a lingering sense of intrigue around the designer herself. “Despite there being over 175 biographies [of Chanel], she’s still being written about and new information is still coming to light,” Karol Burks adds. “I don’t think anyone has quite pinned down who Gabrielle Chanel was. The more you learn about her, the less you know.” ‘Gabrielle Chanel: Fashion Manifesto’ runs from 16 September until 25 February at London’s Victoria & Albert Museum Read More Loved in triangles, dressed for liberation: The queer fashion secrets of Virginia Woolf and the Bloomsbury Group Young people not snowflakes or wasters, says curator of rebellious fashion exhibition Pharrell Williams designed his first collection for Louis Vuitton for himself

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