It was reinstated last month.Since then there have been increased fears that the supersonic planes, which fly at twice the speed of sound, could be the target of terrorist attacks. These concerns have led to such security measures as the use of closed-circuit television to monitor activity inside the cabin, and databases that can show whether passengers have known aliases or "are recognised as undesirable".However BA is only expecting an average of 50 to 60 per cent of the 100-odd passenger seats to be filled. Tiffany Hall, head of BA's UK and Ireland ticket sales, said it was "hard to predict exactly what demand will be", but added that there were many people keen to enjoy the time saved by using Concorde.It can cross the Atlantic in two hours, effectively letting people arrive in New York "before" the time they took off.Running Concorde was profitable for Air France until the Paris crash, yielding annual profits of between Fr10m and Fr20m (£1m to £2m) between 1995 and 1999, Air France said.BA insists it has hundreds of people who want to start using the service as soon as possible, and yesterday its sales team began contacting them by telephone to advise them about the new schedule. The airline has spent nearly £10m refitting three of its seven Concordes to prevent a repeat of the disaster. The changes include bulletproof linings for fuel tanks, armour over electrical wiring above the wheels, and tougher tyres.However, with BA stretched for cash, the airline will be able to economise by slowing the refit of the other four, which would save cash and increase average occupancy of the working planes.BA's chief executive Rod Eddington said he hoped the resumption of Concorde flights would show it was "business as usual" between Britain and the United States.Rudolph Giuliani, the New York Mayor, said the plane's return was "symbolic of how all New Yorkers feel about rebuilding this great city"..

The fashion designer Azzedine Alaia paid London a rare visit yesterday to put the finishing touches to his contribution to the Radical Fashion exhibition opening this evening at the Victoria & Albert Museum in south Kensington. The fashion designer Azzedine Alaia paid London a rare visit yesterday to put the finishing touches to his contribution to the Radical Fashion exhibition opening this evening at the Victoria & Albert Museum in south Kensington. Alaia is famously reticent and media-shy. When dragged from his work before what is the most important show in this country for many years, he said: "The construction of these clothes is extremely complicated. It is important that I put them on to the mannequins myself to make sure it's just right."The exhibition features the work of respected names such as Jean Paul Gaultier, Yohji Yamamoto, Helmut Lang, Comme des Garcons, Martin Margiela, Alexander McQueen, Hussein Chalayan, Junya Watanabe, Issey Miyake and Vivienne Westwood.But perhaps the most remarkable aspect of the enterprise is that it comprises fewer than 50 complete outfits on display. Those that have made the grade are spectacular leaning towards the conceptual – nothing as pedestrian as a pair of trousers or crisp white shirt here, thank you – and displayed with a sensitivity to the subject and respect for great workmanship that is unprecedented.This is hardly surprising given that each installation has been put together if not by the designers themselves, then at the very least with their collaboration from the start.

It offers an insight into the working of extraordinary minds.In one corner, McQueen's scarlet Venetian glass corset and feathered skirt take centre stage against a backdrop of the video of his spring/summer 2001 collection. In another, Yamamoto's overblown wedding dress complete with zip pockets, battered picture hat and even fabric bouquet is in pride of place. It comes from what many consider to be the designer's greatest collection in 20 years, Le Mariage, shown in Paris in October 1998.Chalayan's layered "umbrella" skirts are suspended from the ceiling; viewed from beneath, they look like exotic blooms. The Belgian designer Margiela, meanwhile, has contributed to the exhibition what seem, on the face of it, to be nothing more than a series of packing crates. Seen from behind, however, they reveal his eccentric garments against a mirrored backdrop, such as a halterneck top made out of dove-grey leather driving gloves and quite the most bizarre series of wigs.Claire Wilcox, the exhibition's curator, is adamant that, despite the reverence with which the work is shown, with each piece individually lit, fashion should never masquerade as art "Fashion is a craft.

But I do want to show people how powerful fashion can be, how clothes can transform a person, how they can be moving, strange and beautiful.". Tony Martin, the farmer who shot dead a teenage burglar at his remote farmhouse, had a paranoid personality disorder because of childhood sexual abuse, the Court of Appeal was told yesterday. Tony Martin, the farmer who shot dead a teenage burglar at his remote farmhouse, had a paranoid personality disorder because of childhood sexual abuse, the Court of Appeal was told yesterday. On the opening day of his appeal against conviction for murder, Martin's lawyers said the disorder made him see the burglary as a "violation'' of the home he felt was a safe haven from a hostile world. It affected his judgement and meant he was likely to react more extremely than a normal person.Martin was deprived of a fair trial by "important failings" on the part of his legal team and there was "compelling" evidence to show that the farmer acted in self-defence and under provocation, the lawyers said.Most of the time, the 56-year-old sat silent and motionless in the dock dressed in a dark suit and tie, but at one point he turned to his guard and shook his head as evidence was given about his "squalid and bizarre" home being booby-trapped. The farmer has always insisted he acted in self-defence when he shot Fred Barrass, 16, with a pump-action shotgun at Bleak House near Emneth, Norfolk in 1999.