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How do you make money for nothing? | 0:00:06 | 0:00:08 | |
The answer could be hiding in the 20 million tonnes of household waste | 0:00:11 | 0:00:15 | |
we throw out every year. | 0:00:15 | 0:00:18 | |
Before you throw that away, | 0:00:18 | 0:00:19 | |
-is there any chance I could have a quick chat about it? -Sure. | 0:00:19 | 0:00:22 | |
That's why entrepreneur Sarah Moore wants to get her | 0:00:22 | 0:00:25 | |
hands on things before they hit the skip. | 0:00:25 | 0:00:28 | |
I am a passionate buyer, user and renovator of second-hand stuff | 0:00:29 | 0:00:34 | |
and I've turned that passion into a moneymaking business. | 0:00:34 | 0:00:38 | |
I turn old into new and I sell it for a profit. | 0:00:38 | 0:00:40 | |
Sarah is ready to sift through as many boots and binbags | 0:00:42 | 0:00:45 | |
as she needs to... | 0:00:45 | 0:00:46 | |
That is the most fabulous thing I've seen here. | 0:00:46 | 0:00:49 | |
This is so exciting. | 0:00:49 | 0:00:51 | |
..in her search for tip treasure. | 0:00:51 | 0:00:53 | |
I love rifling through the rubbish. | 0:00:53 | 0:00:55 | |
And, with some of the country's elite designers and makers... | 0:00:57 | 0:01:01 | |
-Hello, hello! -What have you got today? | 0:01:01 | 0:01:03 | |
I want to do what's right for this piece of rubbish... | 0:01:03 | 0:01:06 | |
..she can transform her finds into desirable... | 0:01:06 | 0:01:09 | |
Look at that! | 0:01:09 | 0:01:10 | |
..beautiful... | 0:01:10 | 0:01:12 | |
Speechless. | 0:01:12 | 0:01:13 | |
..valuable... | 0:01:13 | 0:01:15 | |
You're joking! | 0:01:15 | 0:01:16 | |
..and, hopefully, saleable items. | 0:01:16 | 0:01:19 | |
You always talk my kind of money, Jay. I love doing deals with you. | 0:01:19 | 0:01:22 | |
If Sarah is successful, then she can hand the profits back to the very | 0:01:22 | 0:01:26 | |
people who had no idea there was cash to be made from their trash. | 0:01:26 | 0:01:31 | |
-HE CHUCKLES -Wow! | 0:01:31 | 0:01:33 | |
Today, Sarah is at Witley Community Recycling Centre in Surrey. | 0:01:46 | 0:01:49 | |
Every day up to 400 cars arrive here laden with junk for the tip. | 0:01:51 | 0:01:56 | |
But much of it could be reused instead of landing | 0:01:57 | 0:02:00 | |
headfirst in the skip. | 0:02:00 | 0:02:02 | |
Thankfully, Sarah is here to retrieve rubbish from this | 0:02:05 | 0:02:08 | |
wonderful world of waste. | 0:02:08 | 0:02:09 | |
Some people like going designer shopping, | 0:02:12 | 0:02:14 | |
others go and play golf, but for me this is where it's at. | 0:02:14 | 0:02:17 | |
I'm in the department store for rubbish | 0:02:17 | 0:02:19 | |
and all I've got to do is find the treasure in the trash. | 0:02:19 | 0:02:23 | |
With a team of skilled designers waiting in the wings, | 0:02:24 | 0:02:27 | |
Sarah has special permission to be scouring through car boots | 0:02:27 | 0:02:30 | |
looking for three items that, once revamped and sold, | 0:02:30 | 0:02:33 | |
will produce a pay-out for the person dumping them. | 0:02:33 | 0:02:37 | |
Bring it down, I'm here all day. | 0:02:37 | 0:02:39 | |
-I like the look of your chest! -Yeah! | 0:02:40 | 0:02:43 | |
That's a loaded remark, isn't it? | 0:02:43 | 0:02:44 | |
Come on, Sarah, keep your mind on the job. | 0:02:44 | 0:02:47 | |
Enter Richard and some interesting looking doors. | 0:02:47 | 0:02:50 | |
-Hi, there. -Hello. -I like your doors! | 0:02:50 | 0:02:54 | |
-Well, they didn't fit. -Oh, really? | 0:02:54 | 0:02:56 | |
-That's an old one. That's one that came out... -Right. | 0:02:56 | 0:03:00 | |
That was the moulded door I got. | 0:03:00 | 0:03:01 | |
So it's not as good quality as the old one, then? | 0:03:01 | 0:03:04 | |
No, but the old one wobbled. | 0:03:04 | 0:03:06 | |
Do you know something? It might be to my advantage. | 0:03:06 | 0:03:08 | |
I'm looking for stuff that I might be able to recycle or | 0:03:08 | 0:03:11 | |
make into something else, and your solid door might be just the thing. | 0:03:11 | 0:03:15 | |
Well, you're very welcome to have it. | 0:03:15 | 0:03:17 | |
-I think it might make a great table or... -Table?! | 0:03:17 | 0:03:21 | |
That's...really cool. | 0:03:23 | 0:03:27 | |
I would love if I could take it away | 0:03:28 | 0:03:30 | |
-and see if I could make something from it. -Yeah. | 0:03:30 | 0:03:32 | |
It actually looks a lot nicer without the paint. | 0:03:32 | 0:03:35 | |
It's really solid. It weighs a lot more than the new one. | 0:03:35 | 0:03:39 | |
I can see lots of potential just because it's so solid | 0:03:39 | 0:03:42 | |
and it's really big, which gives you plenty to work with. | 0:03:42 | 0:03:45 | |
But what does Richard think? | 0:03:45 | 0:03:47 | |
You see, thinking of it from my perspective, | 0:03:47 | 0:03:49 | |
I can see turning it into a trestle and using it as a workbench. | 0:03:49 | 0:03:54 | |
That's what I would do. But my shed's not big enough. | 0:03:54 | 0:03:57 | |
It's really heavy. There's a lot of good quality wood there. | 0:03:57 | 0:04:01 | |
That's fantastic, I'll definitely do something with that. | 0:04:01 | 0:04:04 | |
You haven't got anything else in there... | 0:04:04 | 0:04:06 | |
Yeah, I've got a vintage BT Home Hub that I don't need. Do you want that? | 0:04:06 | 0:04:11 | |
No, the sun lounger's not going. That's on its way to my allotment. | 0:04:11 | 0:04:14 | |
Always worth asking, | 0:04:14 | 0:04:16 | |
but on this occasion Sarah will just have to make do with the old door. | 0:04:16 | 0:04:20 | |
I'm going to break the door! | 0:04:20 | 0:04:22 | |
If she manages to take it away in one piece. | 0:04:22 | 0:04:25 | |
She'll certainly have her work cut out with this old timber. | 0:04:25 | 0:04:28 | |
But she does have someone in mind who can help. | 0:04:28 | 0:04:31 | |
Rupert Blanchard is a sought-after furniture maker based in Margate. | 0:04:34 | 0:04:39 | |
Design-wise, I love making things | 0:04:40 | 0:04:43 | |
that appear really clean and simple, | 0:04:43 | 0:04:46 | |
but the cleaner and simpler they get, | 0:04:46 | 0:04:49 | |
the more complicated they are to make. | 0:04:49 | 0:04:52 | |
Rupert's furniture designs command a premium price | 0:04:52 | 0:04:56 | |
which belie their humble beginnings. | 0:04:56 | 0:04:58 | |
Basically, other people's waste, I find some kind of beauty in it | 0:04:58 | 0:05:02 | |
and spend a lot of time giving rubbish a lot of attention to | 0:05:02 | 0:05:06 | |
try and bring it back into use. | 0:05:06 | 0:05:09 | |
Anything that you might find in a skip, basically, | 0:05:09 | 0:05:12 | |
I'm happy to work with. | 0:05:12 | 0:05:13 | |
That's music to my ears. | 0:05:13 | 0:05:15 | |
This old door which Sarah has been given by Richard | 0:05:15 | 0:05:19 | |
fits that bill perfectly. | 0:05:19 | 0:05:20 | |
So, Sarah has rescued one item from the skip, | 0:05:24 | 0:05:27 | |
but there's two more to find. | 0:05:27 | 0:05:29 | |
Unfortunately, she's spotted something it's too late to save. | 0:05:29 | 0:05:33 | |
That is hundreds of pounds worth of lamp over there. | 0:05:33 | 0:05:36 | |
Sarah, you should know better than to eye up the stuff | 0:05:36 | 0:05:39 | |
that's strictly out of bounds. | 0:05:39 | 0:05:40 | |
Anyway, it's not as if it's quiet - | 0:05:41 | 0:05:43 | |
there's no end to the rubbish that is pouring in just now. | 0:05:43 | 0:05:47 | |
And in no time, Sarah's on to her second catch. | 0:05:47 | 0:05:51 | |
It seems skip visitor Stoyan is about to dump something special. | 0:05:51 | 0:05:56 | |
-These are really cool! -Yeah. -So you're throwing them today? | 0:05:56 | 0:06:00 | |
Yes, I don't need them. | 0:06:00 | 0:06:03 | |
Stoyan has had enough of trying to glue his broken dining chairs | 0:06:03 | 0:06:06 | |
back together, but Sarah can see promise in these pews. | 0:06:06 | 0:06:10 | |
I think they look lovely. How many have you got? | 0:06:10 | 0:06:13 | |
-Er...I've got three. -Three? Lovely! | 0:06:13 | 0:06:15 | |
They're really cool. I love the shape. | 0:06:16 | 0:06:19 | |
-That's fine, all yours. -Really? | 0:06:19 | 0:06:22 | |
I'm so pleased you didn't put them on the tip. Thank you so much. | 0:06:22 | 0:06:27 | |
These lovely old chairs are going to be made marvellous again. | 0:06:28 | 0:06:31 | |
I've got a maker in mind | 0:06:31 | 0:06:33 | |
to restore them and I think I'm sitting on a fortune. | 0:06:33 | 0:06:35 | |
Thank you so much. | 0:06:35 | 0:06:37 | |
'You never know, someone's rubbish is somebody's gold.' | 0:06:37 | 0:06:40 | |
So if you need something and you can use that... | 0:06:40 | 0:06:44 | |
..you're welcome. | 0:06:46 | 0:06:47 | |
So, item two is all set for a spruce-up | 0:06:47 | 0:06:50 | |
and Sarah knows a perfect craftsman to overhaul these classic chairs. | 0:06:50 | 0:06:55 | |
Jay Blades is a builder turned philosophy graduate | 0:07:00 | 0:07:04 | |
turned furniture restorer. | 0:07:04 | 0:07:06 | |
Jay has his finger on the pulse of modern design interiors, | 0:07:07 | 0:07:10 | |
reworking the very best of British craftsmanship | 0:07:10 | 0:07:14 | |
and bringing it into the 21st century. | 0:07:14 | 0:07:16 | |
I've always had a passion for the kind of heritage that | 0:07:18 | 0:07:23 | |
the British designers have produced over the years. | 0:07:23 | 0:07:25 | |
Traditionalists would love to keep it as it is, | 0:07:25 | 0:07:28 | |
but to be reintroduced into the market | 0:07:28 | 0:07:30 | |
I like to just add a bit of colour and something a bit quirky. | 0:07:30 | 0:07:33 | |
I really enjoy adding my bit. | 0:07:33 | 0:07:35 | |
I'm not necessarily worried about other people's reactions. | 0:07:35 | 0:07:38 | |
-It's more about do -I -like it? If I like it then it's good. | 0:07:38 | 0:07:41 | |
The three rickety stick back chairs | 0:07:41 | 0:07:43 | |
are a perfect project for Jay | 0:07:43 | 0:07:45 | |
but, after all Stoyan's repairs, | 0:07:45 | 0:07:47 | |
will he be able to stick them back together again? | 0:07:47 | 0:07:50 | |
Sarah has successfully secured two items for Rupert | 0:07:55 | 0:07:58 | |
and Jay's talents, but now she needs to search for a third | 0:07:58 | 0:08:01 | |
piece of jettisoned junk she can renovate herself. | 0:08:01 | 0:08:05 | |
Anything you fancy in there? | 0:08:05 | 0:08:06 | |
But the pickings are looking slim. | 0:08:06 | 0:08:09 | |
What's in the box? | 0:08:09 | 0:08:11 | |
Shiver me timbers! Some treasure on the horizon. | 0:08:13 | 0:08:17 | |
Or at least, somewhere to store it. | 0:08:17 | 0:08:19 | |
So what is it about the domed captain's trunk | 0:08:19 | 0:08:21 | |
in the back of the car there that I find so exciting? | 0:08:21 | 0:08:25 | |
I don't know if it's being dropped off or if someone's keeping it. | 0:08:25 | 0:08:29 | |
Here's the guy coming now. | 0:08:29 | 0:08:30 | |
The chest looks very old and it could be a great opportunity | 0:08:30 | 0:08:34 | |
for Sarah to make some real profit for its owner Richard. | 0:08:34 | 0:08:37 | |
Sorry to bother you. Is that something you dropping off today? | 0:08:37 | 0:08:41 | |
Yep. | 0:08:41 | 0:08:42 | |
That looks amazing! | 0:08:44 | 0:08:46 | |
Have you just had enough of it? Is there a story behind it? | 0:08:46 | 0:08:49 | |
-There is, actually. It's my wife's grandmother's. -Right. | 0:08:49 | 0:08:53 | |
So there's a bit of a story. I don't know what she did with it. | 0:08:53 | 0:08:55 | |
She didn't go abroad? | 0:08:55 | 0:08:57 | |
Did she always live in this country? Do you know anything like that or... | 0:08:57 | 0:09:00 | |
-She went travelling when she was about 85, 90. -Oh, really? | 0:09:00 | 0:09:04 | |
-I bet she didn't use one of these! -I don't think she used that then, no. | 0:09:04 | 0:09:07 | |
Unfortunately, I never met her, but apparently she was quite... | 0:09:07 | 0:09:10 | |
-Quite spirited? -Yes. -Does it open? -I think so. | 0:09:10 | 0:09:13 | |
One of the hinges is broken but... | 0:09:13 | 0:09:15 | |
I think that is absolutely beautiful! | 0:09:16 | 0:09:19 | |
And I totally understand why you might have finished with it | 0:09:19 | 0:09:21 | |
but is it something that maybe I could take away and try | 0:09:21 | 0:09:24 | |
and restore or do something with? | 0:09:24 | 0:09:26 | |
-Yeah! -Yeah? You wouldn't mind? -Rather that than throw it away. | 0:09:26 | 0:09:31 | |
Although it's not a treasure chest, Sarah can see good money | 0:09:31 | 0:09:34 | |
in it for Richard and his family by saving it from the crusher. | 0:09:34 | 0:09:38 | |
'I really honestly don't know how much it would be worth. | 0:09:38 | 0:09:41 | |
'I've never seen anything like that,' | 0:09:41 | 0:09:44 | |
so no idea. No idea. | 0:09:44 | 0:09:46 | |
This is stunning. It's absolutely beautiful. | 0:09:48 | 0:09:52 | |
It's in real original condition | 0:09:52 | 0:09:54 | |
and it would fit into a smart country house anywhere around here. | 0:09:54 | 0:09:59 | |
Sarah's search for the three items is complete. | 0:09:59 | 0:10:01 | |
Rupert will knock the old white door into shape. | 0:10:03 | 0:10:07 | |
The three chairs are going to furniture designer Jay | 0:10:07 | 0:10:10 | |
and the empty chest will be treasured | 0:10:10 | 0:10:13 | |
and given a new life by Sarah. | 0:10:13 | 0:10:15 | |
I love the things that I saved today, | 0:10:15 | 0:10:18 | |
but the real question is can I actually make any money out of them? | 0:10:18 | 0:10:22 | |
Margate is a seaside town on the coast of Kent. | 0:10:27 | 0:10:31 | |
Like Brighton and Southend, Margate was infamous | 0:10:33 | 0:10:36 | |
for clashes between mods and rockers in the 1960s. | 0:10:36 | 0:10:39 | |
Fortunately, it's now well known for the Turner Contemporary Art Gallery | 0:10:39 | 0:10:43 | |
and its very own burgeoning vintage clothing | 0:10:43 | 0:10:47 | |
and retro furniture scene. | 0:10:47 | 0:10:49 | |
It's also home to Rupert Blanchard, who is one of the country's | 0:10:49 | 0:10:53 | |
leading reclamation and bespoke furniture makers. | 0:10:53 | 0:10:56 | |
And he's used to dealing with | 0:10:56 | 0:10:58 | |
Sarah's wild and wacky dump treasure. | 0:10:58 | 0:11:01 | |
I'm really looking forward to Sarah turning up. | 0:11:01 | 0:11:03 | |
I don't know what she's actually turning up with. | 0:11:03 | 0:11:06 | |
I'm hoping it's going to be something that I'm actually | 0:11:06 | 0:11:09 | |
familiar with slightly. | 0:11:09 | 0:11:10 | |
It may be wood, maybe a little bit of metal on it. | 0:11:10 | 0:11:13 | |
If it's mass production or bespoke, if it's rotten or brand-new, I'm | 0:11:13 | 0:11:17 | |
happy to sort of apply my own skills to it and play with it, basically. | 0:11:17 | 0:11:22 | |
I just want to get on with it. | 0:11:22 | 0:11:25 | |
-Hello! -Hey, Sarah! | 0:11:25 | 0:11:26 | |
I'm a bit embarrassed. It's only a door. | 0:11:26 | 0:11:30 | |
-It's a door, that's great! Let's bring it in, then. -Fab. | 0:11:30 | 0:11:35 | |
You take that end. | 0:11:35 | 0:11:36 | |
One objective down, then - recognised that straightaway. | 0:11:36 | 0:11:39 | |
Is a door great? | 0:11:39 | 0:11:40 | |
They are great if you've got a gaping wide opening | 0:11:40 | 0:11:43 | |
at the front of your house. | 0:11:43 | 0:11:45 | |
-It's quite heavy. Solid, isn't it? -It's a pine door! | 0:11:45 | 0:11:48 | |
That's what I thought. | 0:11:48 | 0:11:50 | |
-It's a Victorian pine door. -That got left in the garden. -OK. Um... | 0:11:52 | 0:11:58 | |
This one is really quite square, quite solid, | 0:11:58 | 0:12:01 | |
doesn't seem to have much rot to it. | 0:12:01 | 0:12:04 | |
Um... | 0:12:04 | 0:12:05 | |
Nice little metal keyhole cover. | 0:12:05 | 0:12:07 | |
We could incorporate that into something. I don't know why, | 0:12:07 | 0:12:10 | |
but I'm thinking about a dressing table for some reason. | 0:12:10 | 0:12:12 | |
So, dressing table. What, a mirror in the top or... What are you thinking? | 0:12:12 | 0:12:19 | |
It's always been straight all its life. | 0:12:19 | 0:12:21 | |
I'd like to make it a little bit more curvy. | 0:12:21 | 0:12:24 | |
That might mean a lot of cutting, a lot of making it... | 0:12:24 | 0:12:28 | |
It has always stood up straight. Maybe giving it | 0:12:28 | 0:12:31 | |
a nice slinky little... | 0:12:31 | 0:12:33 | |
end round, so... | 0:12:33 | 0:12:35 | |
It's perhaps a lower table. | 0:12:35 | 0:12:38 | |
Turns round, goes up slightly... | 0:12:38 | 0:12:41 | |
So you can sit against it and... you know, have it...you know, | 0:12:41 | 0:12:45 | |
either a tiny little work table or a dressing table. | 0:12:45 | 0:12:48 | |
A slinky dresser for somebody who is a slinky dresser, perhaps. | 0:12:48 | 0:12:53 | |
But how much is this transformation likely to cost? | 0:12:53 | 0:12:56 | |
I'd like to get this done in a day. I would like this done and... | 0:12:58 | 0:13:02 | |
Keep it simple, keep it clean, but keep it quite abstract | 0:13:03 | 0:13:06 | |
and sculptural. And so... Yeah... | 0:13:06 | 0:13:09 | |
-I think in total, no more than two days. -That's fine. | 0:13:09 | 0:13:13 | |
I think if we signed it off like that we're up to 400 quid on it. | 0:13:13 | 0:13:18 | |
If there is a bit less than that, that's great - that might | 0:13:18 | 0:13:20 | |
mean more for the guy who dropped it off. | 0:13:20 | 0:13:23 | |
So, if we keep it to that kind of ballpark, I'm happy with that. | 0:13:23 | 0:13:26 | |
Yeah, I don't see any problems with this. It's going to be quite a... | 0:13:26 | 0:13:29 | |
sculptural challenge, quite a... | 0:13:29 | 0:13:31 | |
..interesting thing. | 0:13:32 | 0:13:34 | |
I think it won't be to everyone's taste, this one, | 0:13:34 | 0:13:36 | |
but I think we're going to do something new that people | 0:13:36 | 0:13:39 | |
haven't seen before with this one. | 0:13:39 | 0:13:41 | |
So, from distressed door to pop art dressing table. That boy is a genius. | 0:13:45 | 0:13:51 | |
With costs of up to £400 to transform this old door | 0:13:52 | 0:13:56 | |
into a slinky pop art mirrored dressing table, | 0:13:56 | 0:13:59 | |
the pressure will really be on Sarah to sell it for a premium price | 0:13:59 | 0:14:04 | |
if she is to return a profit. | 0:14:04 | 0:14:05 | |
Sarah's next stop on her wander is Wolverhampton in the West Midlands. | 0:14:11 | 0:14:15 | |
It's here in the Victorian backstreets that | 0:14:15 | 0:14:18 | |
retro modern craftsman Jay plies his trade. | 0:14:18 | 0:14:22 | |
Sarah is about to turn up with Stoyan's unmendable chairs, | 0:14:22 | 0:14:26 | |
but will Jay be able to give them a lick of new life? | 0:14:26 | 0:14:30 | |
All she's told me is it's something that's beaten up | 0:14:30 | 0:14:33 | |
and it's a bit broken and I'm going to have to work my magic on it. | 0:14:33 | 0:14:37 | |
Normally, my style is repairing stuff | 0:14:37 | 0:14:39 | |
and then adding a bit of je ne sais quois to it. | 0:14:39 | 0:14:43 | |
For me, colour is a must. | 0:14:44 | 0:14:46 | |
And, hopefully, whatever Sarah is bringing along to me today, | 0:14:46 | 0:14:49 | |
I'm going to add colour to it. | 0:14:49 | 0:14:52 | |
How are you? I'm very good. Can't complain. What have you got today? | 0:14:52 | 0:14:56 | |
-I've got something really special today. -Look at these. | 0:14:56 | 0:14:59 | |
I can see that, I can see that. That is... | 0:14:59 | 0:15:01 | |
-Whoops! They need some work done, don't they? -They do need work. | 0:15:01 | 0:15:05 | |
These scrappy seats are actually classic British Ercol dining chairs | 0:15:05 | 0:15:10 | |
that were built at their factory in High Wycombe in the 1960s. | 0:15:10 | 0:15:13 | |
These are one of the creme de la creme of our English designers | 0:15:13 | 0:15:16 | |
and English manufacturers that are still functioning today. | 0:15:16 | 0:15:19 | |
A lot of people want Ercol | 0:15:19 | 0:15:21 | |
because it is the go-to kind of manufacture to have. | 0:15:21 | 0:15:24 | |
So, for someone to throw these away... | 0:15:24 | 0:15:27 | |
it's kind of interesting, I'd say. | 0:15:27 | 0:15:29 | |
But it's very rare that you come across someone wanting to | 0:15:29 | 0:15:32 | |
throw away Ercol. Very rare. | 0:15:32 | 0:15:34 | |
The guy dropping these off said he'd bought them | 0:15:34 | 0:15:36 | |
from a car boot, he'd given up mending them | 0:15:36 | 0:15:39 | |
because they weren't in a great state | 0:15:39 | 0:15:40 | |
and he didn't want to see them any more | 0:15:40 | 0:15:42 | |
because this one's definitely seen better days and the others are weak. | 0:15:42 | 0:15:46 | |
So, yeah, I thought that they just looked so cool. | 0:15:46 | 0:15:50 | |
I love the colour about them. They just need that special touch, Jay. | 0:15:50 | 0:15:54 | |
Yeah, they do. | 0:15:54 | 0:15:55 | |
They need a bit more than a special touch, they do need repairing. | 0:15:55 | 0:15:59 | |
So what we've got is glue that someone's tried to glue them with | 0:15:59 | 0:16:02 | |
and one thing glue doesn't stick to is glue. | 0:16:02 | 0:16:06 | |
So I'll have to remove all that glue. This is coming out as well... | 0:16:06 | 0:16:10 | |
Oh, no. I was hoping the state of them wasn't too bad | 0:16:10 | 0:16:12 | |
and then I thought, you are the go-to man for Ercol. | 0:16:12 | 0:16:16 | |
I've seen the kind of fresh new look that you | 0:16:16 | 0:16:18 | |
put on some of their pieces and I'm sort of wondering how much | 0:16:18 | 0:16:22 | |
colour we can introduce and if it's all right to paint them. | 0:16:22 | 0:16:25 | |
I think that adding some colour is not going to be too detrimental | 0:16:25 | 0:16:29 | |
to the design of this piece. | 0:16:29 | 0:16:30 | |
I will introduce colour but I won't overdo the colour on these. | 0:16:30 | 0:16:35 | |
It'll be very modestly done. | 0:16:35 | 0:16:37 | |
I do love these pieces, | 0:16:37 | 0:16:39 | |
so I can't wait to start working on them, actually. | 0:16:39 | 0:16:42 | |
-You know what my next question is going to be. -It's going to be money. | 0:16:42 | 0:16:45 | |
HE LAUGHS Money, money, money! | 0:16:45 | 0:16:47 | |
-£50 each. -That's a deal! -OK, cool. I'd best get to work, then. | 0:16:47 | 0:16:52 | |
The total cost of renovating the three chairs will be £150. | 0:16:57 | 0:17:01 | |
Sarah will need to find the right buyer | 0:17:03 | 0:17:05 | |
if she is to turn a profit on these. | 0:17:05 | 0:17:07 | |
So, with two items dropped off and hopefully on their way to be | 0:17:14 | 0:17:17 | |
saved and sold, | 0:17:17 | 0:17:18 | |
it's Sarah's turn to get stuck in | 0:17:18 | 0:17:21 | |
back at the reclamation HQ in Sussex. | 0:17:21 | 0:17:24 | |
And at her barn, | 0:17:24 | 0:17:26 | |
she is hoping to turn Richard's chest into valuable treasure. | 0:17:26 | 0:17:30 | |
But sometimes it's difficult to get started. | 0:17:30 | 0:17:33 | |
The dog's run off again. Bramble, here! | 0:17:33 | 0:17:38 | |
Bramble, here! Come on! Here! | 0:17:38 | 0:17:40 | |
Right, I'm just going to put it in the house. Come with me. Come on. | 0:17:40 | 0:17:43 | |
Come on. Let's go. | 0:17:43 | 0:17:45 | |
But preparation is everything. | 0:17:45 | 0:17:48 | |
The dog is under no control. It just does whatever it likes. | 0:17:48 | 0:17:53 | |
It's a nightmare. | 0:17:53 | 0:17:55 | |
Bramble may be a nightmare, | 0:17:55 | 0:17:56 | |
but the chest Sarah's saved might be what dreams are made of. | 0:17:56 | 0:18:01 | |
Actually, I hadn't remember how it was on the inside. | 0:18:04 | 0:18:08 | |
It's a lot better than I remembered, so that's quite cool. | 0:18:08 | 0:18:11 | |
I probably won't even have to line it. It's just... It's in good nick. | 0:18:11 | 0:18:15 | |
Ah, treasure! | 0:18:15 | 0:18:16 | |
It's got a bicycle clip in it! Look at that! | 0:18:16 | 0:18:19 | |
That means it's at least 50 years old because nobody uses those any more. | 0:18:21 | 0:18:25 | |
More like 150 years old. | 0:18:25 | 0:18:27 | |
And a sweet - nice! | 0:18:27 | 0:18:30 | |
The mother lode! A good omen for turning a big profit. | 0:18:30 | 0:18:35 | |
The metalwork and binding on the trunk is in really poor condition | 0:18:35 | 0:18:38 | |
and that is going to affect how much money I can get for it. | 0:18:38 | 0:18:41 | |
So my plan is to try and take as much of the rust | 0:18:41 | 0:18:44 | |
and surface dirt off as possible and hopefully stabilise it, | 0:18:44 | 0:18:48 | |
so it's something I can wax to make it look much more attractive | 0:18:48 | 0:18:51 | |
than it does at the moment. | 0:18:51 | 0:18:52 | |
It's going to need a lot of elbow grease to get this...together. | 0:18:55 | 0:18:59 | |
SCRAPING | 0:18:59 | 0:19:00 | |
With grease applied, it takes Sarah just half an hour to remove | 0:19:02 | 0:19:06 | |
what looks like more than a century of filth. | 0:19:06 | 0:19:09 | |
That's great. | 0:19:14 | 0:19:15 | |
It's missing its clasp here. | 0:19:15 | 0:19:17 | |
Should have one on the side but it's missing. | 0:19:17 | 0:19:20 | |
It seems this trunk also comes with a lot of baggage. | 0:19:20 | 0:19:23 | |
Quite recently somebody's put a couple of screws in here | 0:19:23 | 0:19:26 | |
just to hold the hinge on. | 0:19:26 | 0:19:27 | |
So we need to find out how big they are and go and get some better | 0:19:29 | 0:19:32 | |
ones, hopefully with some sort of rounded top to them. | 0:19:32 | 0:19:35 | |
It looks like they were hammered in before, | 0:19:35 | 0:19:37 | |
so I'm not going to be able to do that again. | 0:19:37 | 0:19:39 | |
All of the polishing is beginning to pay off and Sarah is starting | 0:19:42 | 0:19:45 | |
to get a hunch that this chest could be quite valuable. | 0:19:45 | 0:19:49 | |
What I might do is just take a picture of it | 0:19:49 | 0:19:51 | |
and pop it on social media. I'd like to know how old it is. | 0:19:51 | 0:19:54 | |
If anybody's seen one like it. | 0:19:54 | 0:19:56 | |
Particularly if anyone's sold one before | 0:19:56 | 0:19:58 | |
and knows how much it might be worth. | 0:19:58 | 0:20:01 | |
SHUTTER CLICKS | 0:20:01 | 0:20:02 | |
Now, did you know the inventor of the door knocker | 0:20:07 | 0:20:11 | |
won the NO BELL Prize? | 0:20:11 | 0:20:13 | |
Taxi for me, please! | 0:20:13 | 0:20:15 | |
Talking of doors... | 0:20:15 | 0:20:17 | |
Sarah brought me this old door, which she saved, | 0:20:17 | 0:20:21 | |
and I'm going to make a kind of console table/dressing table. | 0:20:21 | 0:20:25 | |
I could find that it just collapses, | 0:20:25 | 0:20:29 | |
it falls apart when I cut through it. | 0:20:29 | 0:20:31 | |
Especially because there are cracks running through the panels. | 0:20:31 | 0:20:35 | |
But I won't really know until I do start cutting it up. | 0:20:35 | 0:20:38 | |
It's a bit worrying that the success of this project could all | 0:20:38 | 0:20:42 | |
hinge on a few cracks. | 0:20:42 | 0:20:44 | |
I want to make sure that I am cutting the shelf | 0:20:45 | 0:20:49 | |
to the right level. And this thing doesn't exist yet. | 0:20:49 | 0:20:52 | |
I don't know what level it needs to be. | 0:20:52 | 0:20:55 | |
I'm not copying another piece of furniture, | 0:20:55 | 0:20:57 | |
so there's no standard to go by. | 0:20:57 | 0:20:59 | |
There's no rule book. So I can't really go wrong. | 0:20:59 | 0:21:03 | |
Confident - that's what we like to hear. | 0:21:03 | 0:21:07 | |
It's quite hard for me to cut this door. It's quite... | 0:21:07 | 0:21:10 | |
..quite upsetting, | 0:21:11 | 0:21:12 | |
but it is a knackered door that was on its way to landfill, so... | 0:21:12 | 0:21:16 | |
I'm going to give it a new lease of life. | 0:21:16 | 0:21:21 | |
Upsetting it may be, but just think how satisfying it may be | 0:21:22 | 0:21:27 | |
bringing that door back from death's door. | 0:21:27 | 0:21:30 | |
The cuts I'm making through this door, | 0:21:32 | 0:21:34 | |
they're not going to be straight through, | 0:21:34 | 0:21:37 | |
they're going to be at 45 degrees, so I can join it to the next | 0:21:37 | 0:21:40 | |
section of door seamlessly as one flowing line. | 0:21:40 | 0:21:43 | |
I don't want ugly joints just flat against each other, I want to | 0:21:43 | 0:21:47 | |
make this a nice, smooth, flowing line. | 0:21:47 | 0:21:49 | |
Hopefully, I've sliced straight through at 45 degrees | 0:21:52 | 0:21:57 | |
and it won't fall apart, but we shall see. | 0:21:57 | 0:22:00 | |
No, not quite. | 0:22:02 | 0:22:03 | |
Well, the good news is it's not fallen apart. | 0:22:03 | 0:22:07 | |
Not quite through. | 0:22:07 | 0:22:08 | |
By cutting this door in half, Rupert is turning this into a do - | 0:22:08 | 0:22:12 | |
that's half a door. | 0:22:12 | 0:22:14 | |
I have made one, two, three, four, five, six cuts to this door. | 0:22:16 | 0:22:21 | |
Hopefully, six cuts is all we're going to need, | 0:22:21 | 0:22:24 | |
so this little centre section can disappear | 0:22:24 | 0:22:28 | |
and that means that I should be able to... | 0:22:28 | 0:22:33 | |
fold the door together now. | 0:22:33 | 0:22:34 | |
You kind of get the idea of what I'm trying to achieve to... | 0:22:36 | 0:22:39 | |
..to make it appear as if the door has actually folded up on itself. | 0:22:40 | 0:22:44 | |
Don't you just love it when a plan comes together? | 0:22:46 | 0:22:48 | |
I'm still experimenting at this stage. | 0:22:48 | 0:22:50 | |
I'm just trying to work out the piece of furniture | 0:22:50 | 0:22:54 | |
that at the moment only exists in my head. | 0:22:54 | 0:22:57 | |
Yeah, it won't just levitate! | 0:22:59 | 0:23:01 | |
Nobody said anything about levitation. | 0:23:01 | 0:23:04 | |
Once mastered, that's bound to RAISE the value. | 0:23:04 | 0:23:06 | |
And in Wolverhampton, Jay is still purring over the Ercol chairs. | 0:23:14 | 0:23:19 | |
These are a stick back chair. | 0:23:20 | 0:23:21 | |
I think they originated in the 1960s | 0:23:21 | 0:23:24 | |
and this is classified as Ercol's originals. | 0:23:24 | 0:23:27 | |
Britain's manufacturing I'd say at its best. | 0:23:27 | 0:23:31 | |
Sexiest leg in furniture and it does exactly what it's supposed to do. | 0:23:31 | 0:23:36 | |
Looks good, it holds the seat up, um... | 0:23:36 | 0:23:39 | |
perfect form. | 0:23:39 | 0:23:41 | |
This is a part of English history | 0:23:41 | 0:23:43 | |
and I'm just adding my little bit of "ooh" to it. | 0:23:43 | 0:23:48 | |
Although Sarah bought three chairs for Jay, he's decided that | 0:23:48 | 0:23:51 | |
one of them is too far gone. | 0:23:51 | 0:23:53 | |
So he will use the third one for spare parts for the other two. | 0:23:53 | 0:23:57 | |
All of these have to be sanded down and that's all of the sticks, | 0:23:58 | 0:24:03 | |
including this bit here. | 0:24:03 | 0:24:06 | |
That is kind of water damage there. | 0:24:06 | 0:24:08 | |
So it will be interesting to see if that has gone through | 0:24:08 | 0:24:12 | |
and I can't clean it off. | 0:24:12 | 0:24:14 | |
What I might then have to do is just paint this. | 0:24:14 | 0:24:17 | |
So the design what I've gotten my mind is | 0:24:17 | 0:24:20 | |
determined by what the chair unravels to me. | 0:24:20 | 0:24:23 | |
And unravelling before our very eyes is Jay's plan for the colours. | 0:24:23 | 0:24:28 | |
So you imagine a light chair, that colour, with black, and then... | 0:24:29 | 0:24:34 | |
with a hint of that, and those work. | 0:24:34 | 0:24:38 | |
So I'm quite happy with that, actually. | 0:24:42 | 0:24:44 | |
All it means is that I've just got to do loads of sanding. | 0:24:44 | 0:24:48 | |
Sanding down ingrained stains is one of the biggest jobs of any | 0:24:52 | 0:24:55 | |
furniture restoration. | 0:24:55 | 0:24:57 | |
And it will reveal to Jay just how much of the wood | 0:24:58 | 0:25:01 | |
he'll have to paint over. | 0:25:01 | 0:25:03 | |
The wet wipe actually gives a true indication of what | 0:25:06 | 0:25:09 | |
the wood will look like once it's finished. | 0:25:09 | 0:25:12 | |
And it will show kind of all the imperfections that are there. | 0:25:12 | 0:25:16 | |
So it's almost like getting a dry run of how it's going to look. | 0:25:16 | 0:25:19 | |
And although most of the wood is fine, a small number of | 0:25:19 | 0:25:22 | |
ingrained stains means this part of the chair will need to be painted. | 0:25:22 | 0:25:27 | |
Now, this...is going to look...the bee's knees. | 0:25:27 | 0:25:31 | |
I can see a really vibrant mint green. | 0:25:31 | 0:25:35 | |
I might just do one leg at the back but everything else black. | 0:25:35 | 0:25:39 | |
Just that one leg. And then these I'll probably have to paint, um... | 0:25:39 | 0:25:44 | |
This might be black as well. So it will just... | 0:25:44 | 0:25:47 | |
It's going to look amazing. | 0:25:47 | 0:25:49 | |
Back at her house, | 0:25:55 | 0:25:57 | |
the photo Sarah took of the old trunk is generating some results. | 0:25:57 | 0:26:01 | |
She's been directed to a website that deals specifically with | 0:26:01 | 0:26:04 | |
travelling chests, like Richard's wife's grandmother's. | 0:26:04 | 0:26:08 | |
So there's all sorts of different trunks on here, | 0:26:08 | 0:26:11 | |
but basically it's a dome top antique trunk, | 0:26:11 | 0:26:14 | |
and it looks like it might be American or Continental. | 0:26:14 | 0:26:17 | |
It doesn't look like it's British. | 0:26:17 | 0:26:19 | |
And probably 1870, something like that, | 0:26:19 | 0:26:22 | |
are the similar ones coming up on here. | 0:26:22 | 0:26:24 | |
And wow, some of them are as much as 3,000 a trunk, | 0:26:24 | 0:26:28 | |
that look just like our one. | 0:26:28 | 0:26:30 | |
I mean, the condition of ours is not great, | 0:26:30 | 0:26:33 | |
but we might be talking as much as £1,000 for the trunk. | 0:26:33 | 0:26:37 | |
And that would be amazing. | 0:26:37 | 0:26:39 | |
Sarah's success is measured in sales | 0:26:41 | 0:26:43 | |
and she always seeks out the best opportunities to maximise profits, | 0:26:43 | 0:26:49 | |
hosting regularly her own furniture and clothing sales from home... | 0:26:49 | 0:26:53 | |
I just sold the sofa. | 0:26:53 | 0:26:55 | |
..advertising and selling online... | 0:26:55 | 0:26:58 | |
SHUTTER CLICKS | 0:26:58 | 0:27:00 | |
Get that online. | 0:27:00 | 0:27:01 | |
..or meeting commercial buyers in person to sell direct. | 0:27:01 | 0:27:06 | |
Seeing this is really refreshing. | 0:27:06 | 0:27:08 | |
It's good and people are going to want more of it. | 0:27:08 | 0:27:11 | |
It's going to grow, this thing, I think, that you're doing. | 0:27:11 | 0:27:14 | |
With opportunities galore in the things we throw out, | 0:27:14 | 0:27:17 | |
Sarah's always looking to make money for nothing. | 0:27:17 | 0:27:21 | |
So Richard's wife's grandmother's old trunk went on one more | 0:27:23 | 0:27:27 | |
journey from the garage to the dump. | 0:27:27 | 0:27:29 | |
That looks amazing! | 0:27:29 | 0:27:30 | |
She went travelling when she was about 85, 90. | 0:27:30 | 0:27:33 | |
-I bet she didn't use one of these! -I don't think she used that, no. | 0:27:33 | 0:27:37 | |
And after sitting in the garage for years, | 0:27:37 | 0:27:40 | |
Sarah took it to the barn to rejuvenate it. | 0:27:40 | 0:27:44 | |
That looks a lot better. | 0:27:44 | 0:27:46 | |
And after some detailed research, | 0:27:46 | 0:27:48 | |
she discovered it's possibly an American traveller's trunk from | 0:27:48 | 0:27:52 | |
the 19th century, which could sell for a healthy profit for Richard. | 0:27:52 | 0:27:56 | |
Back at the house, there's been a change of heart. | 0:27:58 | 0:28:01 | |
Knock-knock. Hattie, Richard's wife, | 0:28:01 | 0:28:03 | |
is finding it difficult to say goodbye to her grandmother's chest. | 0:28:03 | 0:28:07 | |
-Hi, there. -Hi. -Hi, I'm Sarah. Hi. Come on in. | 0:28:07 | 0:28:11 | |
And Sarah has invited her over | 0:28:11 | 0:28:13 | |
to take a look at what she's been up to. | 0:28:13 | 0:28:15 | |
-There you are. Do you recognise that? -Look! | 0:28:15 | 0:28:18 | |
-Do you remember, Megan? -Yeah. | 0:28:18 | 0:28:20 | |
The chest now looks fit to store treasure, | 0:28:20 | 0:28:23 | |
and Sarah is able to give Hattie a bit of history on it. | 0:28:23 | 0:28:26 | |
I think it was probably something around 1850, 1875, | 0:28:26 | 0:28:30 | |
something like that, so quite old. | 0:28:30 | 0:28:32 | |
And some people are suggesting it's an American trunk, | 0:28:32 | 0:28:35 | |
so I don't know if there is any connection with where it | 0:28:35 | 0:28:37 | |
came from with that kind of travel, but probably not English. | 0:28:37 | 0:28:41 | |
Yeah, it's a really fun sort of "olde" piece. | 0:28:41 | 0:28:44 | |
It is, um, yeah, well worth hanging on to, I think. Do you like it? | 0:28:45 | 0:28:51 | |
The chest did once feature prominently in Richard | 0:28:51 | 0:28:54 | |
and Hattie's home, but when they started a family it was put aside. | 0:28:54 | 0:28:59 | |
When we had Megan, as soon as she was mobile, | 0:28:59 | 0:29:01 | |
I was just really concerned about having it in the house | 0:29:01 | 0:29:04 | |
because I thought with the metal... | 0:29:04 | 0:29:06 | |
edge, I was just worried if she lifted her up, | 0:29:06 | 0:29:08 | |
it could literally chop her fingers of, | 0:29:08 | 0:29:11 | |
so that's when it went into our garage which, unfortunately, | 0:29:11 | 0:29:15 | |
is a bit damp and that's when it sort of, um... | 0:29:15 | 0:29:18 | |
got into a bad way. | 0:29:18 | 0:29:20 | |
But with even the briefest of clean-ups, | 0:29:20 | 0:29:22 | |
the chest has been given a new lease of life. | 0:29:22 | 0:29:25 | |
It's literally had half a go at being sanded, | 0:29:25 | 0:29:28 | |
and I think if you want to use wire wool on it or a wire brush, | 0:29:28 | 0:29:32 | |
it would actually come up really quite well. | 0:29:32 | 0:29:36 | |
And inside all we've done is just given it a really good dust-out. | 0:29:36 | 0:29:40 | |
But it's in ready good condition inside anyway. | 0:29:40 | 0:29:43 | |
What can you see? | 0:29:45 | 0:29:48 | |
Sarah can see that Hattie never really wanted to lose this | 0:29:48 | 0:29:51 | |
precious item and wants her to have it back. | 0:29:51 | 0:29:54 | |
-Shall we take it with us, Chloe? -Yes! -Yeah? | 0:29:54 | 0:29:56 | |
-That would be great, thank you. -It's quite heavy. | 0:29:56 | 0:29:59 | |
It's got wheels on the bottom, which is a really good feature | 0:29:59 | 0:30:02 | |
if you want to move it around. | 0:30:02 | 0:30:04 | |
Hattie and Richard almost got rid of the chest at the dump, | 0:30:04 | 0:30:07 | |
but thankfully this family heirloom is going back home. | 0:30:07 | 0:30:10 | |
And for safety's sake, it won't be used as a toy box. | 0:30:10 | 0:30:14 | |
There you go. Well... | 0:30:14 | 0:30:17 | |
It fit. Brilliant. | 0:30:17 | 0:30:20 | |
I am so pleased it's going back home. | 0:30:20 | 0:30:22 | |
Oh! | 0:30:22 | 0:30:24 | |
-Oh, that is really sweet of you. Thank you so much. -Thank you. | 0:30:24 | 0:30:28 | |
-I'm glad it's going home. -Thanks very much. -It's a pleasure. | 0:30:28 | 0:30:32 | |
Isn't that sweet? That's so nice that it's actually gone home. | 0:30:34 | 0:30:37 | |
It's a very sweet ending. | 0:30:37 | 0:30:40 | |
From one sweet ending to another. | 0:30:43 | 0:30:45 | |
Sarah is back in Margate, where Rupert is adding the finishing | 0:30:45 | 0:30:49 | |
touches to the pop art dressing table made from an old pine door. | 0:30:49 | 0:30:53 | |
Every time I come down and see Rupert I get such a surprise. | 0:30:56 | 0:30:59 | |
I don't know how that genius mind works, | 0:30:59 | 0:31:02 | |
but everything he turns out it's just really special. | 0:31:02 | 0:31:05 | |
So today it's a console dressing table made out of a door. | 0:31:05 | 0:31:09 | |
Who knows what that's going to look like? | 0:31:09 | 0:31:12 | |
When Sarah saved it from the dump, | 0:31:12 | 0:31:14 | |
it was a simple pine door which had seen better days. | 0:31:14 | 0:31:18 | |
Rupert's given it an imaginative uplift | 0:31:18 | 0:31:21 | |
and a new purpose in life as a quirky console table. | 0:31:21 | 0:31:25 | |
It looks like it's having a good old knees up | 0:31:25 | 0:31:27 | |
and will add bags of character to someone's hallway. | 0:31:27 | 0:31:30 | |
-Rupert, hi. -Hey, Sarah. -How are you doing? -Good, good. | 0:31:33 | 0:31:37 | |
Back again, I see, for another weird contraption. | 0:31:38 | 0:31:43 | |
Oh, Rupert, it's fantastic! | 0:31:43 | 0:31:46 | |
Yeah, it's an odd one, this one. | 0:31:46 | 0:31:48 | |
I was really worried about you turning up | 0:31:48 | 0:31:49 | |
because I think you'd either hate it or kind of love it. | 0:31:49 | 0:31:54 | |
Essentially, I tried to make a hallway console table, | 0:31:54 | 0:31:57 | |
somewhere just to put your keys, put your gloves on the side. | 0:31:57 | 0:32:01 | |
So I've actually added a new piece of architrave round it. | 0:32:01 | 0:32:05 | |
When I say new, I pulled that out of the skip. | 0:32:05 | 0:32:08 | |
It matches the period of the door. | 0:32:09 | 0:32:11 | |
I had that mirror kicking around the warehouse. | 0:32:11 | 0:32:13 | |
It is of the same period as the door. | 0:32:13 | 0:32:15 | |
I love the fact if it goes on a wall it's going to add so much detail | 0:32:15 | 0:32:20 | |
and it's just so simple, and that is why it's brilliant. | 0:32:20 | 0:32:23 | |
Yeah, I wanted to keep it simple. | 0:32:23 | 0:32:25 | |
I'm really always interested in the history of pieces and, to me, | 0:32:25 | 0:32:29 | |
flaking paint of different colours really tells | 0:32:29 | 0:32:32 | |
the story of its previous home. | 0:32:32 | 0:32:34 | |
I think we said the budget on this was £200-£400. | 0:32:36 | 0:32:40 | |
How did we get on with that? | 0:32:40 | 0:32:42 | |
I haven't spent so much time on it and, luckily, | 0:32:42 | 0:32:44 | |
I haven't had to spend much money on it. | 0:32:44 | 0:32:47 | |
I'd be happy to let you have this for around the 200 mark. | 0:32:47 | 0:32:50 | |
That would be no problem. | 0:32:50 | 0:32:52 | |
With £200 worth of budget, I should be able to make a profit on it. | 0:32:52 | 0:32:55 | |
So thank you. | 0:32:55 | 0:32:56 | |
I think it's gorgeous, | 0:32:56 | 0:32:57 | |
and there is a wall in my house that definitely needs one of these. | 0:32:57 | 0:33:01 | |
So, with Sarah made up with the make-up checking mirrored console | 0:33:03 | 0:33:07 | |
table, all she has to do now is find a new home for it. | 0:33:07 | 0:33:10 | |
Wow, the beauty in that design is all about its simplicity. | 0:33:12 | 0:33:16 | |
It's such a clever idea and it's so functional. | 0:33:16 | 0:33:19 | |
It's a door, now it's a console for a hall. | 0:33:19 | 0:33:22 | |
It's brilliant and I'm hoping that that should be pretty easy to sell. | 0:33:22 | 0:33:26 | |
Who would have thought back in the dump in Witley, that Richard's | 0:33:29 | 0:33:32 | |
ill-fitting door would gain a new lease of life as a console table? | 0:33:32 | 0:33:37 | |
I can see it turning into a trestle and using it as a workbench. | 0:33:37 | 0:33:42 | |
-That's what -I -would do. But my shed's not big enough. | 0:33:42 | 0:33:45 | |
Shame the shed wasn't as big as Richard's ideas. | 0:33:46 | 0:33:50 | |
But the good news is, that allowed Rupert to customise and crease | 0:33:51 | 0:33:56 | |
that old timber, turning it into a cool console table. | 0:33:56 | 0:34:01 | |
Sarah has yet to find the right home for this unconventional creation. | 0:34:01 | 0:34:05 | |
Sarah has come to Surrey to show Richard how his old pine door | 0:34:07 | 0:34:12 | |
has been reinvented. | 0:34:12 | 0:34:14 | |
-Hi, there! No, you're not... Oh, hello! How are you? -Hi. | 0:34:17 | 0:34:21 | |
-Nice to see you. -Hello, who's this? -This is James and Jessica. | 0:34:21 | 0:34:25 | |
Hello, guys, how are you? BOTH: Good. | 0:34:25 | 0:34:28 | |
Have you come to see what happened to your old door? BOTH: Yes. | 0:34:28 | 0:34:31 | |
Come on out, I'll show you. | 0:34:31 | 0:34:32 | |
We need to know how a door can become anything other than a door. | 0:34:32 | 0:34:35 | |
James can't really imagine it. | 0:34:35 | 0:34:37 | |
Really? Have you thought about what we might have done with it? | 0:34:37 | 0:34:41 | |
-Yeah, an old TV. -An old TV? -Yeah, one of those wooden ones. | 0:34:41 | 0:34:46 | |
That's a really good idea, I wish I'd thought of that. | 0:34:46 | 0:34:49 | |
-Do you want to see what we did was it? -Yeah, absolutely. | 0:34:49 | 0:34:52 | |
OK, so, it looks a bit different. | 0:34:52 | 0:34:55 | |
It's something that's probably not everyone's cup of tea, | 0:34:55 | 0:34:58 | |
but your door went on holiday. | 0:34:58 | 0:34:59 | |
It went all the way to Margate | 0:34:59 | 0:35:01 | |
to this amazing designer who is called Rupert Blanchard. | 0:35:01 | 0:35:03 | |
And he has made your door into, it's a console table. | 0:35:03 | 0:35:08 | |
-That is... -Wow. -I mean, but you still can see what it is, can't you? | 0:35:10 | 0:35:15 | |
And then, when it's in a more household position, I think | 0:35:15 | 0:35:18 | |
it looks quite smart. | 0:35:18 | 0:35:19 | |
So it's not everybody's cup of tea because it looks a bit scruffy, | 0:35:19 | 0:35:22 | |
-but I think it's really imaginative. -I really like it. | 0:35:22 | 0:35:25 | |
What do you think, Jess? | 0:35:25 | 0:35:26 | |
Um... It looks bit different to how I expected. | 0:35:26 | 0:35:29 | |
I think it would go really well in our house. Do you think it would? | 0:35:29 | 0:35:32 | |
-Yeah. -You do admit that much, don't you? | 0:35:32 | 0:35:34 | |
Could we maybe have it? | 0:35:34 | 0:35:35 | |
It's funny you say that. Normally I come here and I say to people, | 0:35:35 | 0:35:38 | |
"This is what I've done with | 0:35:38 | 0:35:39 | |
"your old door and I've sold it and I'm here to give you the money," | 0:35:39 | 0:35:42 | |
but your door hasn't sold yet, so I can either... | 0:35:42 | 0:35:46 | |
give you the door or hang onto it and try and sell it for you. | 0:35:46 | 0:35:51 | |
I'm pretty sure that we're going to want to take it off your hands. | 0:35:51 | 0:35:54 | |
In the few minutes that I've thought about it, I really, really like it. | 0:35:54 | 0:35:58 | |
-So please... -For MY room! | 0:35:58 | 0:36:01 | |
-It could be for your room, maybe for the man cave. -Yeah. | 0:36:01 | 0:36:03 | |
Really nice to see you again. | 0:36:03 | 0:36:05 | |
Thank you ever so much and I'll be in touch very shortly. | 0:36:05 | 0:36:08 | |
Take care, bye-bye. | 0:36:08 | 0:36:10 | |
Sarah never sold the piece, | 0:36:14 | 0:36:16 | |
but Richard decided he wanted it for his home. | 0:36:16 | 0:36:18 | |
Sarah may be £200 out of pocket but at least it was a happy reunion | 0:36:19 | 0:36:24 | |
for the old door and its original family. | 0:36:24 | 0:36:27 | |
With two out of three items completed, | 0:36:33 | 0:36:36 | |
Sarah has one more pick-up to make, | 0:36:36 | 0:36:38 | |
and in the West Midlands Jay has finished the Ercol chairs | 0:36:38 | 0:36:42 | |
and is waiting nervously to see if she likes what he's done. | 0:36:42 | 0:36:45 | |
Sarah knows I love Ercol, so her bringing me these, | 0:36:52 | 0:36:56 | |
hopefully she'll be pleased with what I've produced. | 0:36:56 | 0:36:59 | |
I would have these in my house all day, every day. | 0:36:59 | 0:37:01 | |
These are really, really brilliant. | 0:37:01 | 0:37:03 | |
But will Sarah agree with the radical approach to colour | 0:37:03 | 0:37:06 | |
Jay has taken with these classic chairs? | 0:37:06 | 0:37:09 | |
I can't wait to see what Jay has done. | 0:37:09 | 0:37:11 | |
He's Ercol's biggest fan and I'm hoping with the pair and the spare | 0:37:11 | 0:37:15 | |
I dropped off he's managed to create two fabulous Ercol stick back chairs. | 0:37:15 | 0:37:19 | |
When Sarah brought three chairs to Jay, they were on their last legs, | 0:37:19 | 0:37:24 | |
and now, 50 years after they were made, | 0:37:24 | 0:37:27 | |
they are cutting-edge Ercol chairs once again. | 0:37:27 | 0:37:30 | |
SHE GASPS | 0:37:31 | 0:37:33 | |
What have you been up to? You're just a genius. Look at that! | 0:37:33 | 0:37:37 | |
-Just the one leg? -Just the one leg. -How quirky is that? | 0:37:39 | 0:37:42 | |
All they needed was a decent amount of glue, | 0:37:42 | 0:37:45 | |
taking the glue that was out of it and then putting them back together. | 0:37:45 | 0:37:50 | |
And they are ready to go for another 60, 70 years, I believe. | 0:37:50 | 0:37:53 | |
Perfect. | 0:37:53 | 0:37:55 | |
Made my day. HE CHUCKLES | 0:37:56 | 0:37:58 | |
Absolutely perfect. | 0:37:58 | 0:38:00 | |
I think you've kept that purity, that Ercol finish, | 0:38:00 | 0:38:03 | |
-and that look and just enhanced it. Oh, just... -World-class. Thank you. | 0:38:03 | 0:38:07 | |
Brilliant. Couldn't be more pleased. | 0:38:07 | 0:38:10 | |
Flattery will get you everywhere. Flattery will get you everywhere. | 0:38:10 | 0:38:13 | |
Oh, good. | 0:38:13 | 0:38:14 | |
I think we set the budget at 100 quid for the pair. | 0:38:14 | 0:38:17 | |
-Did we come in on budget? -We came in on budget. | 0:38:17 | 0:38:20 | |
Luckily, Sarah can already see how these ultra-modernised | 0:38:20 | 0:38:25 | |
chic Ercol chairs will sell themselves. | 0:38:25 | 0:38:29 | |
They were tired and they were going to a skip and look what you've done. | 0:38:29 | 0:38:32 | |
-Yeah. -Fantastic. -Thank you. Thank you. | 0:38:32 | 0:38:34 | |
-I'm glad you're pleased. -I think you can tell | 0:38:34 | 0:38:37 | |
I really do like them. I knew there were coming home to the right person | 0:38:37 | 0:38:41 | |
and I'm sorry to say and taking them away again. | 0:38:41 | 0:38:43 | |
Yeah, you will take them away. | 0:38:43 | 0:38:44 | |
Yes, they needed a little bit of gluing, TLC, but the beauty | 0:38:46 | 0:38:49 | |
with Ercol furniture is that it will last the test of time. | 0:38:49 | 0:38:53 | |
It will outlive me, most probably. | 0:38:53 | 0:38:55 | |
And it'll be a case of if we can just add a little bit to it | 0:38:55 | 0:38:59 | |
to make it just looks like "Ooh!" or draw people's attention, | 0:38:59 | 0:39:02 | |
that's what I'm all about. | 0:39:02 | 0:39:04 | |
At the dump, these battered | 0:39:08 | 0:39:10 | |
but beautiful Ercol chairs were about to be discarded for ever. | 0:39:10 | 0:39:14 | |
They're really cool. I love the shape. | 0:39:14 | 0:39:17 | |
Sarah thought she could make a profit from them | 0:39:17 | 0:39:19 | |
and Stoyan was very happy to let her try. | 0:39:19 | 0:39:22 | |
They need something and if you can use that... | 0:39:22 | 0:39:27 | |
you're welcome. | 0:39:27 | 0:39:28 | |
And with a touch of Jay Blades' design wizardry, | 0:39:28 | 0:39:31 | |
they became cool retro chairs with a bright future ahead. | 0:39:31 | 0:39:34 | |
Oh, just... | 0:39:34 | 0:39:36 | |
World-class. Brilliant. Couldn't be more pleased. | 0:39:36 | 0:39:39 | |
Sarah showed them to Martin at the Old Cinema | 0:39:39 | 0:39:42 | |
and he snapped up the funky chairs for his retro London store. | 0:39:42 | 0:39:46 | |
It's got a nice sort of fun '50s, | 0:39:47 | 0:39:50 | |
'60s look about it and it's really done well. | 0:39:50 | 0:39:53 | |
I like them. | 0:39:53 | 0:39:54 | |
Now, Sarah's in Surrey to show Stoyan what became of the chairs | 0:39:54 | 0:39:58 | |
and hand over any profit from the sale. | 0:39:58 | 0:40:02 | |
-Hi, there! Hello, hello! -Hello. -Hiya. I'm Sarah, hi there. | 0:40:06 | 0:40:11 | |
-I'm Vilyana. -Hi, there. -I'm Stoyan. -Nice to see you again. | 0:40:11 | 0:40:14 | |
-How are you? -Yeah, very well, thank you. | 0:40:14 | 0:40:16 | |
-I've brought some pictures to show you of your chairs. -OK. | 0:40:16 | 0:40:19 | |
-Now, I remember you dropped three off at the tip, didn't you? -Yes. | 0:40:19 | 0:40:22 | |
-And you got them from a -car-boot sale? Yes. | 0:40:22 | 0:40:26 | |
And they had been stuck together lots of times. Was that you who... | 0:40:26 | 0:40:29 | |
-Yeah, we used that nearly nine years. -Oh, really? | 0:40:29 | 0:40:33 | |
They were a bit wobbly and they were quite old. | 0:40:33 | 0:40:35 | |
They were unstable and we had no use for them in the room. | 0:40:35 | 0:40:39 | |
-We just didn't have space for them. -OK. | 0:40:39 | 0:40:42 | |
-So, would you like to see what happened to them? -Yeah, please. | 0:40:42 | 0:40:45 | |
There's an amazing guy called Jay Blades, | 0:40:45 | 0:40:47 | |
-who specialises in revamping... -It's very art. | 0:40:47 | 0:40:50 | |
-What do you think? -Very art, yeah. | 0:40:50 | 0:40:53 | |
-Ooh. -Nice. -Good? BOTH: Yeah. | 0:40:53 | 0:40:56 | |
-Do you think it works? -Yes, and this is bright as well. | 0:40:56 | 0:40:58 | |
-Really good. -The colour contrast is... | 0:40:58 | 0:41:02 | |
I didn't think you could do that with these chairs. | 0:41:02 | 0:41:04 | |
It turns out those chairs were made by somebody called Ercol. | 0:41:04 | 0:41:07 | |
They have a very strong look. | 0:41:07 | 0:41:09 | |
Ercol is collectable and we paid him £100 to paint it all | 0:41:09 | 0:41:13 | |
and to make them look fantastic. But we sold them for £200, | 0:41:13 | 0:41:16 | |
so I've got £100 here to give to you for your chairs. | 0:41:16 | 0:41:22 | |
-I told you about... -We can give them to charity ourselves. | 0:41:22 | 0:41:25 | |
-Keep that for the charity ourselves. -Really? -Yes, please. | 0:41:25 | 0:41:29 | |
What I'd like to do is, | 0:41:29 | 0:41:30 | |
if I give it to you, you can choose which charity you give it to. | 0:41:30 | 0:41:34 | |
Macmillan's. At school we did some work for Macmillan, so I could... | 0:41:34 | 0:41:39 | |
That would be great if you're happy with that. | 0:41:39 | 0:41:41 | |
And I can send you pictures if you want to show | 0:41:41 | 0:41:43 | |
anybody at school how the money came or what we did with your chairs. | 0:41:43 | 0:41:47 | |
That's fantastic. | 0:41:47 | 0:41:48 | |
-OK. -Thank you. -Thank you very much for letting me have your... | 0:41:48 | 0:41:52 | |
-That's lovely. -Thank you. -And good luck with...what you're doing. | 0:41:52 | 0:41:57 | |
-It's really great. -Oh, well, thank you. They were great to work on. | 0:41:57 | 0:42:01 | |
Jay charged £100 to repair and reimagine the Ercol chairs. | 0:42:02 | 0:42:08 | |
Sarah sold them for £200, making a nifty profit of a 100 quid | 0:42:08 | 0:42:12 | |
for Stoyan and his daughter Vilyana. | 0:42:12 | 0:42:16 | |
It's been really emotional to see Sarah | 0:42:16 | 0:42:18 | |
and what she done with these chairs. | 0:42:18 | 0:42:21 | |
I mean, to me it was just... | 0:42:21 | 0:42:24 | |
They were just chairs, which done the job, but now | 0:42:24 | 0:42:27 | |
they looks really, really good and I'm impressed what they done. | 0:42:27 | 0:42:32 | |
Sarah rescued three unwanted items from the tip. | 0:42:34 | 0:42:38 | |
The treasure chest that steered its way back home... | 0:42:40 | 0:42:44 | |
The pine door was revamped into an offbeat console table. | 0:42:45 | 0:42:50 | |
And the swing was put back into those '60s-looking chairs. | 0:42:52 | 0:42:56 | |
Well, that wasn't quite the outcome I expected for that trio of tip | 0:42:59 | 0:43:03 | |
treasures, but it was satisfying nonetheless. | 0:43:03 | 0:43:05 | |
That chest has gone back to the heart of the family where it | 0:43:05 | 0:43:08 | |
belongs to be. | 0:43:08 | 0:43:09 | |
The console table is now a treasured possession, | 0:43:09 | 0:43:11 | |
and the Ercol chairs have raised money for charity. | 0:43:11 | 0:43:14 |