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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 | 0:00:11 | 0:00:16 | |
waste we throw out every year. | 0:00:16 | 0:00:18 | |
Before you throw that away, can I have a quick chat to you about it? | 0:00:18 | 0:00:21 | |
Yeah, sure. | 0:00:21 | 0:00:22 | |
That's why entrepreneur Sarah Moore wants to get | 0:00:22 | 0:00:25 | |
her 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 | 0:00:30 | 0:00:34 | |
and I've turned that passion into a money-making business. | 0:00:34 | 0:00:37 | |
I turn old into new and I sell it for a profit. | 0:00:37 | 0:00:41 | |
Sarah's ready to sift through as many boots and bin bags as she needs to... | 0:00:42 | 0:00:46 | |
That is THE most fabulous thing I've seen here. This is so exciting. | 0:00:46 | 0:00:51 | |
..in her search for tip treasure. | 0:00:51 | 0:00:53 | |
I love rifling through the rubbish! | 0:00:53 | 0:00:56 | |
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 | 0:01:05 | |
..she can transform her finds into desirable... | 0:01:05 | 0:01:08 | |
-Look at that! -..beautiful... | 0:01:08 | 0:01:12 | |
-Speechless! -..valuable... | 0:01:12 | 0:01:15 | |
-You're joking! -..and hopefully, saleable items. | 0:01:15 | 0:01:19 | |
You always talk my kind of money. I love doing deals with you! | 0:01:19 | 0:01:23 | |
If Sarah is successful, then she can hand the profits back | 0:01:23 | 0:01:26 | |
to the people who had no idea there was cash to be made from their trash. | 0:01:26 | 0:01:31 | |
-HE LAUGHS -Wow! | 0:01:31 | 0:01:34 | |
Today, we're at Witley Recycling Centre near Guildford. | 0:01:48 | 0:01:51 | |
Although much of the waste and unwanted items we chuck out | 0:01:53 | 0:01:56 | |
ends up in landfill, some of that tat could be transformed. | 0:01:56 | 0:02:00 | |
Every car has so much potential. | 0:02:02 | 0:02:04 | |
You just don't know what diamonds are lurking in the boots, | 0:02:04 | 0:02:07 | |
waiting for their chance to shine again. | 0:02:07 | 0:02:09 | |
All I've got to do is find them before it's too late. | 0:02:09 | 0:02:13 | |
Sarah has permission to delve into this dump, | 0:02:13 | 0:02:15 | |
so please don't go raiding your nearest recycling centre. | 0:02:15 | 0:02:19 | |
She's searching for three items which, once re-imagined | 0:02:19 | 0:02:23 | |
and sold, could raise a profit and a smile for their original owners. | 0:02:23 | 0:02:27 | |
I'm after a chest of drawers, | 0:02:27 | 0:02:28 | |
or a big, old chunky, industrial drill base, | 0:02:28 | 0:02:31 | |
or, you know, something... | 0:02:31 | 0:02:33 | |
None of the things I have. | 0:02:33 | 0:02:34 | |
Sarah doesn't want to be painted into a corner, | 0:02:34 | 0:02:37 | |
so just as well something has caught her eye. | 0:02:37 | 0:02:39 | |
David is discarding seven drab-looking chairs. | 0:02:39 | 0:02:42 | |
-I like your chairs, would it be all right to come and have a quick chat about them? -Yes, sure. | 0:02:42 | 0:02:46 | |
-Are they yours? -No. They're from our tennis club. | 0:02:46 | 0:02:49 | |
I've just been playing tennis and... | 0:02:49 | 0:02:51 | |
You got roped into dropping them off, did you? | 0:02:51 | 0:02:53 | |
Well, I said we live near here, so I could drop them off. | 0:02:53 | 0:02:55 | |
-And how many have you got? -Seven. -Seven? | 0:02:55 | 0:02:59 | |
They would be something I'd really like to have a go at making... | 0:02:59 | 0:03:02 | |
-Yep. -..refreshed and, you know, giving a new lease of life. | 0:03:02 | 0:03:05 | |
-Would that be all right, to take them from you? -Yes, of course. | 0:03:05 | 0:03:09 | |
-There we go. -I'd love to keep in touch with you, or perhaps, | 0:03:09 | 0:03:12 | |
you know, the tennis club, to say what I've done to them. | 0:03:12 | 0:03:16 | |
-Would that be OK? -Yes, that's fine. -Brilliant. Thank you ever so much. | 0:03:16 | 0:03:19 | |
Sounds like Sarah's enthusiasm has rubbed off on David. | 0:03:19 | 0:03:24 | |
I'm glad somebody's going to use them. | 0:03:24 | 0:03:26 | |
I don't know, maybe put new backs on them, new seats on them, | 0:03:26 | 0:03:30 | |
polish them up or something. | 0:03:30 | 0:03:32 | |
The thing I love best about these is there's seven of them. | 0:03:32 | 0:03:36 | |
Because although each one may not have a lot of value, | 0:03:36 | 0:03:39 | |
if I times it by seven, I'm definitely | 0:03:39 | 0:03:40 | |
going to make some money out of them. I've got a few plans. | 0:03:40 | 0:03:43 | |
I'm hoping I can make them look better than they do at the moment. | 0:03:43 | 0:03:47 | |
It's game, set and match for the tennis club's old chairs, | 0:03:47 | 0:03:50 | |
which make up Sarah's first item. | 0:03:50 | 0:03:53 | |
And, with renowned furniture-restorer Jay Blades | 0:03:55 | 0:03:58 | |
poised to pick up this project, it could be love-all. | 0:03:58 | 0:04:01 | |
Jay is a master craftsman, breathing new life into forgotten | 0:04:03 | 0:04:07 | |
and forlorn furniture and repurposing salvaged items. | 0:04:07 | 0:04:11 | |
I've always had a passion for the kind of heritage | 0:04:12 | 0:04:16 | |
that the British designers have produced over the years. | 0:04:16 | 0:04:19 | |
Traditionalists would love to keep it as it is, | 0:04:19 | 0:04:21 | |
but to be reintroduced into the market, | 0:04:21 | 0:04:24 | |
I like to just add a bit of colour and add something a bit quirky. | 0:04:24 | 0:04:27 | |
Let's hope that the tennis club's old chairs | 0:04:27 | 0:04:30 | |
are a quirky enough proposition for Jay. | 0:04:30 | 0:04:32 | |
Sarah's on the lookout for a second item that can be rescued, | 0:04:38 | 0:04:41 | |
repurposed and sold for a profit. | 0:04:41 | 0:04:44 | |
Are you having a clearout? | 0:04:44 | 0:04:45 | |
-You've got a pig theme going on, have you? -Yeah, there is a bit. | 0:04:45 | 0:04:48 | |
And Sarah's not the only one who's caught the recycling bug. | 0:04:48 | 0:04:53 | |
Matthew and daughter Lucy are tipping out their tired two-seater, | 0:04:53 | 0:04:57 | |
but Lucy's reluctant to say ta-ta. | 0:04:57 | 0:04:59 | |
I couldn't help spotting your sofa | 0:04:59 | 0:05:01 | |
and just thinking it looks really nice. | 0:05:01 | 0:05:04 | |
Yeah. We've had it for a long time. | 0:05:04 | 0:05:06 | |
I don't personally want to get rid of it, | 0:05:06 | 0:05:08 | |
but the family's decision was to... | 0:05:08 | 0:05:11 | |
-To get rid of it? -Yeah. -We've had a new kitchen | 0:05:11 | 0:05:14 | |
and we've bought a new sofa for our kitchen-dining area. | 0:05:14 | 0:05:17 | |
-OK. -And we were having a new sofa, and it had to... | 0:05:17 | 0:05:20 | |
-Out with the old. -..had to go out with the old. | 0:05:20 | 0:05:22 | |
I'm pleased it's ended up here because I've got plans | 0:05:22 | 0:05:25 | |
for the material and things that are coming off sofas. | 0:05:25 | 0:05:27 | |
Probably not keeping them as a sofa, but to make stuff out of it. | 0:05:27 | 0:05:30 | |
So if there was any chance that I could take it away | 0:05:30 | 0:05:32 | |
-and make good use of it... -Absolutely. | 0:05:32 | 0:05:34 | |
I'll look after it and make something lovely out of it. | 0:05:34 | 0:05:37 | |
If it's OK to keep in touch, I'll show you what I've done. | 0:05:37 | 0:05:39 | |
-You have made my daughter's day. -Excellent! Thank you so much. | 0:05:39 | 0:05:42 | |
I think I might have to ask you to help me carry it now. | 0:05:42 | 0:05:44 | |
Ooh, it's quite heavy! | 0:05:44 | 0:05:45 | |
Aw, Lucy didn't want to be parted from this comfy pal... | 0:05:45 | 0:05:49 | |
Brilliant. Thank you so much for helping. | 0:05:49 | 0:05:52 | |
..but Dad had decided it was fit for the dump. | 0:05:52 | 0:05:55 | |
Seems like Sarah's solved the problem. Sweet! | 0:05:55 | 0:05:58 | |
I think it wasn't that well loved, which is why it had to go, | 0:05:58 | 0:06:02 | |
so we brought it along here today hoping that someone would | 0:06:02 | 0:06:06 | |
be able to take it off our hands and they have. And that's brilliant. | 0:06:06 | 0:06:10 | |
I hope it's leather because there's a lot of material I can use on this. | 0:06:10 | 0:06:13 | |
And I've got to have a good think about what to do with it. | 0:06:13 | 0:06:16 | |
But I'm hoping... | 0:06:16 | 0:06:17 | |
Well, there's a lot of handbags to be made, isn't there? | 0:06:17 | 0:06:20 | |
This sad sofa is destined for the studio | 0:06:20 | 0:06:22 | |
of designer-dressmaker Chinelo Bally. | 0:06:22 | 0:06:26 | |
Chinelo shot to fame on The Great British Sewing Bee | 0:06:26 | 0:06:30 | |
and now creates stunning couture for a host of discerning clients. | 0:06:30 | 0:06:34 | |
Huge congratulations for making it into the final. | 0:06:36 | 0:06:39 | |
I've always loved fashion. | 0:06:40 | 0:06:42 | |
I think it comes from my background, actually, | 0:06:42 | 0:06:44 | |
because my mum is very, very stylish. | 0:06:44 | 0:06:46 | |
The women in my family are very stylish. | 0:06:46 | 0:06:48 | |
And one of the things that encouraged me the most | 0:06:48 | 0:06:51 | |
to start making for other people was because | 0:06:51 | 0:06:53 | |
when I wore my garments, people would always stop me, saying, | 0:06:53 | 0:06:56 | |
"I really like this! Where did you get it from?" | 0:06:56 | 0:06:58 | |
And they'd find out I'd made it myself. | 0:06:58 | 0:07:00 | |
I really do look for the beauty in anything. | 0:07:00 | 0:07:03 | |
And hopefully, you'll see the beauty | 0:07:03 | 0:07:05 | |
in a beaten-up leather settee, Chinelo. | 0:07:05 | 0:07:08 | |
It's back to the dump, as the search for an item of her own gets underway, | 0:07:11 | 0:07:15 | |
and Sarah can spot some sparkle from a mile away. | 0:07:15 | 0:07:19 | |
I might put it in the reuse for you. | 0:07:19 | 0:07:21 | |
-That's going to bring a bit of joy to somebody, isn't it? -Yes. | 0:07:21 | 0:07:24 | |
Sarah needs to get her own project up and running | 0:07:24 | 0:07:27 | |
and she spots a man with a van. | 0:07:27 | 0:07:30 | |
It's Philip, who she's saved stuff for before, | 0:07:31 | 0:07:34 | |
and he's on a mission to clear out a house. | 0:07:34 | 0:07:37 | |
-Smashing! -They're pretty cool, aren't they? -And, voila! | 0:07:38 | 0:07:42 | |
Phillip is getting rid of some striking-looking metalwork. | 0:07:42 | 0:07:45 | |
Brilliant! They look like they could have a new lease of life. | 0:07:45 | 0:07:49 | |
-I remember my brother buying these at Peter Jones in 1968... -Right. | 0:07:49 | 0:07:54 | |
-..and they were £2,500... -Wow! | 0:07:54 | 0:07:56 | |
..and we actually just couldn't believe | 0:07:56 | 0:07:58 | |
that he would spend that much money. | 0:07:58 | 0:08:00 | |
Anyway, they ended up in the garage. | 0:08:00 | 0:08:02 | |
The upmarket Peter Jones store has been a landmark in Chelsea | 0:08:02 | 0:08:06 | |
-since 1877. -I've got all the glass. | 0:08:06 | 0:08:08 | |
None of the glass is cracked or anything. | 0:08:08 | 0:08:10 | |
I heard you saying earlier it's your birthday. | 0:08:10 | 0:08:13 | |
I think it might be my birthday. That's fantastic. Let me take them. | 0:08:13 | 0:08:16 | |
-Are they heavy? -Can you manage? -No, probably not. | 0:08:16 | 0:08:20 | |
-Come with me. Sorry. -Where do you want them put? | 0:08:20 | 0:08:23 | |
Over here would be great, so nobody else chucks them away. | 0:08:23 | 0:08:26 | |
That would be fantastic. | 0:08:26 | 0:08:28 | |
-Have you any thoughts about what we could make out of them? -Shelves. | 0:08:28 | 0:08:32 | |
-Shelves! -That's what they are. | 0:08:32 | 0:08:35 | |
Fair enough. If these cost £2,500 in the '60s, | 0:08:35 | 0:08:38 | |
-they could still carry some real value. -They were highly fashionable. | 0:08:38 | 0:08:44 | |
If she's got the patience and cleans them up and gets the chrome | 0:08:44 | 0:08:48 | |
fixed, they're going to look as lovely as they did 40 years ago. | 0:08:48 | 0:08:53 | |
How cool are these? | 0:08:53 | 0:08:55 | |
I love the fact that they were really expensive | 0:08:55 | 0:08:57 | |
when they were new because it means that they'll have great integrity. | 0:08:57 | 0:09:01 | |
They'll have some real quality. | 0:09:01 | 0:09:02 | |
I've got high hopes for remaking these into something fabulous. | 0:09:02 | 0:09:06 | |
Sarah wants to repurpose these sassy '60s shelving units | 0:09:06 | 0:09:10 | |
and, ideally, provide a profit for Philip. | 0:09:10 | 0:09:14 | |
They make a fine upstanding item three. | 0:09:14 | 0:09:18 | |
Sarah's crafty pals now each have their items. | 0:09:18 | 0:09:21 | |
Jay will rethink the tennis club's industrial chairs, | 0:09:21 | 0:09:25 | |
Chinelo will turn Matthew and Lucy's two-seater into some tailored | 0:09:25 | 0:09:29 | |
togs and, thanks to Philip, Sarah has a project all to her shelf. | 0:09:29 | 0:09:35 | |
I've found some little gems today. | 0:09:35 | 0:09:37 | |
They might look like diamonds in the rough at the moment, | 0:09:37 | 0:09:40 | |
but by the time I've finished with them, | 0:09:40 | 0:09:42 | |
they're going to be shiny, bright and worth an absolute fortune. | 0:09:42 | 0:09:46 | |
The former market town of Wolverhampton became | 0:09:54 | 0:09:57 | |
a powerhouse of engineering during the industrial revolution. | 0:09:57 | 0:10:01 | |
It was where the first set of automatic traffic lights | 0:10:01 | 0:10:04 | |
were introduced. | 0:10:04 | 0:10:05 | |
And furniture restorer Jay Blades is revving up and ready to go. | 0:10:05 | 0:10:09 | |
Sarah will be along in a little while. | 0:10:09 | 0:10:11 | |
Don't know what it's going to be. | 0:10:11 | 0:10:13 | |
Hopefully, it will be something from the mid-century modern, | 0:10:13 | 0:10:17 | |
so pre-1970s would be nice, made of wood, an English manufacturer would | 0:10:17 | 0:10:22 | |
be even better, but who knows what people are throwing away these days. | 0:10:22 | 0:10:26 | |
So, not to be too specific then, Jay(!) Hopefully, | 0:10:26 | 0:10:30 | |
he won't be too put out that Sarah's chairs are made of metal. | 0:10:30 | 0:10:34 | |
-Hello! OK. -They're not wood. I'm a bit worried. -Wow! | 0:10:34 | 0:10:39 | |
Good news or bad news? | 0:10:39 | 0:10:40 | |
-Um... -I've got another five outside. -You've got another five? -Yeah. | 0:10:40 | 0:10:44 | |
-Shall we go and get them? -Yeah. -OK. | 0:10:44 | 0:10:46 | |
There's no going back now, Jay. | 0:10:49 | 0:10:51 | |
That's right, Sarah's brought you seven rusty seats. | 0:10:51 | 0:10:55 | |
First things first, is you know I like working with wood... | 0:10:57 | 0:11:01 | |
and this is metal. I've got a bit of wood, thank you. | 0:11:01 | 0:11:05 | |
-It's not in great condition! -No! | 0:11:05 | 0:11:07 | |
But it's not too bad. Um... | 0:11:07 | 0:11:09 | |
The only thing I'm concerned about is just the frame, | 0:11:09 | 0:11:12 | |
the amount of rust that's on there. | 0:11:12 | 0:11:14 | |
Oh, look. There's a label. | 0:11:14 | 0:11:16 | |
-Yeah. -Anita Ltd, Excellent. ER. They're royal! -There you go. | 0:11:16 | 0:11:20 | |
They've got the Queen's name on them. | 0:11:20 | 0:11:23 | |
This little symbol confirms that the manufacturer of these chairs | 0:11:23 | 0:11:27 | |
once supplied the royal family. | 0:11:27 | 0:11:28 | |
Anything with a brand name, anything like that, always gives it that | 0:11:28 | 0:11:32 | |
little bit of provenance that makes it a little bit more | 0:11:32 | 0:11:34 | |
interesting and probably worth a bit more, doesn't it? | 0:11:34 | 0:11:37 | |
Yes, most definitely. | 0:11:37 | 0:11:39 | |
The ideas I've got, I would do three in one cover of fabric, | 0:11:39 | 0:11:44 | |
so these will be kind of matching, | 0:11:44 | 0:11:46 | |
and then do another three in another fabric, | 0:11:46 | 0:11:50 | |
completely different to this one, | 0:11:50 | 0:11:51 | |
and then one odd one as a wow factor, | 0:11:51 | 0:11:55 | |
having in mind that the wow factor one is going to be the bee's knees. | 0:11:55 | 0:12:01 | |
-Well, that sounds very intriguing, but... -Price. -Price. -Yeah. | 0:12:01 | 0:12:07 | |
To do the work on these, rub them down... | 0:12:07 | 0:12:10 | |
You're probably looking at about £75 to £80 per chair. | 0:12:10 | 0:12:13 | |
You don't need to go to the gym this week. You've got your... | 0:12:13 | 0:12:16 | |
-I've got my hands full here. -You've got your hands full here. | 0:12:16 | 0:12:20 | |
Yeah, most definitely. | 0:12:20 | 0:12:21 | |
-So, we do have a deal. -We're dealing, Jay. -We're dealing. | 0:12:21 | 0:12:24 | |
-We're dealing. -I'm happy. I'm happy. | 0:12:24 | 0:12:27 | |
Furnished steel frames, brand spanking new upholstery and at least | 0:12:27 | 0:12:31 | |
one unique standout seat, | 0:12:31 | 0:12:34 | |
these seats could end up as the pride of the West Midlands. | 0:12:34 | 0:12:38 | |
Really important to see that those chairs have got | 0:12:38 | 0:12:40 | |
tags on the bottom with the maker's mark cos that adds value. | 0:12:40 | 0:12:44 | |
And with Jay's ideas for making them into a real cool set, I think | 0:12:44 | 0:12:47 | |
there's potential to make at least a couple of hundred pounds there. | 0:12:47 | 0:12:50 | |
These are not the normal thing that I normally work on, | 0:12:52 | 0:12:55 | |
but I always like a challenge. | 0:12:55 | 0:12:57 | |
But these are really, really interesting. | 0:12:57 | 0:12:59 | |
I do like them, to tell you the honest truth, | 0:12:59 | 0:13:02 | |
but it's a lot of work. Hell of a lot of work. | 0:13:02 | 0:13:06 | |
These tennis club cast offs will command a sizeable budget to | 0:13:06 | 0:13:10 | |
take from tired and tarnished to shiny and sought after. | 0:13:10 | 0:13:15 | |
At £80 each, Sarah's going to have to make in excess of £560 to | 0:13:15 | 0:13:20 | |
stand any chance of making a profit. | 0:13:20 | 0:13:23 | |
From Wolverhampton to Canning Town in London's East End. | 0:13:27 | 0:13:31 | |
Amongst the legacy of its industrial past | 0:13:31 | 0:13:35 | |
and its gleaming regeneration lies a fashion hotspot... | 0:13:35 | 0:13:39 | |
although it might not look it from the outside. | 0:13:39 | 0:13:42 | |
Sarah sees her sad sofa as an ideal project for Chinelo Bally. | 0:13:42 | 0:13:49 | |
Chinelo is an uncompromising designer dressmaker, but she's | 0:13:49 | 0:13:52 | |
certainly not an upholsterer and she has no idea what Sarah's bringing. | 0:13:52 | 0:13:56 | |
What will she make of that tragic two seater? | 0:13:56 | 0:13:59 | |
Well, Sarah's been to the dump, so it could be anything really. | 0:13:59 | 0:14:02 | |
It could be... She could bring me a lampshade and say, | 0:14:02 | 0:14:05 | |
"Turn this into something amazing." I just don't know what it could be. | 0:14:05 | 0:14:10 | |
It's really dusty. | 0:14:10 | 0:14:12 | |
-Didn't we have this sofa? -Who? You? -I think we had his sofa, yeah. | 0:14:14 | 0:14:19 | |
-Oh, wow! -Looks pretty bad. | 0:14:19 | 0:14:21 | |
-It's been in a barn and it's got bird poo on it. -Oh, OK. | 0:14:21 | 0:14:24 | |
So, it needs cleaning up. | 0:14:24 | 0:14:25 | |
-Do you think that smells like real leather? -Smells like a barn. | 0:14:25 | 0:14:28 | |
That's where it's been. Don't tell anybody. | 0:14:28 | 0:14:31 | |
I've seen you do all your lovely freehand cutting. | 0:14:31 | 0:14:34 | |
I didn't know whether it was bodice or armour-type stuff, | 0:14:34 | 0:14:36 | |
but I just thought... I know you'll have great ideas. | 0:14:36 | 0:14:39 | |
There's a garment in this, definitely. Um... | 0:14:39 | 0:14:42 | |
I'm thinking lace as well. Can we put more to it? | 0:14:42 | 0:14:46 | |
-Yeah, that's absolutely fine. -Do you know? | 0:14:46 | 0:14:48 | |
I'm thinking maybe a dress or a jumpsuit. | 0:14:48 | 0:14:51 | |
Something very sexy...feminine... But playing with the leather. | 0:14:51 | 0:14:56 | |
I'm really looking forward to this one. | 0:14:56 | 0:14:58 | |
And is there any problem with the thickness of the leather? | 0:14:58 | 0:15:01 | |
No, I actually felt it. It's not that thick. | 0:15:01 | 0:15:04 | |
It's not that bad, actually. | 0:15:04 | 0:15:06 | |
Shall we rip in to the leather and then have a look at it? | 0:15:06 | 0:15:09 | |
-I thought you'd never say it. -Let's get stabbing. | 0:15:09 | 0:15:12 | |
Looks like the sofa's got someone excited. | 0:15:12 | 0:15:15 | |
Instead of actually cutting, I'm going to just rip into the seam. | 0:15:15 | 0:15:19 | |
Get ripping, girls! | 0:15:19 | 0:15:21 | |
-It smells like leather, doesn't it? -Yeah, it does. | 0:15:21 | 0:15:25 | |
It sounds fantastic. I can see this amazing couture garment, | 0:15:25 | 0:15:28 | |
but how much is that going to be to actually make? | 0:15:28 | 0:15:32 | |
-Well, for my charges, you'll be looking at about £300. -OK. | 0:15:32 | 0:15:36 | |
So, we'll try and keep it within sort of that price range. | 0:15:36 | 0:15:38 | |
The lace and the leather, I would never put it together. | 0:15:38 | 0:15:41 | |
I can't wait to show it to you, to be honest. | 0:15:41 | 0:15:43 | |
Looks like Chinelo loves that leather. | 0:15:43 | 0:15:46 | |
Phew! | 0:15:46 | 0:15:47 | |
I'm so excited that it's a black leather sofa. It's black. | 0:15:47 | 0:15:51 | |
I love black. It's leather. Leather's amazing. And it's a sofa. | 0:15:51 | 0:15:54 | |
What kind of transformation is that? | 0:15:54 | 0:15:56 | |
I'm just really, really excited about it. | 0:15:56 | 0:15:59 | |
At a cost of £300, this is certainly no off the peg job, | 0:15:59 | 0:16:03 | |
so will Sarah go from rags to riches and pull in a profit? | 0:16:03 | 0:16:07 | |
From the hustle and bustle of the East End, | 0:16:12 | 0:16:15 | |
we head south to Sussex and the barn where Sarah's getting her very | 0:16:15 | 0:16:19 | |
own rejuvenation project under way. | 0:16:19 | 0:16:21 | |
Sarah rescued some '60s shelving units which had seen better days. | 0:16:21 | 0:16:27 | |
She's more used to working with fabrics and frills, | 0:16:27 | 0:16:31 | |
so will this project test her mettle? | 0:16:31 | 0:16:34 | |
So, it probably doesn't look like it now, | 0:16:34 | 0:16:36 | |
but these were once a really high end set of shelving. | 0:16:36 | 0:16:39 | |
They're quite daunting cos they're metal. | 0:16:39 | 0:16:41 | |
As someone who often uses fabric, | 0:16:41 | 0:16:43 | |
it's slightly away from what I'm used to dealing with. | 0:16:43 | 0:16:46 | |
But...I've had a few ideas, but it sort of depends on how they come up. | 0:16:46 | 0:16:51 | |
And she starts with a finish. | 0:16:51 | 0:16:54 | |
Sarah is using a metal polish to try and remove rust | 0:16:54 | 0:16:58 | |
spots from the vintage chrome and restore some of its original lustre. | 0:16:58 | 0:17:03 | |
I'm hoping to bring them | 0:17:03 | 0:17:04 | |
back to a stage where you could have them in your sitting room. | 0:17:04 | 0:17:07 | |
That's really pretty. | 0:17:07 | 0:17:09 | |
Lovely and shiny. | 0:17:09 | 0:17:11 | |
Out of this, I must be able to make one really cool ottoman, | 0:17:11 | 0:17:15 | |
like fat foot stool, with a big upholstered top to it. | 0:17:15 | 0:17:20 | |
Sarah's set her sights on an ottoman style coffee table. | 0:17:20 | 0:17:24 | |
These usually incorporate an upholstered top, | 0:17:24 | 0:17:27 | |
which can double as a foot stool. | 0:17:27 | 0:17:29 | |
Comfy, yet functional. | 0:17:29 | 0:17:31 | |
If I get some really good quality foam, | 0:17:31 | 0:17:33 | |
maybe something quite thick like that, some velvet over it, | 0:17:33 | 0:17:37 | |
I might even try to do some batoning on it, to make it look really pukka. | 0:17:37 | 0:17:43 | |
The shelves will become the coffee table frame, but she doesn't | 0:17:43 | 0:17:47 | |
need all of that metal, so it's time to cut it down to size. | 0:17:47 | 0:17:52 | |
Using a hacksaw to cut thin tubular metal like this is perfectly | 0:17:52 | 0:17:57 | |
fine, but it's slow going and takes a lot of effort. | 0:17:57 | 0:18:01 | |
Did I mention it was slow going? | 0:18:03 | 0:18:06 | |
This is really hard work. I'm sure I could upgrade this as well. | 0:18:06 | 0:18:10 | |
A nice power tool, I could just cut through there. | 0:18:10 | 0:18:13 | |
Well, you've started, Sarah, so you might as well finish. | 0:18:13 | 0:18:16 | |
Glad that's over. | 0:18:22 | 0:18:24 | |
That bit there, hopefully, is going to slot into that bit there. | 0:18:24 | 0:18:28 | |
And with a cut and shut frame just about ready, Sarah can turn her | 0:18:28 | 0:18:32 | |
attention to the planned upholstered top, which will have a plywood base. | 0:18:32 | 0:18:37 | |
And she wouldn't be our Sarah | 0:18:37 | 0:18:39 | |
if she didn't already have some material standing by. | 0:18:39 | 0:18:42 | |
This is a big old length. | 0:18:42 | 0:18:43 | |
I think it's old mattress ticking, so it's really robust and firm. | 0:18:43 | 0:18:47 | |
It'll certainly do the job. | 0:18:47 | 0:18:50 | |
But it's just whether it's high end enough. | 0:18:50 | 0:18:52 | |
I have a feeling that this, when it's all together, would look good. | 0:18:52 | 0:18:56 | |
Back in Wolverhampton, Sarah left furniture restorer Jay with | 0:19:04 | 0:19:07 | |
seven sorry seats. | 0:19:07 | 0:19:09 | |
Jay's first job is to eradicate that rust. | 0:19:11 | 0:19:16 | |
These retro chairs were the property of a tennis club, | 0:19:16 | 0:19:19 | |
so have probably been used both indoors and out. | 0:19:19 | 0:19:22 | |
And now, those frames need a new finish. | 0:19:22 | 0:19:26 | |
I don't really need to get rid of all of the rust that's on there, | 0:19:26 | 0:19:30 | |
just make sure that it's fully kind of rubbed down. | 0:19:30 | 0:19:33 | |
As long as these are going inside, | 0:19:33 | 0:19:35 | |
there's not going to be a problem with these re-rusting again. | 0:19:35 | 0:19:38 | |
Jay's decided on a paint finish. | 0:19:38 | 0:19:40 | |
By lightly sanding the metalwork, he's giving the surface a key, | 0:19:40 | 0:19:44 | |
which means the new paint will adhere to the frames properly. | 0:19:44 | 0:19:47 | |
I'm going to go for my kind of signature colour, which is | 0:19:47 | 0:19:51 | |
black, which will then in turn make the seat that I put on there | 0:19:51 | 0:19:55 | |
and the back really stand out because it gives it a really | 0:19:55 | 0:19:59 | |
brilliant platform. | 0:19:59 | 0:20:00 | |
So normally what happens is before I'm going to paint, | 0:20:00 | 0:20:03 | |
I'd get in the mood by playing a little bit of music. | 0:20:03 | 0:20:05 | |
You might not like it, but it gets me going. | 0:20:05 | 0:20:08 | |
So, now Jay has his tunes on, it's time to get some paint on. | 0:20:10 | 0:20:14 | |
Whenever I paint a chair, I always work towards myself. | 0:20:16 | 0:20:19 | |
If it's got struts, then you go one, two, three, four, five, six, | 0:20:19 | 0:20:26 | |
seven, eight. | 0:20:26 | 0:20:28 | |
Apply the paint really, really thinly and, as you can see, | 0:20:30 | 0:20:33 | |
you can probably see strokes and you can see the silver coming through. | 0:20:33 | 0:20:37 | |
That's absolutely perfect. | 0:20:37 | 0:20:39 | |
I'm not looking to cover this completely in a full on black. | 0:20:39 | 0:20:43 | |
This will more than likely take at least, I'd say, about four, | 0:20:43 | 0:20:46 | |
maybe six coats of paint, is what this is going to take. | 0:20:46 | 0:20:49 | |
I'm going in a kind of angle like that. | 0:20:53 | 0:20:56 | |
The last stroke is always coming up. | 0:20:58 | 0:21:01 | |
White shirt and black paint. You're a braver man than me, Jay. | 0:21:01 | 0:21:06 | |
I like to wear something a bit nice when I'm painting, | 0:21:06 | 0:21:09 | |
so I take my time and I don't actually get paint on to me. | 0:21:09 | 0:21:12 | |
Very confident. I've just got a stain here - | 0:21:12 | 0:21:14 | |
I think that was from the breakfast I had this morning. | 0:21:14 | 0:21:17 | |
That's baked beans on there. | 0:21:17 | 0:21:19 | |
But I'm very confident I should be able to go to that wedding | 0:21:19 | 0:21:22 | |
that I'm going to later on. I'm only joking. | 0:21:22 | 0:21:26 | |
Jay has decided on coloured velvet seat covers, | 0:21:26 | 0:21:29 | |
which will stand out in sharp contrast to his black frames. | 0:21:29 | 0:21:32 | |
The reason why I chose velvet is cos this is quite a hard frame, | 0:21:35 | 0:21:38 | |
so it's a steel frame. | 0:21:38 | 0:21:40 | |
What we're doing is we're hoping to make these more accommodating to | 0:21:40 | 0:21:43 | |
someone's home. You've got to have something that feels luxurious. | 0:21:43 | 0:21:46 | |
They are going to look amazing. | 0:21:46 | 0:21:47 | |
They're going to be worth every penny - | 0:21:47 | 0:21:49 | |
after I've put all of the work into them - | 0:21:49 | 0:21:51 | |
cos they're going to take a lot of work. | 0:21:51 | 0:21:53 | |
That all sounds splendid, Jay, | 0:21:53 | 0:21:55 | |
but don't you have another six seats to sand? | 0:21:55 | 0:21:58 | |
Better get a wiggle on. | 0:21:58 | 0:21:59 | |
Back in London's Canning Town, | 0:22:03 | 0:22:05 | |
the task of taking a beaten up leather sofa | 0:22:05 | 0:22:08 | |
and creating a one-off designer dress is under way in Chinelo's studio. | 0:22:08 | 0:22:14 | |
She's got a famous client in mind for this design. | 0:22:14 | 0:22:17 | |
We have worked together on quite a few garments actually | 0:22:17 | 0:22:21 | |
and I think she trusts me now. | 0:22:21 | 0:22:23 | |
So, yeah, I've got her in mind as I'm making this. | 0:22:23 | 0:22:25 | |
I'm trying to keep it something that I know she'll like | 0:22:25 | 0:22:28 | |
and she'll appreciate. | 0:22:28 | 0:22:30 | |
A readymade client, Sarah will be chuffed. | 0:22:30 | 0:22:33 | |
That's the bodice, so this is the part I'm making at the moment. | 0:22:33 | 0:22:36 | |
And that will be the skirt, so when you put them together, | 0:22:36 | 0:22:39 | |
they become the dress. | 0:22:39 | 0:22:41 | |
Chinelo starts by selecting the best cuts of leather. | 0:22:41 | 0:22:45 | |
I like this because it's quite smooth, so this will give nice body. | 0:22:45 | 0:22:49 | |
The way I see this, it's a piece of fabric for me. | 0:22:49 | 0:22:51 | |
I'm not going to look at anything as an obstacle. | 0:22:51 | 0:22:53 | |
I'm just going to see it as a piece of fabric and run with it like that. | 0:22:53 | 0:22:57 | |
She unpicks the existing stitches | 0:22:57 | 0:22:59 | |
and prepares the fabric for her famous free cutting technique. | 0:22:59 | 0:23:04 | |
Chinelo is relying solely on her client's measurements, | 0:23:04 | 0:23:07 | |
as well as her imagination. | 0:23:07 | 0:23:08 | |
You need to do a lot of ironing where freehand cutting is involved, | 0:23:08 | 0:23:12 | |
and I can't do that with leather, | 0:23:12 | 0:23:14 | |
so I want to make a template with some polycotton first. | 0:23:14 | 0:23:18 | |
So I'll do that freehand, then use that template | 0:23:18 | 0:23:20 | |
to cut out the leather pieces. | 0:23:20 | 0:23:22 | |
Using polycotton templates | 0:23:22 | 0:23:24 | |
allows Chinelo to cut out the first sections, | 0:23:24 | 0:23:27 | |
which will form the bodice of the dress. | 0:23:27 | 0:23:30 | |
I'm just going to cut around the template pieces | 0:23:30 | 0:23:32 | |
with some reserve around it, so those will be the seams. | 0:23:32 | 0:23:35 | |
This is actually the bodice of the garment. | 0:23:38 | 0:23:40 | |
So this is the side-back, | 0:23:40 | 0:23:42 | |
this is the centre-back, | 0:23:42 | 0:23:43 | |
that is the centre-front | 0:23:43 | 0:23:45 | |
and that is the side-front. | 0:23:45 | 0:23:46 | |
So they all sort of fit together as a puzzle. | 0:23:46 | 0:23:49 | |
Nowadays, people just go into the shop | 0:23:50 | 0:23:53 | |
and get a commercial pattern, | 0:23:53 | 0:23:54 | |
but I do swear by my freehand method... | 0:23:54 | 0:23:57 | |
..cos I just enjoy the freedom of it. | 0:23:59 | 0:24:02 | |
With the individual elements cut out, | 0:24:02 | 0:24:04 | |
Chinelo now sews them together, | 0:24:04 | 0:24:06 | |
stitching what are known as darts to help the bodice | 0:24:06 | 0:24:10 | |
follow her famous client's curves. | 0:24:10 | 0:24:12 | |
This is what I mean by darting - | 0:24:12 | 0:24:14 | |
giving the garment shape. | 0:24:14 | 0:24:16 | |
We had a flat piece and just by creating those darts, | 0:24:16 | 0:24:20 | |
we've now got some shape in that piece. | 0:24:20 | 0:24:23 | |
That's where the bust will sit inside of it. | 0:24:23 | 0:24:26 | |
It's not long before the bodice starts to take shape. | 0:24:30 | 0:24:35 | |
Who'd have thought this started out life as a sofa? | 0:24:35 | 0:24:38 | |
Back in Sussex... | 0:24:43 | 0:24:45 | |
Let's put it down on the floor, next to Bramble. | 0:24:45 | 0:24:47 | |
..Sarah's daughter lends a hand with the finishing touches | 0:24:47 | 0:24:51 | |
to our ottoman-style coffee table. | 0:24:51 | 0:24:53 | |
So my plan for the top of the ottoman | 0:24:54 | 0:24:56 | |
was to cover it in this pink fabric | 0:24:56 | 0:24:58 | |
and then bead it with some really lovely buttons | 0:24:58 | 0:25:01 | |
all the way across it, | 0:25:01 | 0:25:02 | |
but it was looking a bit like an old mattress. | 0:25:02 | 0:25:05 | |
Then I bought some fabric, | 0:25:05 | 0:25:07 | |
spent 50 quid on it, | 0:25:07 | 0:25:08 | |
but it is some really beautiful Indian fabric - Indian-style. | 0:25:08 | 0:25:12 | |
It's a lovely linen and, in order to make it really bright and funky, | 0:25:12 | 0:25:16 | |
I've made some tufts to go on it. | 0:25:16 | 0:25:19 | |
These are made from some old embroidery threads. | 0:25:19 | 0:25:22 | |
I have done nearly all of them, | 0:25:22 | 0:25:24 | |
but I've got one more to do in a corner. | 0:25:24 | 0:25:26 | |
This is definitely a two-person job, | 0:25:26 | 0:25:29 | |
so my little helper has been earning pocket money. | 0:25:29 | 0:25:32 | |
Right, Lobster, hang on to that for me. | 0:25:32 | 0:25:35 | |
What you need is a really long needle | 0:25:35 | 0:25:37 | |
that will go all the way through. | 0:25:37 | 0:25:39 | |
You have to push it in at 90 degrees to the board, | 0:25:39 | 0:25:41 | |
so that you know it will come out | 0:25:41 | 0:25:43 | |
in exactly the right position on the other side. | 0:25:43 | 0:25:46 | |
So I've got a tuft lying here... | 0:25:46 | 0:25:48 | |
It takes quite a bit of pushing through because the foam's really dense. | 0:25:48 | 0:25:51 | |
So, I've got my nice little two ends of fabric there. | 0:25:51 | 0:25:56 | |
Then the fun bit. | 0:25:56 | 0:25:58 | |
Choose a colour and put that | 0:25:58 | 0:26:00 | |
in the middle of those two pieces of thread. | 0:26:00 | 0:26:03 | |
Do a simple knot once... | 0:26:03 | 0:26:05 | |
and then twice, | 0:26:05 | 0:26:06 | |
which should stop it moving. | 0:26:06 | 0:26:09 | |
These are just granny knots. Really simple stuff. | 0:26:09 | 0:26:11 | |
And because I'm going to pull the tufts really tightly, | 0:26:11 | 0:26:14 | |
this is all going to get hidden right in the middle of...there. | 0:26:14 | 0:26:18 | |
Choose a button. Thread...a couple of bits through. | 0:26:18 | 0:26:23 | |
Then turn it over so we can get some real pressure on it. | 0:26:23 | 0:26:26 | |
Thanks, Lobster. Down... | 0:26:26 | 0:26:28 | |
So, once again, a couple more knots... | 0:26:30 | 0:26:33 | |
like that, | 0:26:33 | 0:26:34 | |
and then just fluff up the tuft. | 0:26:34 | 0:26:37 | |
Tufts and tassels feel like they're really "now" | 0:26:37 | 0:26:39 | |
and they're all over the place. | 0:26:39 | 0:26:41 | |
And these bright colour pops | 0:26:41 | 0:26:43 | |
really add some detail to what would be quite a plain | 0:26:43 | 0:26:46 | |
and ordinary coffee table, so I'm really pleased with it. | 0:26:46 | 0:26:49 | |
Sarah started out with a sorry set of '60s shelves | 0:26:51 | 0:26:55 | |
and has created a brand-new designer coffee table | 0:26:55 | 0:26:59 | |
with upholstered linen top | 0:26:59 | 0:27:01 | |
and a made-to-measure chrome frame | 0:27:01 | 0:27:04 | |
fit for the swankiest of pads. | 0:27:04 | 0:27:06 | |
-Comfortable? -Yeah. -Oh, it is comfortable. | 0:27:09 | 0:27:12 | |
-That's all right, isn't it? -Mm-hm. | 0:27:12 | 0:27:15 | |
So if you have that on the end of the sofa, watching TV, | 0:27:15 | 0:27:17 | |
you can put your feet up, | 0:27:17 | 0:27:18 | |
or if you want to put down magazines and stuff on it, that's fine. | 0:27:18 | 0:27:22 | |
Thanks for your help. Couldn't have done it without you. | 0:27:22 | 0:27:24 | |
How much do I pay you? | 0:27:24 | 0:27:26 | |
-Because it all comes out of my budget. -About... | 0:27:26 | 0:27:28 | |
..£1,000. | 0:27:29 | 0:27:31 | |
Now, I know it looks like it's expensive, | 0:27:31 | 0:27:34 | |
but I can't afford that much. | 0:27:34 | 0:27:36 | |
-Shall we call it a tenner? -20. -20?! | 0:27:36 | 0:27:38 | |
Could this turn out to be Sarah's trickiest negotiation to date? | 0:27:38 | 0:27:42 | |
£14.50. | 0:27:42 | 0:27:43 | |
12. | 0:27:44 | 0:27:46 | |
£14. | 0:27:46 | 0:27:47 | |
Come on, then. | 0:27:47 | 0:27:49 | |
Back at the dump, | 0:27:52 | 0:27:53 | |
Philip's shelves were surplus to requirements - | 0:27:53 | 0:27:57 | |
although he did think they should be kept as they are. | 0:27:57 | 0:27:59 | |
They were highly fashionable. | 0:27:59 | 0:28:02 | |
If she's got the patience and cleans them up, | 0:28:02 | 0:28:05 | |
they're going to look as lovely as they did 40 years ago. | 0:28:05 | 0:28:09 | |
But Sarah's salvaged what she needed | 0:28:09 | 0:28:12 | |
and created a custom-made ottoman coffee table | 0:28:12 | 0:28:14 | |
complete with upholstered top. | 0:28:14 | 0:28:17 | |
Sarah sold these former shelves to a dealer, | 0:28:18 | 0:28:21 | |
who specialises in retro furniture. | 0:28:21 | 0:28:24 | |
Groovy! | 0:28:24 | 0:28:25 | |
Sarah returned to Chichester | 0:28:26 | 0:28:28 | |
to give Philip some good news and hand over some loot. | 0:28:28 | 0:28:31 | |
Long time no see. | 0:28:31 | 0:28:33 | |
-How are you, Philip? -Hi. Good, thank you. | 0:28:33 | 0:28:35 | |
Lovely to see you again. | 0:28:35 | 0:28:37 | |
First thing I'd like to talk to you about | 0:28:37 | 0:28:39 | |
is the frames that you dropped off. | 0:28:39 | 0:28:41 | |
There was something really approachable | 0:28:41 | 0:28:44 | |
that I could work on, so I cut them up... | 0:28:44 | 0:28:46 | |
and turned them on their side | 0:28:46 | 0:28:48 | |
and turned them into an ottoman, | 0:28:48 | 0:28:49 | |
so here is that said ottoman. | 0:28:49 | 0:28:52 | |
Oh, good grief! | 0:28:52 | 0:28:54 | |
Is that a "good" grief or a...?! | 0:28:54 | 0:28:56 | |
No, no, that's fantastic. | 0:28:56 | 0:28:58 | |
Not sure you're supposed to be laughing at this point. | 0:28:58 | 0:29:00 | |
I'm not, I'm just impressed you've worked so hard. | 0:29:00 | 0:29:02 | |
Well, that's very nice of you to say, | 0:29:02 | 0:29:05 | |
but it was quite a simple thing. | 0:29:05 | 0:29:07 | |
So, how long did it take? | 0:29:07 | 0:29:08 | |
Probably about three hours? | 0:29:08 | 0:29:11 | |
This is not as impressive. | 0:29:11 | 0:29:12 | |
A week? | 0:29:12 | 0:29:14 | |
-Ah! That's so much better! -THEY LAUGH | 0:29:14 | 0:29:16 | |
Yes, so that's how it ended up. | 0:29:16 | 0:29:19 | |
And I'm very pleased to say that somebody else really loved it | 0:29:19 | 0:29:22 | |
and paid £200 for it, | 0:29:22 | 0:29:24 | |
so I've got £100 profit here to give to you. | 0:29:24 | 0:29:27 | |
Thank you very much, indeed. That is... | 0:29:29 | 0:29:31 | |
Considering I was about to throw it away, that is a lovely surprise. | 0:29:31 | 0:29:35 | |
I don't know if - off the top of your head - | 0:29:35 | 0:29:36 | |
you know what you might do with £100, | 0:29:36 | 0:29:38 | |
-but it's all yours to do... -I might spend it. | 0:29:38 | 0:29:40 | |
On what? Go on. Anything in particular? | 0:29:40 | 0:29:44 | |
I haven't got a clue at the moment, | 0:29:44 | 0:29:46 | |
but it will be something towards | 0:29:46 | 0:29:49 | |
the birthday present that I actually didn't get that day. | 0:29:49 | 0:29:52 | |
-Fantastic. -I will let you know in time. | 0:29:52 | 0:29:55 | |
I will let you know by the end of my next birthday, should I make it. | 0:29:55 | 0:29:58 | |
Well, I'll see you at the tip, no doubt. | 0:29:58 | 0:30:01 | |
Lovely to see you again, Philip, and thank you so much for letting me | 0:30:01 | 0:30:04 | |
take your shelves away and make them into something. | 0:30:04 | 0:30:06 | |
It was so nice to take your money. Thank you very much. | 0:30:06 | 0:30:09 | |
-It was a pleasure! Bye-bye. -Bye. | 0:30:09 | 0:30:10 | |
Sarah's imaginative transformation of what was once a shelving unit | 0:30:13 | 0:30:16 | |
has cost £100 to complete. | 0:30:16 | 0:30:19 | |
Managing a sale of £200 has left Philip with £100 | 0:30:19 | 0:30:23 | |
for a belated birthday gift. | 0:30:23 | 0:30:27 | |
Very clever and ingenious. | 0:30:27 | 0:30:30 | |
No, I'm...I'm very pleasantly surprised. | 0:30:30 | 0:30:33 | |
Er, and I can't believe she did it so quickly. | 0:30:33 | 0:30:37 | |
Sarah's back in wonderful Wolverhampton | 0:30:41 | 0:30:43 | |
to check up on the industrial chairs | 0:30:43 | 0:30:45 | |
that she left with furniture rejuvenator Jay. | 0:30:45 | 0:30:48 | |
Jay is making some last-minute tweaks to one of those seats. | 0:30:50 | 0:30:54 | |
I think it's gone brilliantly according to plan. | 0:30:54 | 0:30:57 | |
They look...erm... | 0:30:57 | 0:30:58 | |
For me, the chairs just look to-die-for. | 0:30:58 | 0:31:02 | |
I think she should love them | 0:31:02 | 0:31:04 | |
same way I love them, | 0:31:04 | 0:31:06 | |
but you never know. | 0:31:06 | 0:31:08 | |
She might not like it. | 0:31:08 | 0:31:09 | |
When I left here, Jay had just been given seven chairs | 0:31:10 | 0:31:13 | |
that could best be described as, say, "utility chic"! | 0:31:13 | 0:31:17 | |
But actually were just depressing grey. | 0:31:17 | 0:31:19 | |
I'm hoping that with his bags of ideas, | 0:31:19 | 0:31:21 | |
and all of that style that he has, | 0:31:21 | 0:31:23 | |
he's managed to drag them up into something really stylish. | 0:31:23 | 0:31:26 | |
And with £80 budget each, he'd better have nailed it! | 0:31:26 | 0:31:30 | |
Jay took on a seven sad stackable chairs... | 0:31:31 | 0:31:34 | |
..and has transformed them into seven signature seats, | 0:31:37 | 0:31:41 | |
with rust-free frames in black | 0:31:41 | 0:31:43 | |
and rich-coloured velvet seat covers, | 0:31:43 | 0:31:46 | |
including this standout, eye-catching wild card. | 0:31:46 | 0:31:49 | |
No way! No way! | 0:31:59 | 0:32:01 | |
You're kidding me. | 0:32:02 | 0:32:04 | |
No, I'm not. | 0:32:04 | 0:32:06 | |
But what do you think? | 0:32:08 | 0:32:10 | |
I think, all together, they look lovely. | 0:32:10 | 0:32:12 | |
I want to see them all lined up. I want to see them round a table. | 0:32:12 | 0:32:15 | |
The frames have come up really well, haven't they? | 0:32:15 | 0:32:17 | |
-I mean, they look brand-new, don't they? -Yeah. Yeah. | 0:32:17 | 0:32:20 | |
-Is that your special one? -That's the special one. | 0:32:20 | 0:32:23 | |
That is most definitely the special one. | 0:32:23 | 0:32:25 | |
It's a statement piece, isn't it? | 0:32:25 | 0:32:27 | |
I think you've definitely made some statements here. | 0:32:27 | 0:32:30 | |
I think it works quite well if you've got three | 0:32:30 | 0:32:33 | |
going up one side of the table and another three going up the other side, | 0:32:33 | 0:32:36 | |
-and then...top one. -Me at the end. -Yeah, there you go. | 0:32:36 | 0:32:39 | |
-Mine. Mine. -Your place at the end. | 0:32:39 | 0:32:40 | |
Just so many colours in there, it's unbelievable. Unbelievable. | 0:32:40 | 0:32:43 | |
Yeah, really impressive. | 0:32:43 | 0:32:45 | |
Because these were utility at best, weren't they? They were ugly. | 0:32:45 | 0:32:50 | |
Yeah. What we've done here is just made sure that | 0:32:50 | 0:32:52 | |
we put a velvet fabric on there so the steel is not so hard | 0:32:52 | 0:32:55 | |
because not many people have steel furniture in their house. | 0:32:55 | 0:32:59 | |
Well, I think you've done a cracking job! Tell me. Tell me. | 0:33:00 | 0:33:03 | |
I left you with a load of budget for these. | 0:33:05 | 0:33:07 | |
-Am I under or am I over? -Erm...you're... | 0:33:07 | 0:33:09 | |
With the rubbing down, you're slightly over. | 0:33:09 | 0:33:12 | |
-I think, if I remember rightly, we said £80 per chair. -Yeah. | 0:33:12 | 0:33:15 | |
If I remember rightly. It came in at 85 per chair. | 0:33:15 | 0:33:17 | |
I think I'm in profit. I mean, even if I sell them for 700 quid... | 0:33:17 | 0:33:20 | |
-Yeah. -..I'm 100 quid up for the tennis club. | 0:33:20 | 0:33:23 | |
So, I think it's nice to be able to give to give you back some | 0:33:23 | 0:33:26 | |
-real money for the hard work you put into... -Yeah. | 0:33:26 | 0:33:28 | |
..sorting out all those frames and the lovely upholstery. | 0:33:28 | 0:33:31 | |
And my elbows are absolutely killing me | 0:33:31 | 0:33:33 | |
cos the rubbing down was just... It's unreal. | 0:33:33 | 0:33:36 | |
-You boys, you don't know what hard work is! -That's true. That's true. | 0:33:36 | 0:33:40 | |
Right, I'm taking these away. | 0:33:40 | 0:33:42 | |
'James managed to make those chairs look absolutely fantastic.' | 0:33:42 | 0:33:47 | |
It's the attention to detail that matters with these things | 0:33:47 | 0:33:49 | |
and he's absolutely nailed it. | 0:33:49 | 0:33:51 | |
I was very chuffed with that, actually. | 0:33:51 | 0:33:53 | |
It's always daunting when Sarah comes in | 0:33:53 | 0:33:56 | |
because I've worked by myself | 0:33:56 | 0:33:58 | |
in the workshop, and it's kind of like, "Will they like it? | 0:33:58 | 0:34:00 | |
"Will the real world like it?" | 0:34:00 | 0:34:02 | |
Because then you get exposed to the real world via Sarah, | 0:34:02 | 0:34:05 | |
and then she comes in and she likes it. | 0:34:05 | 0:34:07 | |
Then, obviously, she has to sell it in the end, so... | 0:34:07 | 0:34:10 | |
Yeah, it's kind of cool. | 0:34:10 | 0:34:11 | |
Back at the dump... | 0:34:14 | 0:34:16 | |
There we go. | 0:34:16 | 0:34:17 | |
These industrial, utilitarian chairs | 0:34:17 | 0:34:19 | |
had been discarded by the local tennis club | 0:34:19 | 0:34:22 | |
and David had offered to dispose of them. | 0:34:22 | 0:34:25 | |
I'm glad somebody's going to use them. | 0:34:25 | 0:34:27 | |
I don't know - maybe put new backs on them, new seats on them, | 0:34:27 | 0:34:30 | |
polish them up or something. | 0:34:30 | 0:34:31 | |
Yeah, I'd be interested to see what happens. Yeah. | 0:34:31 | 0:34:34 | |
And after the Jay Blades treatment, | 0:34:36 | 0:34:38 | |
they look good enough for Centre Court! | 0:34:38 | 0:34:41 | |
Unfortunately, despite it being advantage Sarah, | 0:34:41 | 0:34:45 | |
these seven beauties have failed to score a new home. | 0:34:45 | 0:34:48 | |
Sarah has returned to Whitley | 0:34:48 | 0:34:50 | |
to serve up the results | 0:34:50 | 0:34:52 | |
and show David what has become of the old chairs. | 0:34:52 | 0:34:54 | |
-Hi, there. -Good evening. -Hi, David. | 0:34:58 | 0:35:00 | |
-Nice to see you again. -Nice to see you. -How are you? | 0:35:00 | 0:35:02 | |
-Very well. Very well. Not so good the weather, but... -No. | 0:35:02 | 0:35:05 | |
Typical English summer, isn't it? | 0:35:05 | 0:35:07 | |
Erm, I've got a few pictures and things | 0:35:07 | 0:35:09 | |
to show you about your chairs. | 0:35:09 | 0:35:11 | |
-I'd love to see. -They were completely... -Oh, my goodness! | 0:35:11 | 0:35:13 | |
Look at that! | 0:35:13 | 0:35:15 | |
They look amazing, they really do. Completely different. | 0:35:15 | 0:35:18 | |
Would they look out of place in the tennis club now? | 0:35:18 | 0:35:20 | |
They'd look too good, I think! | 0:35:20 | 0:35:23 | |
THEY LAUGH | 0:35:23 | 0:35:24 | |
It does get like that. | 0:35:24 | 0:35:26 | |
At this point, I'd love to be saying | 0:35:26 | 0:35:28 | |
I've sold them for loads of money | 0:35:28 | 0:35:30 | |
and handing over wodges of cash for the tennis club, | 0:35:30 | 0:35:32 | |
-but they haven't sold yet. -OK. | 0:35:32 | 0:35:34 | |
So I just thought I'd come along and update you on how they are. | 0:35:34 | 0:35:37 | |
And I think they have a good chance of selling | 0:35:37 | 0:35:39 | |
-and, when they do, I'll come back to you with the profit. -All right. | 0:35:39 | 0:35:43 | |
-Thank you very much. -Very nice to see you again. -Good to see you. | 0:35:43 | 0:35:45 | |
-Well done. -Thank you for letting me have your chairs. -Thank you. | 0:35:45 | 0:35:48 | |
-Bye-bye. -Bye-bye. | 0:35:48 | 0:35:49 | |
With Jay serving up an ace updating the seven old chairs, | 0:35:49 | 0:35:54 | |
his costs totalled £595. | 0:35:54 | 0:35:57 | |
Although hopeful a sale can be achieved, | 0:35:57 | 0:36:01 | |
currently they remain unsold, | 0:36:01 | 0:36:03 | |
which means there is no profit | 0:36:03 | 0:36:05 | |
at the moment to return to David and the tennis club. | 0:36:05 | 0:36:08 | |
I didn't think you'd get anything for them, | 0:36:08 | 0:36:10 | |
or be able to do anything with them, | 0:36:10 | 0:36:12 | |
so I'm very pleased you have been able to. | 0:36:12 | 0:36:14 | |
He's done a grand job on them, anyhow. | 0:36:14 | 0:36:16 | |
Back in London's East End, | 0:36:20 | 0:36:23 | |
Chinelo has just about completed her radical transformation | 0:36:23 | 0:36:26 | |
of that sorry sofa | 0:36:26 | 0:36:28 | |
and now awaits Sarah's arrival. | 0:36:28 | 0:36:31 | |
I don't know if I'm nervous about what she'll think. | 0:36:31 | 0:36:33 | |
I think she'll like it, but, obviously, you never know. | 0:36:33 | 0:36:36 | |
I just really want to see the look on her face. | 0:36:36 | 0:36:39 | |
I hope it's not one of disgust, but... | 0:36:39 | 0:36:42 | |
I just want to see what she thinks of it when she comes in. | 0:36:42 | 0:36:45 | |
I'm hoping I'm about to have a Cinderella moment. | 0:36:45 | 0:36:48 | |
That Chinelo, with her £300 budget and a wave of her magic wand, | 0:36:48 | 0:36:52 | |
is going to have turned that tired old sofa | 0:36:52 | 0:36:55 | |
into a beautiful designer gown. | 0:36:55 | 0:36:57 | |
Thanks to Chinelo's magic touch, | 0:37:00 | 0:37:02 | |
the curse of the couch has been lifted. | 0:37:02 | 0:37:05 | |
A truly enchanting transformation has taken place. | 0:37:07 | 0:37:11 | |
Elizabeth is modelling a handmade leather dress with fitted bodice, | 0:37:12 | 0:37:16 | |
leather skirt and luxury lace detailing. | 0:37:16 | 0:37:20 | |
Oh, my God! | 0:37:27 | 0:37:29 | |
Hi, there! Hello! | 0:37:31 | 0:37:33 | |
This is Elizabeth. | 0:37:33 | 0:37:34 | |
Wow! Chinelo, that's amazing! | 0:37:34 | 0:37:38 | |
-Do you like it? -I... I'm... | 0:37:38 | 0:37:40 | |
speechless. | 0:37:40 | 0:37:42 | |
Well, what were you thinking before you came in? | 0:37:42 | 0:37:45 | |
I think... I suppose, because I've seen these dresses before, | 0:37:45 | 0:37:48 | |
I was thinking it'd be something like that, you know, more... | 0:37:48 | 0:37:51 | |
Just...less petite, shall we say, on the leather front? | 0:37:51 | 0:37:54 | |
But it is fantastic. | 0:37:54 | 0:37:55 | |
I love what you've done with it with the lace. | 0:37:55 | 0:37:58 | |
Genius. Genius. Let me... | 0:37:58 | 0:38:01 | |
Give us a turn. | 0:38:01 | 0:38:02 | |
I love the zip in the back. | 0:38:04 | 0:38:05 | |
It does look really cool. | 0:38:05 | 0:38:07 | |
I feel really underdressed. | 0:38:07 | 0:38:09 | |
I'm feeling really dowdy over here. | 0:38:09 | 0:38:12 | |
So, what does it feel like wearing something like that? | 0:38:12 | 0:38:14 | |
It feels amazing. And I kind of look sexy in it, so I kind of love it. | 0:38:14 | 0:38:17 | |
Yeah, well... She doesn't want to take it off actually. | 0:38:17 | 0:38:20 | |
-She wants it for herself. -THEY LAUGH | 0:38:20 | 0:38:22 | |
Sarah's going to give you a price for the dress! | 0:38:22 | 0:38:25 | |
I think that we left saying that you had £300 for the budget. | 0:38:25 | 0:38:28 | |
We still kept it within cos the things we have added to it | 0:38:28 | 0:38:32 | |
we had lying around in the studio anyway. | 0:38:32 | 0:38:34 | |
So, it's fine, it's still within budget. | 0:38:34 | 0:38:36 | |
So, I know that you said you had somebody in mind... | 0:38:36 | 0:38:38 | |
Did you actually fit it to somebody? | 0:38:38 | 0:38:40 | |
Yeah, this is made for Laura Mvula, she's a client of mine. | 0:38:40 | 0:38:43 | |
And I called her up and said, "You know, this is the situation. | 0:38:43 | 0:38:46 | |
"Would you fancy something?" | 0:38:46 | 0:38:48 | |
And she said, you know, that she wouldn't mind. | 0:38:48 | 0:38:50 | |
So I think she would love this. | 0:38:50 | 0:38:52 | |
And have you discussed price with her? | 0:38:52 | 0:38:54 | |
I haven't discussed price. | 0:38:54 | 0:38:56 | |
-That's your job, Sarah. -Oh, lovely(!) | 0:38:56 | 0:38:58 | |
Well, looking at it, | 0:38:58 | 0:38:59 | |
it looks... | 0:38:59 | 0:39:01 | |
It looks amazing, doesn't it? | 0:39:01 | 0:39:02 | |
Nobody's going to see that and think, "There's an old sofa!" | 0:39:02 | 0:39:06 | |
-I shall see you soon. -See you soon. | 0:39:06 | 0:39:08 | |
That was lovely. Thank you ever so much. Bye. | 0:39:08 | 0:39:10 | |
-Bye. -Bye. | 0:39:10 | 0:39:11 | |
Now that is the kind of surprise that I really like. | 0:39:19 | 0:39:23 | |
Chinelo had put her heart and soul into that dress | 0:39:23 | 0:39:26 | |
and I think it really showed. | 0:39:26 | 0:39:27 | |
She might have sold it as well, which is really helpful, | 0:39:27 | 0:39:30 | |
and she's definitely left me something | 0:39:30 | 0:39:32 | |
that I can make a profit out of. | 0:39:32 | 0:39:34 | |
I'm very happy with her reaction. | 0:39:34 | 0:39:36 | |
I'm really happy that she loved the dress | 0:39:36 | 0:39:38 | |
and it's made it all worth it. | 0:39:38 | 0:39:40 | |
That's good. | 0:39:40 | 0:39:41 | |
Phew! | 0:39:41 | 0:39:43 | |
Matthew and daughter Lucy brought their old leather two-seater sofa | 0:39:48 | 0:39:51 | |
to the dump, but Lucy had hoped someone would rescue it | 0:39:51 | 0:39:55 | |
and give it a new home. | 0:39:55 | 0:39:57 | |
I don't personally want to get rid of it, but... | 0:39:57 | 0:40:00 | |
the family's decision was to... | 0:40:00 | 0:40:02 | |
-To get rid of it. -Yeah. | 0:40:02 | 0:40:04 | |
Chinelo reclaimed the leather | 0:40:08 | 0:40:11 | |
and worked a mini miracle. | 0:40:11 | 0:40:13 | |
Chinelo designed a dress with singer Laura Mvula in mind, | 0:40:17 | 0:40:21 | |
and so Sarah has a ready-made sale. | 0:40:21 | 0:40:24 | |
Sarah's back in Guildford to reveal | 0:40:27 | 0:40:29 | |
to Matthew and daughter Lucy | 0:40:29 | 0:40:31 | |
what became of their two-seater, leather sofa, | 0:40:31 | 0:40:33 | |
but how much profit was there at the end of the day? | 0:40:33 | 0:40:37 | |
-Hi, Matthew. Sarah. -Hi, Sarah. -Nice to see you again. | 0:40:37 | 0:40:40 | |
-Hi, Lucy. -Hi. -This is Lucy. -How are you? | 0:40:40 | 0:40:42 | |
Thank you. Fine. | 0:40:42 | 0:40:44 | |
Really nice to catch up again. | 0:40:44 | 0:40:45 | |
I just thought I'd come and give you a quick update about what | 0:40:45 | 0:40:48 | |
we did with YOUR favourite sofa. | 0:40:48 | 0:40:50 | |
I remember from when you were dropping it off, | 0:40:50 | 0:40:52 | |
-I think you were reluctant for it to be thrown. -Yeah. | 0:40:52 | 0:40:56 | |
I have a friend called Chinelo, | 0:40:56 | 0:40:58 | |
who is a fantastic seamstress, | 0:40:58 | 0:41:01 | |
and she does have a client who's called Laura Mvula, | 0:41:01 | 0:41:04 | |
-who is a singer. I don't know if you've heard of her. -Yeah. | 0:41:04 | 0:41:07 | |
-Have you heard of her? -Yeah! | 0:41:07 | 0:41:09 | |
-Great. -I hadn't. -No, I hadn't either! | 0:41:09 | 0:41:12 | |
She has commissioned something from Chinelo | 0:41:12 | 0:41:15 | |
to be made out of your sofa. | 0:41:15 | 0:41:16 | |
-Wow! -I've got a picture of it to show you. | 0:41:16 | 0:41:19 | |
It's quite dramatic. | 0:41:19 | 0:41:21 | |
-Oh, my word! -Wow! Amazing! | 0:41:21 | 0:41:24 | |
-What do you think? -Well... -That's amazing. -It's staggering. | 0:41:24 | 0:41:28 | |
I can't believe that a sofa has become that. | 0:41:28 | 0:41:31 | |
Because it was commissioned, it meant that it was actually sold, | 0:41:31 | 0:41:36 | |
so there's some profit left. | 0:41:36 | 0:41:37 | |
And I wondered - I don't how you feel about this - | 0:41:37 | 0:41:40 | |
but I wondered... I've got £200 here for you, | 0:41:40 | 0:41:43 | |
and I wondered if it would be all right to give it to Lucy | 0:41:43 | 0:41:46 | |
to think about what she might spend it on? | 0:41:46 | 0:41:48 | |
-Well...! -LUCY LAUGHS | 0:41:48 | 0:41:51 | |
-That's all yours. -Oh... -And it was a lovely thing to work with. | 0:41:51 | 0:41:54 | |
Think of us when you're using it. | 0:41:54 | 0:41:55 | |
I hope it does something helpful and useful. | 0:41:55 | 0:41:58 | |
That's amazing. | 0:41:58 | 0:42:01 | |
-Thank you so much. -It was a pleasure! | 0:42:01 | 0:42:03 | |
For Chinelo to work her magic transforming | 0:42:03 | 0:42:07 | |
Matthew and daughter Lucy's sofa into a show-stopping dress cost £300. | 0:42:07 | 0:42:13 | |
But, with a commission already in place, | 0:42:13 | 0:42:15 | |
a sale of £500 was guaranteed, | 0:42:15 | 0:42:18 | |
leaving £200 with Lucy... | 0:42:18 | 0:42:20 | |
who, by the way, is studying A-level textile design | 0:42:20 | 0:42:24 | |
and intends to spend the cash on materials. | 0:42:24 | 0:42:28 | |
This is a complete surprise! | 0:42:28 | 0:42:30 | |
It's amazing that they managed to get a profit from it. | 0:42:30 | 0:42:33 | |
I never... Yeah, never thought that would happen! | 0:42:33 | 0:42:37 | |
Sarah has shown salvation to three items from the dump. | 0:42:39 | 0:42:43 | |
The rusty metal frames | 0:42:45 | 0:42:46 | |
designed into a stylish one-of-a-kind ottoman table. | 0:42:46 | 0:42:51 | |
The seven old tennis club chairs | 0:42:51 | 0:42:54 | |
re-energised from utility to dishy dining. | 0:42:54 | 0:42:57 | |
And the black leather sofa, | 0:42:59 | 0:43:01 | |
revamped into a sassy, show-stopping gown. | 0:43:01 | 0:43:05 | |
The natural hoarder in me would love to hang on | 0:43:05 | 0:43:07 | |
to everything that we find, but, actually, | 0:43:07 | 0:43:09 | |
it's a lot more satisfying seeing things totally transformed | 0:43:09 | 0:43:12 | |
and sending them off to a new home. | 0:43:12 | 0:43:15 |