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Oh, now, I like the look of your rubbish. | 0:00:04 | 0:00:06 | |
How do you make Money For Nothing? | 0:00:08 | 0:00:10 | |
I love a little rummage. | 0:00:11 | 0:00:12 | |
The answer could be hiding in the 30 million tonnes | 0:00:12 | 0:00:16 | |
of household waste we throw out every year. | 0:00:16 | 0:00:19 | |
I think that I might be able to make something out of that. | 0:00:19 | 0:00:23 | |
That's why entrepreneur Sarah Moore wants to get her hands on | 0:00:23 | 0:00:27 | |
things before they hit the skip. | 0:00:27 | 0:00:29 | |
That's...that's wartime. | 0:00:29 | 0:00:30 | |
I'm a passionate buyer, user and maker of old stuff. | 0:00:33 | 0:00:36 | |
And I've turned that passion into a moneymaking business. | 0:00:36 | 0:00:39 | |
I make new stuff out of old stuff, | 0:00:39 | 0:00:41 | |
and I sell it for a profit. | 0:00:41 | 0:00:43 | |
And with some of the country's elite designers and makers... | 0:00:43 | 0:00:47 | |
That was brief. | 0:00:47 | 0:00:49 | |
Oh, the potential! | 0:00:49 | 0:00:51 | |
No! ..she can transform her finds into desirable... Work of art! | 0:00:51 | 0:00:57 | |
..valuable... THEY LAUGH | 0:00:57 | 0:01:00 | |
..and hopefully saleable items. | 0:01:00 | 0:01:03 | |
Holy Moley! | 0:01:03 | 0:01:05 | |
If Sarah is successful, then she can hand the profits back to the very | 0:01:06 | 0:01:10 | |
people who had no idea there was cash to be made from their trash. | 0:01:10 | 0:01:15 | |
Thank you. I'm astonished! | 0:01:15 | 0:01:18 | |
Today, Sarah's in Altrincham, south of Manchester, | 0:01:27 | 0:01:31 | |
where thousands of locals come with their rubbish, rain or shine. | 0:01:31 | 0:01:35 | |
People throw away all sorts of goodies. All I've got to do is | 0:01:36 | 0:01:40 | |
make sure I get my hands on them before they go in the skips. | 0:01:40 | 0:01:43 | |
Sarah has special permission from the powers that be to have | 0:01:46 | 0:01:50 | |
a good old rummage around. | 0:01:50 | 0:01:52 | |
"No TV's..." what? | 0:01:53 | 0:01:55 | |
"No TV's..." remotes? | 0:01:55 | 0:01:58 | |
There should be something here. | 0:01:58 | 0:02:00 | |
Grammar police officer Sarah is on the lookout for two items | 0:02:00 | 0:02:04 | |
she can transform into cash. | 0:02:04 | 0:02:05 | |
And she's spotted Lydia and her chair. You after a sit-down, Sarah? | 0:02:07 | 0:02:13 | |
I love this. Oh, thank you. Have you had it for long? | 0:02:13 | 0:02:16 | |
I've had it for a long time, yes. It belonged to my family. | 0:02:16 | 0:02:19 | |
It was passed down to me. It was actually my great aunt's. | 0:02:19 | 0:02:22 | |
So you've had enough of it. It's not fitting in at home any more. | 0:02:22 | 0:02:25 | |
Well, it's been in my garage. I'm quite sentimental | 0:02:25 | 0:02:27 | |
about these things, but I've just been trying to clear out. | 0:02:27 | 0:02:30 | |
Who's got the white cat? It's me. | 0:02:30 | 0:02:32 | |
She's like a modern-day Sherlock Holmes. | 0:02:32 | 0:02:35 | |
I would love to be able to take it away and see if I could do | 0:02:35 | 0:02:38 | |
something with it. Is that... Would that be all right? | 0:02:38 | 0:02:40 | |
That would be wonderful. It really would. | 0:02:40 | 0:02:42 | |
Thank you so much for letting me have that. | 0:02:42 | 0:02:44 | |
Thank you. Really nice to have met you. And you. | 0:02:44 | 0:02:47 | |
Sarah certainly seems pleased with her jolly green armchair, | 0:02:47 | 0:02:49 | |
but what do Lydia and Kate think will become of it? | 0:02:49 | 0:02:52 | |
I suppose, in some ways, it's kind of quite a blank canvas, isn't it? | 0:02:52 | 0:02:55 | |
Yeah. So... May be some really nice fabric? Yeah. | 0:02:55 | 0:02:58 | |
Just completely modernise it. I haven't an... | 0:02:58 | 0:03:01 | |
I haven't a clue really. | 0:03:01 | 0:03:03 | |
SHE LAUGHS | 0:03:03 | 0:03:05 | |
Such a sweet little chair. | 0:03:05 | 0:03:07 | |
It's got loads of period detail, lovely little cabriole legs, fat, | 0:03:07 | 0:03:11 | |
chunky arms and a really good look. | 0:03:11 | 0:03:13 | |
I've got just the person in mind who will give it | 0:03:13 | 0:03:15 | |
the real kick that it needs to turn this into a money-maker. | 0:03:15 | 0:03:18 | |
Anthony Devine is one of the UK's most talented teachers | 0:03:22 | 0:03:27 | |
and practitioners of upholstery skills. | 0:03:27 | 0:03:31 | |
First thing I see in a room is a chair. | 0:03:31 | 0:03:33 | |
When I go round to people's houses, I look for quality, | 0:03:33 | 0:03:36 | |
I look to see what I would do differently. | 0:03:36 | 0:03:38 | |
Some chairs look like they are almost kind of destined for the tip, | 0:03:42 | 0:03:46 | |
but if you see one ounce of kind of potential, then save it. | 0:03:46 | 0:03:51 | |
I suppose it is a bit of a love affair I have with chairs. | 0:03:53 | 0:03:56 | |
They're very beautiful things. | 0:03:56 | 0:03:58 | |
That's maybe the case for some chairs, Anthony, but you've not | 0:03:58 | 0:04:02 | |
seen what Sarah's saved for you. | 0:04:02 | 0:04:04 | |
Sarah's second find today will be one she works on herself. | 0:04:11 | 0:04:15 | |
Nothing to see here. | 0:04:17 | 0:04:19 | |
Perhaps Michael can offer up something of interest. | 0:04:19 | 0:04:22 | |
Is it dead? Is it not working any more? No, it works perfectly well. | 0:04:22 | 0:04:25 | |
It works perfectly well. The motor's very, very good. Right. | 0:04:25 | 0:04:28 | |
It's just that the blades are blocked. | 0:04:28 | 0:04:30 | |
But somebody who knows anything about it could do it. | 0:04:30 | 0:04:33 | |
It's in quite good condition. | 0:04:33 | 0:04:34 | |
I've never thought about taking a lawnmower away | 0:04:34 | 0:04:36 | |
from the dump before but... You're very welcome to it. | 0:04:36 | 0:04:39 | |
How old is it? | 0:04:39 | 0:04:40 | |
I don't really know. I would think it's ten to 12 years old. | 0:04:40 | 0:04:43 | |
OK, so it's had a good use. It gets serviced every year. | 0:04:43 | 0:04:46 | |
Yeah. So it's good. If it still works, so it's potential, | 0:04:46 | 0:04:49 | |
I may be able to make something out of it. | 0:04:49 | 0:04:52 | |
So I'd love to have a go at using the parts, | 0:04:52 | 0:04:54 | |
or doing something with it. | 0:04:54 | 0:04:55 | |
You're very welcome. Thank you so much for letting me take that away. | 0:04:55 | 0:04:58 | |
OK. Does it go backwards? This is not looking promising. | 0:04:58 | 0:05:02 | |
Don't have it on that, that'll... Oh, that'll stop it. OK. | 0:05:02 | 0:05:06 | |
I've got a new lawnmower, | 0:05:06 | 0:05:07 | |
but I haven't got enough room in my garage for both of them. | 0:05:07 | 0:05:11 | |
The old one works perfectly well apart from the gears are blocked. | 0:05:11 | 0:05:15 | |
Sarah does look confident that she can mow up some moolah, | 0:05:15 | 0:05:19 | |
but what does Michael think she could do with it? | 0:05:19 | 0:05:22 | |
I'm sort of quite fascinated myself. | 0:05:22 | 0:05:24 | |
Somebody with a little bit of mechanical knowledge or | 0:05:24 | 0:05:27 | |
imagination can do something with it. | 0:05:27 | 0:05:29 | |
You probably think I'm gaga taking this old garden mower, | 0:05:30 | 0:05:34 | |
but it's been really well looked after and the engine still works. | 0:05:34 | 0:05:38 | |
That may be so, Sarah, but I still can't see what you're going | 0:05:38 | 0:05:41 | |
to do with that other than cut some grass. | 0:05:41 | 0:05:44 | |
That's two items scooped up. Anthony will strong-arm that armchair. | 0:05:48 | 0:05:53 | |
And hopefully Sarah will get motoring with that mower. | 0:05:54 | 0:05:58 | |
I would say, on balance, it's been a great day here at Altrincham. | 0:05:58 | 0:06:02 | |
I've collected a classy cluster of cracking future collectables, | 0:06:02 | 0:06:06 | |
all of which I know will make some Money For Nothing. | 0:06:06 | 0:06:09 | |
Manchester is a northern power house of art and culture. | 0:06:17 | 0:06:21 | |
It's also home to master upholsterer Anthony Devine. | 0:06:21 | 0:06:25 | |
So my buddy's coming back and she's got another item. | 0:06:25 | 0:06:28 | |
She promised me this is a good one. | 0:06:28 | 0:06:31 | |
And I believe she is giving me free rein on it! | 0:06:31 | 0:06:34 | |
So I'm very excited. | 0:06:35 | 0:06:37 | |
Well, who else was I going to bring this little beauty to? | 0:06:38 | 0:06:41 | |
It's come to Manchester for a makeover. | 0:06:41 | 0:06:43 | |
We've saved it from a skip, and now we want it to look lovely again. | 0:06:43 | 0:06:47 | |
Let's go and see what he thinks. | 0:06:47 | 0:06:49 | |
I just hope he likes it. Anthony! | 0:06:49 | 0:06:52 | |
Hey! How are you doing? There she is! | 0:06:53 | 0:06:55 | |
Nice! It's good, isn't it? Yes. | 0:07:02 | 0:07:05 | |
Shall we get it in? He really does love chairs, doesn't he? | 0:07:05 | 0:07:09 | |
It's not too bad. No, it's good! Good sign of quality. Good weight. | 0:07:09 | 0:07:12 | |
Yeah, yeah. | 0:07:12 | 0:07:14 | |
HE SIGHS | 0:07:16 | 0:07:18 | |
It's good. It is, isn't it? Yeah, it's good. | 0:07:18 | 0:07:20 | |
I have had some ideas about it. | 0:07:20 | 0:07:22 | |
I was wondering about making it look like something else. | 0:07:22 | 0:07:26 | |
Not too radical, but a bit of a play. Yeah. | 0:07:26 | 0:07:29 | |
Because of the style of the chair and it's going to sit in a | 0:07:29 | 0:07:33 | |
corner of a room and the rest of the house might be all nice | 0:07:33 | 0:07:36 | |
and safe, there's an opportunity, | 0:07:36 | 0:07:39 | |
an opportunity to give it a little bit of something. | 0:07:39 | 0:07:44 | |
Just leave it with us. We'll do a sympathetic restoration underneath | 0:07:44 | 0:07:48 | |
and something big and bold on the top of it. | 0:07:48 | 0:07:52 | |
Sounds like this chair is in for a special treat. | 0:07:52 | 0:07:55 | |
But just how much is big and bold going to cost? | 0:07:55 | 0:08:00 | |
500 quid as a budget... OK. | 0:08:00 | 0:08:03 | |
..would be, like, kind of get it all done. | 0:08:03 | 0:08:06 | |
If it takes more, it's not going to be much more. | 0:08:06 | 0:08:09 | |
If it's less, you can have it back. | 0:08:09 | 0:08:11 | |
500 quid, you know, I trust you implicitly. Absolutely. | 0:08:11 | 0:08:15 | |
I know you can do something bonkers with it. You never know. | 0:08:15 | 0:08:18 | |
Well, I do know because I've been here before. | 0:08:18 | 0:08:21 | |
You slash things, you stab them, you spray-paint them, you know, | 0:08:21 | 0:08:24 | |
I just can't wait to see what you're going to do with it. Me neither. | 0:08:24 | 0:08:27 | |
You're deeply worrying. Absolutely. I've got this one in the bag. | 0:08:27 | 0:08:31 | |
As a trusted member of the team, | 0:08:31 | 0:08:33 | |
Anthony's earned his creative freedom with this one. | 0:08:33 | 0:08:36 | |
But will Sarah live to regret it? | 0:08:36 | 0:08:38 | |
Today, modern interiors, | 0:08:38 | 0:08:40 | |
they're all just getting a bit bland and boring and it's all very tonal. | 0:08:40 | 0:08:44 | |
We want something to be in the corner kind of screaming and | 0:08:44 | 0:08:47 | |
shouting, "Look at me!" and probably you would never sit on it, | 0:08:47 | 0:08:50 | |
but we want you to appreciate it and that's what we're trying to | 0:08:50 | 0:08:54 | |
do with this chair. | 0:08:54 | 0:08:55 | |
I'm really intrigued about what he's going to do with that chair, and | 0:08:55 | 0:08:59 | |
I can't wait to come back to find out if he's had a good idea or not. | 0:08:59 | 0:09:03 | |
A budget of ?500 for a chair which, when finished, | 0:09:03 | 0:09:07 | |
will look like...um...no idea. | 0:09:07 | 0:09:11 | |
I just hope that whatever Anthony does, Sarah can sell it. | 0:09:11 | 0:09:15 | |
At home in Sussex, Sarah has already begun the mower project | 0:09:20 | 0:09:24 | |
by having it taken to pieces into its many component parts. | 0:09:24 | 0:09:28 | |
Well, who knew if you took a lawnmower apart, you'd get | 0:09:32 | 0:09:35 | |
so many pieces? And there are some fantastic bits here. | 0:09:35 | 0:09:38 | |
There's lots of lovely nuts and bolts I think would make some | 0:09:38 | 0:09:41 | |
lovely jewellery but the standout feature | 0:09:41 | 0:09:44 | |
I think has to be this fantastic cutter blade. | 0:09:44 | 0:09:47 | |
It's such a sculptural thing and just looking at it makes | 0:09:47 | 0:09:49 | |
me think I want to make something out of that and I think | 0:09:49 | 0:09:52 | |
lighting is the best thing. | 0:09:52 | 0:09:53 | |
Lighting is really commercial, very saleable, and actually quite a | 0:09:53 | 0:09:57 | |
simple make if you've got something as lovely and strong as this. | 0:09:57 | 0:10:00 | |
So with the help of this off-the-peg lighting set, | 0:10:00 | 0:10:03 | |
I'm going to make a lamp with this bit as the base. | 0:10:03 | 0:10:05 | |
But before I can start, | 0:10:05 | 0:10:07 | |
I've got to get the hacksaw out to get this out of that. | 0:10:07 | 0:10:11 | |
Of course, the simple way to remove the blade from its casing would be | 0:10:11 | 0:10:15 | |
to just undo the bolt. | 0:10:15 | 0:10:17 | |
Money for nothing, they say. | 0:10:17 | 0:10:19 | |
It's hard work making money for nothing. | 0:10:19 | 0:10:21 | |
Before lawnmowers were invented, grass was cut using scythes. | 0:10:21 | 0:10:26 | |
It wasn't until 1830 that an English engineer, Edwin Budding, | 0:10:26 | 0:10:30 | |
patented the first lawnmower. | 0:10:30 | 0:10:32 | |
I'm pretty sure he didn't envisage | 0:10:32 | 0:10:34 | |
his invention being used for lighting. | 0:10:34 | 0:10:37 | |
That was a lot of hard work, | 0:10:37 | 0:10:39 | |
but that is every part as sculptural as I'd hoped. | 0:10:39 | 0:10:42 | |
And this bit, another part of the lawnmower. | 0:10:42 | 0:10:45 | |
WHISPERS: Don't know what! | 0:10:45 | 0:10:46 | |
It's going to make the best base for it. | 0:10:46 | 0:10:49 | |
I reckon put it in that way up. | 0:10:49 | 0:10:51 | |
Looks like a light already, doesn't it? | 0:10:51 | 0:10:53 | |
I've just got to clean it up and see if I can get the wire going | 0:10:53 | 0:10:56 | |
through the holes that happen to be there already. | 0:10:56 | 0:10:59 | |
And that's going to look amazing. | 0:10:59 | 0:11:01 | |
Sarah gives the blades a thorough clean with warm, soapy water | 0:11:02 | 0:11:06 | |
to remove old, encrusted grass and mud. | 0:11:06 | 0:11:10 | |
Next, in order to remove any sharp edges and make the blades safe, | 0:11:10 | 0:11:14 | |
Sarah uses a coarse sandpaper and a whole load of elbow grease. | 0:11:14 | 0:11:19 | |
Finally, the middle bits and bobs are given a thorough wash. | 0:11:19 | 0:11:23 | |
I'm just cleaning up these two pieces because these are | 0:11:24 | 0:11:28 | |
going to help me connect this to that. | 0:11:28 | 0:11:31 | |
I love the way that design evolves when you're reusing pieces | 0:11:31 | 0:11:34 | |
like this because that is a really chunky, lovely bit, | 0:11:34 | 0:11:38 | |
and it adds so much by putting it on there, and you probably | 0:11:38 | 0:11:41 | |
wouldn't design that unless you'd just found it. | 0:11:41 | 0:11:44 | |
Well, unless, of course, you're Edwin Budding, | 0:11:44 | 0:11:46 | |
inventor of the lawnmower, then you probably did design it. | 0:11:46 | 0:11:49 | |
OK, so on to the final stage which is wiring up the lamp and | 0:11:49 | 0:11:52 | |
I've got this fantastic lighting component and loads of | 0:11:52 | 0:11:55 | |
lighting shops have these now, | 0:11:55 | 0:11:56 | |
so you can choose the kind of bulb holder and the flex that you | 0:11:56 | 0:11:59 | |
have and even the colour, or if it's twisted, like this one. | 0:11:59 | 0:12:02 | |
And it makes a really quick and easy way of making a light. | 0:12:02 | 0:12:04 | |
So I've just got to get this wired up, | 0:12:04 | 0:12:06 | |
and I think it's going to look pretty cool. | 0:12:06 | 0:12:09 | |
So I think we'll go for the top. | 0:12:09 | 0:12:11 | |
Sarah's costs for the lawnmower lighting | 0:12:11 | 0:12:13 | |
are ?60 which includes the cost of the flex, | 0:12:13 | 0:12:16 | |
light fitting, bulb and also the services of | 0:12:16 | 0:12:19 | |
a qualified electrician to make sure everything's safe. | 0:12:19 | 0:12:22 | |
But will she really be able to create | 0:12:22 | 0:12:25 | |
a desirable interiors piece from a bit of old lawnmower? | 0:12:25 | 0:12:29 | |
Back in Manchester, Anthony has an extra pair of helping hands | 0:12:32 | 0:12:36 | |
in the form of his assistant, Tom, | 0:12:36 | 0:12:38 | |
who specialises in making furniture frames. | 0:12:38 | 0:12:43 | |
So what I'm thinking with this chair is quotes, | 0:12:43 | 0:12:45 | |
so the wise words of Winston Churchill... | 0:12:45 | 0:12:49 | |
Yes. ..British and all, icon. | 0:12:49 | 0:12:52 | |
Never, never, never, not Rick Astley... | 0:12:52 | 0:12:56 | |
..give up, Sir Winston Churchill. | 0:12:58 | 0:13:01 | |
Yeah. I like it. Maybe a cigar holder to go in the arm. | 0:13:01 | 0:13:04 | |
For extra... Extra authenticity. Yes, Churchillicity. | 0:13:05 | 0:13:09 | |
Anthony plans to use the paper stencils to work out | 0:13:11 | 0:13:14 | |
the placement of three well-known quotations... | 0:13:14 | 0:13:18 | |
Give us a V! | 0:13:18 | 0:13:19 | |
V! ..all spoken by one of Britain's most influential leaders. | 0:13:19 | 0:13:25 | |
I mean, this is possibly the worst job in the world for me. | 0:13:25 | 0:13:28 | |
I cannot spell to save my life, but these are all good words. | 0:13:28 | 0:13:31 | |
I'm all right with this. | 0:13:31 | 0:13:32 | |
Winston Churchill became Prime Minister on 10th May 1940, | 0:13:32 | 0:13:37 | |
and the quotations Anthony has chosen were all spoken | 0:13:37 | 0:13:41 | |
during a time of conflict. | 0:13:41 | 0:13:42 | |
They helped to inspire the nation onto victory in World War II. | 0:13:42 | 0:13:47 | |
I've managed to spell hell wrong. | 0:13:47 | 0:13:48 | |
Hell is spelt with two Ls, Es. | 0:13:49 | 0:13:52 | |
Heel. See if you get through heel! | 0:13:53 | 0:13:56 | |
HE LAUGHS | 0:13:56 | 0:13:58 | |
If you're going through eel. | 0:13:58 | 0:14:00 | |
HE LAUGHS | 0:14:00 | 0:14:02 | |
Right, go on. It's a place in Yorkshire. | 0:14:02 | 0:14:05 | |
Once the boys know the quotations will fit on the chair, | 0:14:05 | 0:14:08 | |
the next stage is to lay them out on brown paper that will later | 0:14:08 | 0:14:12 | |
be photographed and printed onto fabric, | 0:14:12 | 0:14:15 | |
giving the appearance of the chair being wrapped. | 0:14:15 | 0:14:18 | |
The quotations are being sprayed onto the paper to give | 0:14:18 | 0:14:21 | |
a stencilled graffiti-look. | 0:14:21 | 0:14:24 | |
This is the al fresco part of the operation. | 0:14:24 | 0:14:27 | |
Has it worked? Yeah! | 0:14:27 | 0:14:28 | |
Yes! That's what we want, isn't it? | 0:14:28 | 0:14:31 | |
Yeah, that's all right. OK, good job. | 0:14:31 | 0:14:34 | |
Good job, me. Well done, Tom. Now, crack on. | 0:14:34 | 0:14:38 | |
The next day, Anthony has received the finished fabric with | 0:14:46 | 0:14:49 | |
stencilled quotes which was printed overnight. It's the moment of truth. | 0:14:49 | 0:14:54 | |
Has it worked? | 0:14:54 | 0:14:55 | |
So this is printed onto like a moleskin velvet, | 0:14:56 | 0:15:00 | |
so this is an upholstery grade fire-retardant fabric. | 0:15:00 | 0:15:04 | |
In terms of happiness, I love it. | 0:15:04 | 0:15:07 | |
I mean I actually, genuinely, love it. | 0:15:07 | 0:15:10 | |
I... Yeah. | 0:15:10 | 0:15:12 | |
We've blitzed the budget. | 0:15:13 | 0:15:15 | |
HE LAUGHS | 0:15:15 | 0:15:17 | |
It's always daunting because we have absolutely no room for error. | 0:15:17 | 0:15:21 | |
And I, like, sometimes we can play around with things but this | 0:15:21 | 0:15:24 | |
time the printers are already closed, Sarah is due in the morning. | 0:15:24 | 0:15:29 | |
It's going to be another late one. | 0:15:29 | 0:15:31 | |
Anthony is known for his last-minute makeovers, | 0:15:31 | 0:15:34 | |
but this is perhaps his most ambitious. | 0:15:34 | 0:15:36 | |
He's already stripped the chair, but has to build it back up | 0:15:36 | 0:15:40 | |
and cover it, making sure the quotes are positioned inch-perfect. | 0:15:40 | 0:15:44 | |
No room for error on this one. OK. | 0:15:44 | 0:15:47 | |
Have a look. That is a solid seven out of ten. Thanks. | 0:15:49 | 0:15:53 | |
I don't know why you gave me the job in the first place, to be honest. | 0:15:55 | 0:15:59 | |
Yeah. Yes, thanks for that, boss. Yeah. You're welcome. | 0:15:59 | 0:16:02 | |
So, this is elasticated. | 0:16:02 | 0:16:04 | |
And this gives us the suspension. | 0:16:06 | 0:16:09 | |
With the fabric secured to the arms, | 0:16:09 | 0:16:11 | |
Anthony now has to rebuild the seat and the back of the chair. | 0:16:11 | 0:16:15 | |
He starts with the elasticated webbing. | 0:16:15 | 0:16:17 | |
So, basically, | 0:16:21 | 0:16:22 | |
because the tension that I'm pulling this under, to get the | 0:16:22 | 0:16:27 | |
kind of suspension in the back, this rail is starting to twist, so... | 0:16:27 | 0:16:33 | |
It's going to have to be changed. | 0:16:34 | 0:16:36 | |
So where's the right quote? Here we are. "Never, never, never give up." | 0:16:37 | 0:16:43 | |
And if you're going through hell... | 0:16:44 | 0:16:46 | |
..keep going. | 0:16:48 | 0:16:50 | |
So here the danger is that obviously we'd have done this | 0:16:53 | 0:16:55 | |
before we'd have got any of the fabric on. | 0:16:55 | 0:16:58 | |
But you never quite know these things until you get them. | 0:16:58 | 0:17:01 | |
It is late. The printers are closed. Sarah's coming. | 0:17:03 | 0:17:07 | |
Normally, in normal circumstances, | 0:17:08 | 0:17:10 | |
we would leave this for a few hours to dry. | 0:17:10 | 0:17:13 | |
We don't have seconds, let alone hours so... | 0:17:13 | 0:17:16 | |
We'll clamp it and just work round it. | 0:17:19 | 0:17:22 | |
I think another famous wartime quote is apt at this point. | 0:17:22 | 0:17:27 | |
"Keep calm, Anthony, and carry on." | 0:17:27 | 0:17:29 | |
At home in Sussex, Sarah is busy putting the finishing touches | 0:17:35 | 0:17:39 | |
to the mower transformation. | 0:17:39 | 0:17:41 | |
Great, that's all the dirty work done. | 0:17:44 | 0:17:47 | |
Time for the last adjustments. That's straight. | 0:17:47 | 0:17:51 | |
Time to get this illuminated. | 0:17:53 | 0:17:55 | |
When Sarah took possession of the mower at the tip, | 0:18:06 | 0:18:09 | |
its days of trimming lawns were over. | 0:18:09 | 0:18:12 | |
Sarah's used the dismantled mower's sculpted blades to create | 0:18:16 | 0:18:21 | |
a unique table lamp. | 0:18:21 | 0:18:23 | |
The surfaces have been cleaned and waxed and it's finished off | 0:18:23 | 0:18:26 | |
with a contemporary colour-match flex | 0:18:26 | 0:18:28 | |
and a classic-style bulb. | 0:18:28 | 0:18:31 | |
The finely-finished article is certainly something to behold. | 0:18:31 | 0:18:34 | |
Well, I hope that looks like it's gone from cutting grass to | 0:18:36 | 0:18:39 | |
cutting-edge. I'm going to get some pictures taken of it, | 0:18:39 | 0:18:42 | |
share it around, see if I can turn a profit on it. | 0:18:42 | 0:18:45 | |
Once those pictures hit the net, I'm sure there'll be | 0:18:45 | 0:18:48 | |
a stampede of enthusiastic gardeners looking to illuminate | 0:18:48 | 0:18:52 | |
a dark corner of a room. | 0:18:52 | 0:18:55 | |
When Sarah spotted Michael at the tip, | 0:18:55 | 0:18:57 | |
initially she lacked motivation. | 0:18:57 | 0:18:59 | |
I've never thought about taking a lawnmower away from the dump before. | 0:18:59 | 0:19:04 | |
But it wasn't all bad news about the mower. | 0:19:04 | 0:19:06 | |
The old one works perfectly well apart from the gears are blocked. | 0:19:06 | 0:19:11 | |
So what do you do with a mower with seized gears? | 0:19:11 | 0:19:14 | |
That's right, strip it down and turn it into a lamp. | 0:19:14 | 0:19:18 | |
The lamp was snapped up by an interior design shop, | 0:19:18 | 0:19:22 | |
Sara Hughes in Marlow, run, funnily enough, by Sara. | 0:19:22 | 0:19:26 | |
I've got sort of memories of old-fashioned lawnmowers | 0:19:26 | 0:19:29 | |
which I rather like. | 0:19:29 | 0:19:30 | |
It's the sort of thing your grandfather used and you'd | 0:19:30 | 0:19:33 | |
imagine them pushing them along. | 0:19:33 | 0:19:35 | |
Our Sarah has travelled to Sale near Altrincham to show | 0:19:35 | 0:19:38 | |
Michael what happened to the lawnmower. | 0:19:38 | 0:19:40 | |
Hi, there. Hello, Michael. Hi, how are you? I'm very well. | 0:19:46 | 0:19:48 | |
How are you? Fine, thank you. | 0:19:48 | 0:19:50 | |
I said at the tip that I wanted to keep in touch, so here I am. | 0:19:50 | 0:19:53 | |
Here we are. | 0:19:53 | 0:19:55 | |
I took away your old lawnmower, but your lawnmower was still | 0:19:55 | 0:19:58 | |
slightly working when I took it away from you. It was. | 0:19:58 | 0:20:00 | |
It still worked, but it was jammed, wasn't it? Yeah, it was. | 0:20:00 | 0:20:04 | |
I have made something out of it, but have you thought what that might be? | 0:20:04 | 0:20:08 | |
I had no idea what you were... | 0:20:08 | 0:20:09 | |
Apart from a lawnmower again, I couldn't think...imagine | 0:20:09 | 0:20:12 | |
what you might have made of it. | 0:20:12 | 0:20:13 | |
Well, um, it was a bit of a puzzle and I did have quite | 0:20:13 | 0:20:16 | |
a long think about it, but in the end I've made | 0:20:16 | 0:20:18 | |
a light out of it and I've got some pictures here to show you. | 0:20:18 | 0:20:21 | |
Go on, then. I'll put my glasses on so I can see it clearly. | 0:20:21 | 0:20:24 | |
Your old lawnmower, | 0:20:24 | 0:20:25 | |
I used a little bit of it, and it turned out like this. Wow! | 0:20:25 | 0:20:30 | |
How on earth did you do that? | 0:20:30 | 0:20:32 | |
Well, actually, it was really easy because your lawnmower blade | 0:20:32 | 0:20:37 | |
had all the right holes in it... Oh, that's the blade! Yes. Yeah. | 0:20:37 | 0:20:41 | |
It had all the right holes in it and all the right pieces in just | 0:20:41 | 0:20:44 | |
the position to make it into a lamp. | 0:20:44 | 0:20:46 | |
It was really... That's your interior design expertise, isn't it? | 0:20:46 | 0:20:50 | |
Well, it did look quite striking. | 0:20:50 | 0:20:52 | |
Your lawnmower blade has gone on to be bought by | 0:20:52 | 0:20:55 | |
a shop down in Marlow. | 0:20:55 | 0:20:56 | |
They have all sorts of very smart things in their shop and now | 0:20:56 | 0:20:59 | |
they've got your lawnmower light, and I've got | 0:20:59 | 0:21:01 | |
a little bit of money to share with you. | 0:21:01 | 0:21:03 | |
I've got a ?40 profit... Oh! Good grief! | 0:21:03 | 0:21:06 | |
..to give to you for the old lamp made out of your blade. | 0:21:06 | 0:21:10 | |
That is incredible! That is absolutely incredible. | 0:21:10 | 0:21:13 | |
What might you do with that? | 0:21:13 | 0:21:15 | |
I know what I'm going to do with it because in the | 0:21:15 | 0:21:18 | |
'90s I was a bank manager, and I don't tell people that very often, | 0:21:18 | 0:21:22 | |
but we were better then, I think. | 0:21:22 | 0:21:24 | |
And I opened a little bank in the Royal School for the Deaf where they | 0:21:24 | 0:21:28 | |
had multiple handicaps and we had dinners for them and raised money. | 0:21:28 | 0:21:31 | |
And we opened this little bank and they all came and banked there. | 0:21:31 | 0:21:34 | |
I'll give it to them. | 0:21:34 | 0:21:35 | |
Oh, well, that is a fantastic place for it to go. | 0:21:35 | 0:21:37 | |
Really good to catch up. | 0:21:37 | 0:21:39 | |
Wonderful, wonderful. Absolute pleasure. Thank you. | 0:21:39 | 0:21:42 | |
Thank you so much. | 0:21:42 | 0:21:43 | |
A total of ?60 was spent creating classic lighting | 0:21:45 | 0:21:49 | |
from the lawnmower. | 0:21:49 | 0:21:51 | |
Sarah managed to sell the lamp for ?100, which left her with | 0:21:51 | 0:21:55 | |
a profit of ?40 to give to Michael. | 0:21:55 | 0:21:57 | |
Well, I think Michael approved of my cutting-edge design and the | 0:21:59 | 0:22:03 | |
money is going to a really good place too. | 0:22:03 | 0:22:05 | |
Sarah's now returned to Manchester to see the bold makeover | 0:22:09 | 0:22:13 | |
Anthony's been promising, if he's managed to finish it, of course. | 0:22:13 | 0:22:17 | |
This chair, as complicated as it was, that was kind of our own doing. | 0:22:17 | 0:22:22 | |
We could have went simple but we chose to basically utilise | 0:22:22 | 0:22:26 | |
all the skills of all the staff here. Everybody's loving it. | 0:22:26 | 0:22:30 | |
Everybody loves it for the impact. | 0:22:30 | 0:22:33 | |
Yeah, so hopefully, when she arrives, she's going to love it too. | 0:22:33 | 0:22:37 | |
Well, Anthony was being really quite secretive about my little | 0:22:39 | 0:22:42 | |
chair when I dropped it off, so I'm dying to see what he's done with it. | 0:22:42 | 0:22:45 | |
I've left him 500 quid's worth of budget and I know one thing, | 0:22:45 | 0:22:48 | |
it won't be dull. | 0:22:48 | 0:22:50 | |
When Sarah collected the old chair at the tip, | 0:22:51 | 0:22:54 | |
it had certainly passed its best. | 0:22:54 | 0:22:56 | |
As Churchill himself said, | 0:23:01 | 0:23:02 | |
"There's nothing wrong with change if it's in the right direction." | 0:23:02 | 0:23:06 | |
And Anthony has certainly changed the direction of this old chair. | 0:23:06 | 0:23:11 | |
Covered in iconic quotes, hand-designed and digitally printed | 0:23:11 | 0:23:15 | |
on velvet fabric, this chair is a one-of-a-kind masterpiece. | 0:23:15 | 0:23:20 | |
Anthony promised bold and he's delivered. But will Sarah like it? | 0:23:20 | 0:23:24 | |
Hiya. Hello. And welcome to the war bunker. How are you doing? | 0:23:24 | 0:23:28 | |
I'm very good. Where is it, then? | 0:23:28 | 0:23:30 | |
It's... What have you done to it? Dare I look? | 0:23:32 | 0:23:34 | |
SHE GASPS | 0:23:34 | 0:23:36 | |
Hey! | 0:23:36 | 0:23:37 | |
Anthony Devine. | 0:23:39 | 0:23:42 | |
What an original piece of design! | 0:23:42 | 0:23:44 | |
Basically, we wanted to do something, just something, | 0:23:46 | 0:23:49 | |
you gave us a bit of artistic licence... Yeah. | 0:23:49 | 0:23:51 | |
And we gave you this back. | 0:23:51 | 0:23:53 | |
Um, so we went from taking the chair, we positioned all the | 0:23:53 | 0:23:57 | |
letters up, stencilled it all out, | 0:23:57 | 0:23:59 | |
worked out roughly where it was going to go, | 0:23:59 | 0:24:01 | |
then we went and stencilled and sprayed them all up | 0:24:01 | 0:24:04 | |
and then had it all photographed, | 0:24:04 | 0:24:07 | |
sent it off to our printers and then out she popped, or he popped. | 0:24:07 | 0:24:12 | |
This is a lovely transformation, but 500 quid? | 0:24:14 | 0:24:17 | |
Have you blown that out of the water? | 0:24:18 | 0:24:21 | |
Well, let's just say the 500 quid, | 0:24:21 | 0:24:24 | |
we owe another 20 quid just to the fabric printers. Right. | 0:24:24 | 0:24:27 | |
This isn't sounding... No, no. This isn't sounding very commercial. | 0:24:27 | 0:24:31 | |
I'm just going to say 750. There, I've said it. How much? 750 quid. | 0:24:31 | 0:24:36 | |
Yeah, a little bit over-budget but I can tell why, and I appreciate | 0:24:36 | 0:24:39 | |
the fact that you really went to town on it, | 0:24:39 | 0:24:41 | |
because it is very cool. Thanks. Really good! Love it! | 0:24:41 | 0:24:45 | |
Sarah seemed to take that very well, considering it's ?250 above | 0:24:46 | 0:24:50 | |
the original budget. Wow, that chair is anything but dull, isn't it? | 0:24:50 | 0:24:55 | |
And beautiful. Not cheap, because that's because of all that hard work | 0:24:55 | 0:24:59 | |
that's gone into it. | 0:24:59 | 0:25:00 | |
I love the fact that Anthony's had free rein to create something | 0:25:00 | 0:25:03 | |
that's unique that could have ended up in a skip. | 0:25:03 | 0:25:06 | |
When Sarah spotted Lydia dropping off the old, green chair, | 0:25:07 | 0:25:11 | |
it certainly had some history. | 0:25:11 | 0:25:14 | |
It belonged to my family. | 0:25:14 | 0:25:15 | |
It was passed down to me. It was actually my great aunt's. | 0:25:15 | 0:25:18 | |
Sarah chose to save it from the skip and allowed Anthony free rein to | 0:25:18 | 0:25:22 | |
do whatever he liked. | 0:25:22 | 0:25:23 | |
The inspirational armchair was quickly snapped up by Nick Smith, | 0:25:25 | 0:25:29 | |
a regular client of Sarah's, | 0:25:29 | 0:25:32 | |
who's an online vintage and retro retailer. | 0:25:32 | 0:25:35 | |
It's nice and comfy. | 0:25:35 | 0:25:36 | |
Sarah has returned to the Altrincham area to show Lydia what | 0:25:39 | 0:25:42 | |
became of the old, green chair. | 0:25:42 | 0:25:44 | |
Hi, Lydia. How are you doing? Hi. Nice to see you again. | 0:25:50 | 0:25:54 | |
And you, and you. Beautiful day, isn't it? Oh, gorgeous. | 0:25:54 | 0:25:56 | |
Um, now, last time I saw you, I loved what you were dropping off | 0:25:56 | 0:26:00 | |
at the tip when I saw you. I'm very pleased. | 0:26:00 | 0:26:03 | |
So your old...was it your, did you say it was your great aunt's? | 0:26:03 | 0:26:05 | |
Well, I thought it was my great aunt's but actually it was my | 0:26:05 | 0:26:08 | |
great grandparents' which was then passed on to my great aunt. | 0:26:08 | 0:26:11 | |
Yeah, it's got quite a lot of history, so I'm really intrigued to | 0:26:11 | 0:26:14 | |
find out what's happened. It was a lovely shape, your little chair. | 0:26:14 | 0:26:17 | |
And it was something that didn't travel very far, actually. | 0:26:17 | 0:26:21 | |
We took it to Anthony Devine who teaches upholstery and is a | 0:26:21 | 0:26:25 | |
fantastic upholsterer in Manchester. Fantastic. Oh, brill. | 0:26:25 | 0:26:28 | |
Yeah, so he loved it. I've actually got some pictures here to show you. | 0:26:28 | 0:26:31 | |
Brilliant. Would you like to have a look? I can't wait to have a look. | 0:26:31 | 0:26:35 | |
Well, you said it had a lot of history to it. | 0:26:35 | 0:26:36 | |
Well, he's added even more because your chair is now looking like that. | 0:26:36 | 0:26:40 | |
Oh, wow! That's fantastic. | 0:26:40 | 0:26:42 | |
So he took Winston Churchill as his inspiration. Brilliant. | 0:26:42 | 0:26:46 | |
He created all the fabric... Oh, wow. He stencilled it all himself. | 0:26:46 | 0:26:50 | |
That is amazing. That is so good. That's brilliant. | 0:26:50 | 0:26:52 | |
I love the kind of history link as well. It's fantastic. | 0:26:52 | 0:26:55 | |
Excellent, well, I'm really pleased that you like it cos as | 0:26:55 | 0:26:58 | |
a family piece, there is always that worry that we might do | 0:26:58 | 0:27:01 | |
something to it that you might not approve of. Yeah, yeah. | 0:27:01 | 0:27:03 | |
So, good news is other people did too, and it sold. Oh, wow. | 0:27:03 | 0:27:07 | |
Oh, that's brilliant! | 0:27:07 | 0:27:09 | |
I have ?75 here which is profit from your armchair. | 0:27:09 | 0:27:14 | |
Oh, that's super, thank you very much. Oh, that's brilliant. | 0:27:14 | 0:27:17 | |
I'm going to give it to an animal charity. | 0:27:17 | 0:27:19 | |
You know, that's what I'm going to do, definitely. | 0:27:19 | 0:27:22 | |
I've got one in mind. I am, yes. | 0:27:22 | 0:27:24 | |
That's lovely, that's really, really sweet. | 0:27:24 | 0:27:26 | |
It's a little chunk of money that hopefully will be useful. | 0:27:26 | 0:27:29 | |
Definitely. Definitely. Thank you so much for letting us have it. | 0:27:29 | 0:27:33 | |
Thank you very much. | 0:27:33 | 0:27:34 | |
Oh, it's an absolute pleasure and a lovely cause for that. Thank you. | 0:27:34 | 0:27:37 | |
Lovely to meet you. And you. Bye-bye. Bye-bye. | 0:27:37 | 0:27:40 | |
Anthony charged ?750 for the transformation | 0:27:45 | 0:27:48 | |
of the old, green armchair. | 0:27:48 | 0:27:50 | |
Sarah managed to sell it for 825, which left | 0:27:50 | 0:27:54 | |
a profit of ?75 to return to Lydia. | 0:27:54 | 0:27:58 | |
Well, Lydia loved Anthony's Winston Churchill historical | 0:27:58 | 0:28:01 | |
connection with her chair, | 0:28:01 | 0:28:03 | |
and that animal charity has a very generous ?75 donation coming. | 0:28:03 | 0:28:07 | |
Sarah salvaged two items from the Altrincham Recycling Centre. | 0:28:12 | 0:28:17 | |
Michael's old mower became cutting-edge lighting, and Lydia's | 0:28:17 | 0:28:21 | |
old, green chair was rewrapped and covered in Churchill quotations. | 0:28:21 | 0:28:26 | |
It takes a lot of talent, | 0:28:26 | 0:28:27 | |
plenty of imagination and lots of good old-fashioned hard work | 0:28:27 | 0:28:31 | |
to transform every item that we save, but it's definitely worth it, | 0:28:31 | 0:28:35 | |
especially when we get to hand over some Money For Nothing. | 0:28:35 | 0:28:38 |