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You haven't got anything I could recycle, have you? | 0:00:03 | 0:00:05 | |
How do you make money for nothing? | 0:00:07 | 0:00:10 | |
Wow, look at that! | 0:00:10 | 0:00:11 | |
The answer could be hiding in over 20 million tonnes of household waste | 0:00:11 | 0:00:16 | |
thrown out by us every year. | 0:00:16 | 0:00:18 | |
Well, don't get rid of it too quickly. | 0:00:18 | 0:00:20 | |
This stuff looks amazing. | 0:00:20 | 0:00:21 | |
That's why entrepreneur Sarah Moore wants to get her hands on things | 0:00:22 | 0:00:26 | |
before they hit the skip. | 0:00:26 | 0:00:27 | |
I'm a passionate maker, buyer and user of old stuff, | 0:00:31 | 0:00:34 | |
and I've turned that passion into a moneymaking business. | 0:00:34 | 0:00:37 | |
I make new stuff out of old stuff, | 0:00:37 | 0:00:39 | |
and I sell it for a profit. | 0:00:39 | 0:00:40 | |
And with some of the country's elite designers and makers... | 0:00:42 | 0:00:46 | |
I don't know what to say. | 0:00:46 | 0:00:47 | |
Did you drag it here behind the truck? | 0:00:47 | 0:00:50 | |
..she can transform her finds into desirable... | 0:00:50 | 0:00:53 | |
It's enormous! | 0:00:53 | 0:00:55 | |
..valuable... | 0:00:55 | 0:00:56 | |
Isn't that fantastic? | 0:00:57 | 0:00:58 | |
..and hopefully saleable items. | 0:00:58 | 0:01:02 | |
It's just given me goose bumps. | 0:01:02 | 0:01:03 | |
If Sarah is successful, | 0:01:04 | 0:01:06 | |
then she can hand the profits back to the very people who had no idea | 0:01:06 | 0:01:11 | |
there was cash to be made from their trash. | 0:01:11 | 0:01:14 | |
Thank you very much! Marvellous. | 0:01:14 | 0:01:16 | |
It's a beautiful day for throwing out your rubbish | 0:01:31 | 0:01:34 | |
in Witley in Surrey. | 0:01:34 | 0:01:36 | |
The local recycling centre here is buzzing with bin bags, | 0:01:36 | 0:01:40 | |
and wherever there's a skip, | 0:01:40 | 0:01:42 | |
there's Sarah. | 0:01:42 | 0:01:44 | |
You might like going out shopping. | 0:01:44 | 0:01:46 | |
Maybe you go to the cinema. | 0:01:46 | 0:01:47 | |
You might even go to an art gallery. | 0:01:47 | 0:01:48 | |
But for me, if I want a really great day out, | 0:01:48 | 0:01:51 | |
I come to the recycling centre. | 0:01:51 | 0:01:53 | |
It's fantastic! | 0:01:53 | 0:01:55 | |
Whatever floats your boat, Sarah! | 0:01:55 | 0:01:57 | |
If you're thinking of raiding your local tip, | 0:01:58 | 0:02:01 | |
don't. | 0:02:01 | 0:02:02 | |
Sarah has special permission to be here. | 0:02:02 | 0:02:05 | |
She must find three items she can do up and turn into dosh. | 0:02:05 | 0:02:09 | |
I think I could really clean up round here. | 0:02:11 | 0:02:13 | |
You'll have your work cut out in this place! | 0:02:13 | 0:02:15 | |
Perhaps Colin will brighten your day. | 0:02:17 | 0:02:19 | |
-Hello. -Hello. -Sorry to disturb you when you look busy. | 0:02:19 | 0:02:22 | |
-Busy. -I like the look of that. | 0:02:22 | 0:02:24 | |
Yes, it's an old artist's studio easel. | 0:02:24 | 0:02:26 | |
-Is it yours? -It is mine, yes. | 0:02:26 | 0:02:28 | |
-Do you paint? -I do, yes. | 0:02:28 | 0:02:31 | |
Yeah, funny, that! | 0:02:31 | 0:02:32 | |
Oh, fantastic. | 0:02:32 | 0:02:34 | |
But I've got a later version, as one might say, | 0:02:34 | 0:02:36 | |
and this one's just standing in the garage, | 0:02:36 | 0:02:38 | |
in the way, as all things in the garage are. | 0:02:38 | 0:02:41 | |
So have you had it long? | 0:02:41 | 0:02:42 | |
-Was this yours from new? -It wasn't mine from new, | 0:02:42 | 0:02:44 | |
it was from a previous garage clearance, in fact. | 0:02:44 | 0:02:47 | |
Artist Colin's old easel has been well used, | 0:02:47 | 0:02:51 | |
but is it sturdy enough to be used again? | 0:02:51 | 0:02:54 | |
There. | 0:02:54 | 0:02:55 | |
It's just a lovely vintage version of what I see | 0:02:55 | 0:02:58 | |
coming out of shops today, | 0:02:58 | 0:02:59 | |
so I think it's really attractive, and definitely, | 0:02:59 | 0:03:02 | |
there's some potential to give it a new lease of life. | 0:03:02 | 0:03:05 | |
That's one foldaway find for magpie Moore, | 0:03:05 | 0:03:08 | |
and she's looking pretty chirpy. | 0:03:08 | 0:03:11 | |
-Excellent. -There we are. -Well, I will say that is a lovely thing | 0:03:11 | 0:03:14 | |
for me to find here, and thank you so much for letting me have it. | 0:03:14 | 0:03:17 | |
Bye-bye, then. | 0:03:17 | 0:03:18 | |
But what will Sarah do with it? | 0:03:18 | 0:03:20 | |
Any ideas, Colin? | 0:03:21 | 0:03:23 | |
I can imagine it being, | 0:03:23 | 0:03:25 | |
when it's clean and nice and oiled and whatever, | 0:03:25 | 0:03:29 | |
making quite a nice lamp, perhaps, out of it. | 0:03:29 | 0:03:32 | |
A lamp. Not bad. | 0:03:32 | 0:03:34 | |
So what IS the master plan? | 0:03:35 | 0:03:37 | |
I'd like to paint you a picture | 0:03:37 | 0:03:38 | |
about exactly what I'm going to do with this, | 0:03:38 | 0:03:40 | |
but I have no idea. | 0:03:40 | 0:03:42 | |
But I do know it's beautiful, it's handmade, it's beech, | 0:03:42 | 0:03:46 | |
it's got some great vintage quality, | 0:03:46 | 0:03:48 | |
and that normally means there's money to be made out of it. | 0:03:48 | 0:03:50 | |
For Sarah, there's one designer with the vision to transform this easel. | 0:03:51 | 0:03:56 | |
Say hello to Daniel Heath. | 0:03:58 | 0:04:00 | |
Daniel is a designer/maker who can turn his hand to almost anything. | 0:04:01 | 0:04:05 | |
A wallpaper and textiles designer by trade, | 0:04:07 | 0:04:10 | |
he produces everything from bespoke furniture | 0:04:10 | 0:04:13 | |
to high-end furnishings. | 0:04:13 | 0:04:16 | |
My designs are inspired by lots of different things. | 0:04:16 | 0:04:19 | |
I like to story-tell with the work, | 0:04:19 | 0:04:20 | |
and I like to explore narratives through fun imagery. | 0:04:20 | 0:04:24 | |
You see them evolve as you're creating the design, | 0:04:25 | 0:04:27 | |
but printing them makes them a reality, | 0:04:27 | 0:04:29 | |
and it makes them into a product, and it makes them into something | 0:04:29 | 0:04:32 | |
that somebody else will enjoy as well. | 0:04:32 | 0:04:34 | |
I'm really, really privileged to be able to do that. | 0:04:34 | 0:04:38 | |
To carry on being creative is a great honour. | 0:04:38 | 0:04:41 | |
Well, Daniel, you'll need all of that creativity, | 0:04:42 | 0:04:46 | |
as this easel has even Sarah scratching her head. | 0:04:46 | 0:04:49 | |
One item down, two still to find. | 0:04:57 | 0:05:00 | |
Although Sarah seems to have given up on the searching | 0:05:00 | 0:05:03 | |
and has gone straight for the money. | 0:05:03 | 0:05:05 | |
-No fivers. -What?! | 0:05:05 | 0:05:07 | |
-All yours. You can recycle that. -Nae fivers?! | 0:05:07 | 0:05:10 | |
Get your head back in the game, | 0:05:10 | 0:05:12 | |
as Anthony could have item two waiting for you. | 0:05:12 | 0:05:15 | |
Oh, wow, that looks old and lovely. | 0:05:17 | 0:05:18 | |
-Hi there. -It is. Hello. | 0:05:18 | 0:05:19 | |
-Hello. -What...? -It's a Z bed. | 0:05:19 | 0:05:22 | |
It's a real Z bed, isn't it? | 0:05:22 | 0:05:23 | |
A real Z bed, which has been in the family...a lot of years. | 0:05:23 | 0:05:26 | |
Does that mean it was yours? | 0:05:26 | 0:05:28 | |
I don't know if I ever used it. | 0:05:28 | 0:05:29 | |
-It was for guests. -OK. | 0:05:29 | 0:05:31 | |
Everybody had one, didn't they? | 0:05:31 | 0:05:32 | |
-Yes. -Everybody had Z beds, but I don't know what we do now. | 0:05:32 | 0:05:34 | |
What do we do now? | 0:05:34 | 0:05:36 | |
Well, it folds up, it makes a useful dressing table top. | 0:05:36 | 0:05:39 | |
Fantastic. I bet it's quite heavy, isn't it? | 0:05:39 | 0:05:42 | |
The Z bed was a staple of the British home in the 1940s and '50s. | 0:05:42 | 0:05:47 | |
What do you do, legs first, or...? | 0:05:47 | 0:05:49 | |
No, legs come afterwards. So, straight down there... | 0:05:49 | 0:05:52 | |
It's a bed that doubles as a table. | 0:05:52 | 0:05:55 | |
Oh, they don't make them like that any more. | 0:05:55 | 0:05:57 | |
Beautifully designed. | 0:05:57 | 0:05:58 | |
I'm slightly thinking it'll only ever be a Z bed! | 0:06:01 | 0:06:04 | |
-A Z bed! -But it has potential, | 0:06:04 | 0:06:06 | |
and if not, it looks comfortable. | 0:06:06 | 0:06:08 | |
-HE LAUGHS -Yes! | 0:06:08 | 0:06:09 | |
Comfortable? | 0:06:09 | 0:06:10 | |
With springs like that? | 0:06:10 | 0:06:11 | |
You've got to be kidding! | 0:06:11 | 0:06:12 | |
Can I take away your Z bed? | 0:06:13 | 0:06:15 | |
-Well, I hope so. -And be back in touch if I can? | 0:06:15 | 0:06:17 | |
Brilliant, yeah, thank you. | 0:06:17 | 0:06:18 | |
Well, at least our Sarah looks pleased. | 0:06:20 | 0:06:22 | |
Anthony, what do you reckon she's planning? | 0:06:23 | 0:06:26 | |
A Z bed is an unusual item... | 0:06:26 | 0:06:28 | |
..which may limit its possibilities of changing it. | 0:06:29 | 0:06:33 | |
Ain't that the truth?! | 0:06:33 | 0:06:34 | |
Ultimately, I'm not sure what she'll do with it. | 0:06:35 | 0:06:38 | |
Well, I'm hoping this Z bed's sleeping days are over, | 0:06:38 | 0:06:40 | |
because this needs a brand-new look, | 0:06:40 | 0:06:42 | |
and a total makeover if it's going to make any money. | 0:06:42 | 0:06:45 | |
I'm thinking it should be something cool, something stylish, | 0:06:45 | 0:06:48 | |
and something that one of my very talented friends | 0:06:48 | 0:06:50 | |
is going to have to help me with. | 0:06:50 | 0:06:52 | |
For Sarah, there's only one man for this job. | 0:06:52 | 0:06:55 | |
Meet King of Wood Norman Wilkinson. | 0:06:58 | 0:07:01 | |
He's been making furniture for more than 25 years. | 0:07:01 | 0:07:05 | |
No matter what Sarah throws at him from the tip, | 0:07:05 | 0:07:08 | |
Norman always comes up trumps. | 0:07:08 | 0:07:11 | |
Oh, the stuff you get from the tip, some of it, I'm thinking, | 0:07:11 | 0:07:13 | |
what are we doing? But, you know, it's great fun! | 0:07:13 | 0:07:16 | |
And also, when you turn the weird and wonderful ones | 0:07:16 | 0:07:19 | |
into something great and they sell it as well, | 0:07:19 | 0:07:21 | |
and someone's going to love it, I mean, | 0:07:21 | 0:07:23 | |
that's what it's all about, isn't it? | 0:07:23 | 0:07:25 | |
And there isn't a day that goes by | 0:07:25 | 0:07:26 | |
when making furniture doesn't take Norman to his happy place. | 0:07:26 | 0:07:30 | |
I enjoy my work. I think if anyone enjoys their work, | 0:07:30 | 0:07:32 | |
it comes out in the piece of furniture, because, | 0:07:32 | 0:07:35 | |
you know, you love it, | 0:07:35 | 0:07:36 | |
and then it hopefully reflects when someone buys it, | 0:07:36 | 0:07:38 | |
that they can see the love that we've put into it. | 0:07:38 | 0:07:41 | |
You know, it's a joy to get up and come to work in the mornings. | 0:07:42 | 0:07:45 | |
Mmm... You might not be quite so joyful, Norman, | 0:07:45 | 0:07:48 | |
when you clap your eyes on this old bed. | 0:07:48 | 0:07:50 | |
Two down, one to go. | 0:07:58 | 0:08:00 | |
This time, it's something Sarah can work on herself. | 0:08:02 | 0:08:05 | |
Sort of tempting, aren't they? | 0:08:06 | 0:08:08 | |
You never know what's going to be in one of those boots, do you? | 0:08:09 | 0:08:11 | |
No, you never know. | 0:08:11 | 0:08:13 | |
But Alex's boot has potential loot. | 0:08:13 | 0:08:15 | |
That looks like a sweet chair. | 0:08:16 | 0:08:18 | |
-It is a great chair. -Had it long? -It's my old... | 0:08:18 | 0:08:20 | |
I have had, about seven years. | 0:08:20 | 0:08:22 | |
-My pride and joy. -And you've fallen out of love with it? | 0:08:22 | 0:08:24 | |
Yeah. And unfortunately, the springs have broken, | 0:08:24 | 0:08:27 | |
which makes it not particularly comfortable any more. | 0:08:27 | 0:08:29 | |
-And I tried to get somebody to repair it. -Right. | 0:08:29 | 0:08:31 | |
But unfortunately, it was too much money to repair. | 0:08:31 | 0:08:34 | |
Cheaper to buy a new one. | 0:08:34 | 0:08:36 | |
Well, I'm really glad that you couldn't find anybody, | 0:08:36 | 0:08:38 | |
because I'm looking for stuff like this. | 0:08:38 | 0:08:39 | |
And you have a footstool as well that goes with it? | 0:08:39 | 0:08:41 | |
And I have a lovely footstool that goes with it. | 0:08:41 | 0:08:43 | |
If it'd be OK to take both those things away, | 0:08:43 | 0:08:45 | |
shall I come and find you to show you what I've done with it? | 0:08:45 | 0:08:47 | |
Yes, that would be great. I'd actually like that, thank you. | 0:08:47 | 0:08:50 | |
Fantastic. | 0:08:50 | 0:08:51 | |
Nice one, Sarah. | 0:08:51 | 0:08:52 | |
Alex, what do you think Sarah's got planned for your saggy-seated combo? | 0:08:52 | 0:08:56 | |
I'm sure she's going to upcycle it and give it a new, lovely home. | 0:08:56 | 0:09:00 | |
That's the plan. | 0:09:00 | 0:09:01 | |
Well, it might not be vintage, it might not even be antique, | 0:09:01 | 0:09:04 | |
but it is definitely cute. | 0:09:04 | 0:09:05 | |
It's got a style all of its own, and it is absolutely ripe for an update. | 0:09:05 | 0:09:09 | |
Update? | 0:09:09 | 0:09:10 | |
I think you might mean overhaul. | 0:09:10 | 0:09:12 | |
Sarah's tracked down all three items. | 0:09:14 | 0:09:16 | |
Daniel will be pondering on this artist's easel. | 0:09:16 | 0:09:20 | |
Norman will be right out of his comfort zone with a 1940s Z bed, | 0:09:20 | 0:09:25 | |
and Sarah will be earning her stripes | 0:09:25 | 0:09:27 | |
fixing up a burst armchair and footstool. | 0:09:27 | 0:09:30 | |
Well, I am loving the items that I found at the recycling centre today, | 0:09:31 | 0:09:35 | |
but I'm going to love them even more when they turn a profit. | 0:09:35 | 0:09:38 | |
Walthamstow in East London, | 0:09:45 | 0:09:48 | |
with that good old E17 postcode. | 0:09:48 | 0:09:51 | |
It's where Daniel dreams up his award-winning designs. | 0:09:51 | 0:09:55 | |
But can he turn Sarah's old easel into some fine art? | 0:09:57 | 0:10:01 | |
Working with these pieces often gives me | 0:10:01 | 0:10:04 | |
sort of licence to be more creative, | 0:10:04 | 0:10:06 | |
do something a little more... left-field, | 0:10:06 | 0:10:09 | |
something a bit different from what I've done before. | 0:10:09 | 0:10:12 | |
That's just what I wanted to hear. | 0:10:12 | 0:10:14 | |
Well, it's a lovely artist's easel, | 0:10:14 | 0:10:16 | |
but transforming it into something else? | 0:10:16 | 0:10:18 | |
I don't know what you'd do. I've seen people put TVs on it, | 0:10:18 | 0:10:21 | |
I'm just hoping Daniel's got some bright ideas | 0:10:21 | 0:10:23 | |
of making that into a money maker. | 0:10:23 | 0:10:25 | |
Hi! | 0:10:25 | 0:10:26 | |
-Hey, how you doing? -Really well. | 0:10:26 | 0:10:28 | |
An easel! It's a big one, that, isn't it? | 0:10:28 | 0:10:31 | |
It's not, like, one of these little flimsy jobs. | 0:10:31 | 0:10:34 | |
Do you want to stand it up and see how it works? | 0:10:34 | 0:10:36 | |
It does all sorts of weird... | 0:10:36 | 0:10:37 | |
Yeah, it's like a deck chair. | 0:10:37 | 0:10:38 | |
It might seem a bit cumbersome today, | 0:10:38 | 0:10:41 | |
but wooden easels like this were a game changer | 0:10:41 | 0:10:44 | |
for 19th-century artists, | 0:10:44 | 0:10:46 | |
as they could go anywhere with them. | 0:10:46 | 0:10:49 | |
Perhaps Constable painted The Hay Wain using one of these. | 0:10:49 | 0:10:52 | |
-Did I get you? -You did! | 0:10:53 | 0:10:55 | |
Careful, Daniel! We need those hands. | 0:10:55 | 0:10:57 | |
-What do you think? -Yeah, it's great. | 0:10:59 | 0:11:00 | |
It's... It's substantial. | 0:11:00 | 0:11:02 | |
I'm just trying to think, what else could you clamp in it? | 0:11:02 | 0:11:06 | |
I've seen flatscreen TVs in them. | 0:11:06 | 0:11:08 | |
Although... Yeah, I don't know if I want that risk. | 0:11:08 | 0:11:12 | |
I'm with you on that one, Daniel. | 0:11:13 | 0:11:15 | |
But maybe we could do something so that it still looks like this, | 0:11:15 | 0:11:19 | |
but it's reinforced in some way, | 0:11:19 | 0:11:21 | |
so that it doesn't wobble, and it doesn't move around. | 0:11:21 | 0:11:24 | |
And then you could put something on it, | 0:11:24 | 0:11:26 | |
either a mirror or shelving or something like that. | 0:11:26 | 0:11:28 | |
I can see it being a very saleable item | 0:11:28 | 0:11:31 | |
if it's got a proper big dressing mirror in it, | 0:11:31 | 0:11:34 | |
-something substantial like that. -Yeah. | 0:11:34 | 0:11:36 | |
And then, perhaps, | 0:11:36 | 0:11:38 | |
somewhere to hang an item of clothing. | 0:11:38 | 0:11:41 | |
How about a man stand? | 0:11:41 | 0:11:42 | |
Eh? A man stand? | 0:11:43 | 0:11:46 | |
-A man stand...? -Shaving kit... | 0:11:46 | 0:11:47 | |
Yeah, that's good. | 0:11:47 | 0:11:49 | |
Yeah, little shelf, little... | 0:11:49 | 0:11:50 | |
Like, brass shelf or something sticking out, | 0:11:51 | 0:11:53 | |
so you can put your...man stuff. | 0:11:53 | 0:11:56 | |
"Man stuff"? | 0:11:56 | 0:11:58 | |
Like a set of jump leads and an oily rag? | 0:11:58 | 0:12:00 | |
Suits, cufflinks, ties, moisturisers. | 0:12:00 | 0:12:04 | |
-This is a modern man, obviously. -Yeah. | 0:12:04 | 0:12:06 | |
Ah, like me, you mean! | 0:12:06 | 0:12:08 | |
Love it. How much? | 0:12:08 | 0:12:10 | |
It's going to depend on what accessories I go with, | 0:12:10 | 0:12:13 | |
but I think it's probably going to be about 200 quid. | 0:12:13 | 0:12:16 | |
200 quid well spent, I think. | 0:12:16 | 0:12:19 | |
I think it's an original idea. | 0:12:19 | 0:12:20 | |
I think it's very now, | 0:12:20 | 0:12:22 | |
and you've got the perfect bones to create something original from it. | 0:12:22 | 0:12:26 | |
-It's going to be good. -Go crazy, won't you? | 0:12:26 | 0:12:28 | |
Yeah, yeah. Well, I want it to be sophisticated. | 0:12:28 | 0:12:31 | |
I'm going to leave you with all those lovely thoughts. | 0:12:31 | 0:12:34 | |
-Call me when it's ready. -See you, Sarah. | 0:12:34 | 0:12:36 | |
It's an easel, so it's going to be nice to make into something else. | 0:12:39 | 0:12:42 | |
And, yeah, I think getting all the accessories and bits, | 0:12:43 | 0:12:46 | |
it's going to make it into something fun for someone's home. | 0:12:46 | 0:12:49 | |
You said it, Dan. | 0:12:49 | 0:12:50 | |
I can't wait to see this man stand! | 0:12:50 | 0:12:53 | |
It's a great idea. Maybe a little bit of a niche market, | 0:12:53 | 0:12:56 | |
but I think Dan's going to make it fantastic. | 0:12:56 | 0:12:58 | |
At £200 for labour and materials, | 0:12:59 | 0:13:02 | |
this easel will be reborn, | 0:13:02 | 0:13:04 | |
but will it bring in the bucks? | 0:13:04 | 0:13:06 | |
For Sarah's next stop, | 0:13:15 | 0:13:17 | |
she's come to the village of Hellingly in East Sussex. | 0:13:17 | 0:13:20 | |
This is where wood wonderman Norman works on his wonderful wood. | 0:13:20 | 0:13:25 | |
And so what has Sarah brought him? | 0:13:26 | 0:13:28 | |
Metal. | 0:13:28 | 0:13:29 | |
Ugh. | 0:13:29 | 0:13:30 | |
BED RATTLING | 0:13:30 | 0:13:33 | |
Do you think Norman heard me coming? | 0:13:33 | 0:13:34 | |
I'm going to go and get him, and see what he thinks of my Z bed. | 0:13:34 | 0:13:37 | |
He's going to love it! | 0:13:37 | 0:13:39 | |
I'm not so sure, Sarah. | 0:13:39 | 0:13:41 | |
Look. | 0:13:44 | 0:13:45 | |
-No, no, it's here. -Oh, oh, sorry. | 0:13:45 | 0:13:47 | |
-Oh, this one. -Give me a hand in with it. | 0:13:47 | 0:13:49 | |
-Don't be rude. -I'd never be rude to you. | 0:13:49 | 0:13:52 | |
Why do I doubt that? | 0:13:53 | 0:13:54 | |
I can see you're falling in love with it already. | 0:13:58 | 0:14:00 | |
Dear, oh, dear. You do come up with some stuff, don't you? | 0:14:00 | 0:14:03 | |
I've had a couple of ideas. | 0:14:03 | 0:14:04 | |
One of them was to turn it upside down, | 0:14:04 | 0:14:06 | |
and use the frame to make a foldout table, | 0:14:06 | 0:14:09 | |
because you've got a 6-foot table on a frame with no legs. | 0:14:09 | 0:14:13 | |
SHE CHUCKLES | 0:14:13 | 0:14:14 | |
Oh, he's not liking that one. | 0:14:14 | 0:14:17 | |
Or the other alternative, because it's got wheels on it, | 0:14:17 | 0:14:20 | |
and I have been known to mention this in the past, | 0:14:20 | 0:14:22 | |
but I am quite partial to a cocktail. | 0:14:22 | 0:14:24 | |
I haven't got a cocktail cabinet! | 0:14:24 | 0:14:26 | |
Cocktail trolley! | 0:14:26 | 0:14:28 | |
Is that possible? | 0:14:28 | 0:14:29 | |
-Everything's possible. -Cocktail trolley? | 0:14:30 | 0:14:33 | |
Has she gone completely mad? | 0:14:33 | 0:14:35 | |
Yeah, why not? | 0:14:35 | 0:14:36 | |
What, with little umbrellas? | 0:14:36 | 0:14:37 | |
Yeah. Only problem is, this is a bit ugly, | 0:14:37 | 0:14:40 | |
and I think a cocktail trolley needs to be a bit pretty. | 0:14:40 | 0:14:43 | |
Right, we're going to have our work cut out today, aren't we? | 0:14:43 | 0:14:45 | |
I think you'll have work cut out, your metal cut out, wood cut out... | 0:14:45 | 0:14:49 | |
Everything. Let's get rid of all that lot. | 0:14:49 | 0:14:51 | |
-Right, yeah, good start. -I think this lot's going to have to go | 0:14:51 | 0:14:54 | |
as well, isn't it? Because it really isn't doing anything. | 0:14:54 | 0:14:56 | |
Obviously, we'll take the top off, | 0:14:56 | 0:14:58 | |
because it's not really very glamorous, is it, | 0:14:58 | 0:15:00 | |
-for a cocktail cabinet? -OK. | 0:15:00 | 0:15:01 | |
What about... | 0:15:01 | 0:15:02 | |
..if we open this out... | 0:15:03 | 0:15:05 | |
-..fix it... -Right. | 0:15:06 | 0:15:08 | |
..put a back on it, and then we could make something, | 0:15:08 | 0:15:12 | |
a box and put a lining of some form, zinc, tin, to hold it, | 0:15:12 | 0:15:17 | |
fill it up with ice, champagne, fantastic. | 0:15:17 | 0:15:19 | |
I love that idea! | 0:15:20 | 0:15:22 | |
We'll try and do posh but rustic as well. | 0:15:22 | 0:15:25 | |
We'll clean it up and just keep it in that natural state. | 0:15:25 | 0:15:28 | |
So I am looking for a first-class drinks trolley. | 0:15:28 | 0:15:30 | |
Is it a first-class price? | 0:15:30 | 0:15:31 | |
Well, we'll give you a first-class job. | 0:15:32 | 0:15:34 | |
We'll try and do it for 425. | 0:15:36 | 0:15:39 | |
I think that's a genius interpretation | 0:15:39 | 0:15:41 | |
of a simple trolley idea. | 0:15:41 | 0:15:43 | |
425 quid? | 0:15:43 | 0:15:44 | |
I don't care if I make money on it or not. | 0:15:44 | 0:15:46 | |
-Go for it! -A bit like me, then! | 0:15:46 | 0:15:48 | |
Well done, you. I'll see you soon. | 0:15:48 | 0:15:50 | |
-Yeah. Cocktails, dear? -Yes. | 0:15:50 | 0:15:51 | |
Looks like even the thought of champagne has made Sarah giddy, | 0:15:51 | 0:15:56 | |
as she's agreed to really splash out. | 0:15:56 | 0:15:58 | |
Every so often, you have to take a risk on something. | 0:15:58 | 0:16:01 | |
£425 on a Z bed. | 0:16:01 | 0:16:04 | |
I think that drinks trolley is going to be amazing. | 0:16:04 | 0:16:06 | |
We're going to have to use some imagination | 0:16:08 | 0:16:10 | |
to get it to where we need to. | 0:16:10 | 0:16:12 | |
But I think this is going to be one of the most challenging projects | 0:16:13 | 0:16:17 | |
we've done, really, trying to turn a Z bed into a champagne trolley... | 0:16:17 | 0:16:21 | |
that's going to be saleable. | 0:16:21 | 0:16:23 | |
It's a risky £425 to reinvent the Z bed, | 0:16:25 | 0:16:30 | |
but if anyone can make it saleable, it's Norman. | 0:16:30 | 0:16:33 | |
Come on, Ravi, this way! | 0:16:41 | 0:16:42 | |
Coming in? | 0:16:42 | 0:16:43 | |
In the beautiful South Downs in West Sussex, | 0:16:43 | 0:16:47 | |
Sarah is heading to her barn, | 0:16:47 | 0:16:49 | |
to start work on the stripy armchair and footstool. | 0:16:49 | 0:16:53 | |
Well, this chair and footstool, they're not normally my cup of tea. | 0:16:54 | 0:16:57 | |
They're bit too modern, a bit too smart. | 0:16:57 | 0:17:00 | |
But I've got this lot, and this definitely is my cup of tea. | 0:17:00 | 0:17:04 | |
I've got some lovely vintage fabrics, | 0:17:04 | 0:17:06 | |
beautiful old tweed coat. | 0:17:06 | 0:17:07 | |
A tweed coat? | 0:17:07 | 0:17:09 | |
Have you got a hat and scarf for it, too? | 0:17:09 | 0:17:12 | |
This seat has got a really nasty spring loose in it, | 0:17:12 | 0:17:15 | |
so before I can make it beautiful, I've got to make it comfortable. | 0:17:15 | 0:17:18 | |
Now, I should point out that Sarah's not a trained upholsterer. | 0:17:20 | 0:17:24 | |
Her area of expertise is the outside, | 0:17:24 | 0:17:27 | |
not what goes on under the cushions. | 0:17:27 | 0:17:30 | |
That really is scary. | 0:17:31 | 0:17:33 | |
I don't know where the springs are. | 0:17:33 | 0:17:35 | |
Good start! | 0:17:35 | 0:17:37 | |
I do not want to undo that webbing. | 0:17:37 | 0:17:39 | |
If I undo that webbing, there is a world of pain coming. | 0:17:39 | 0:17:41 | |
How about instead of going under, | 0:17:43 | 0:17:45 | |
you go after the big bulge on the top? | 0:17:45 | 0:17:48 | |
Just last thing I want to be doing is cutting this material off here, | 0:17:48 | 0:17:51 | |
because I really need the structure of this chair to stay the same. | 0:17:51 | 0:17:54 | |
Well, it's either that or you stay with a bumpy rump. | 0:17:55 | 0:17:58 | |
Here goes nothing. | 0:17:58 | 0:17:59 | |
Ah, that's the problem. | 0:18:01 | 0:18:04 | |
Look, it's a really cheap, badly put together spring set, | 0:18:05 | 0:18:08 | |
and that is forever going to cause problems, | 0:18:08 | 0:18:10 | |
because they're not tied in. | 0:18:10 | 0:18:12 | |
They're bouncing all over the place, | 0:18:12 | 0:18:14 | |
and they feel really uncomfortable, | 0:18:14 | 0:18:15 | |
so I think that should be put aside, | 0:18:15 | 0:18:18 | |
and I'm going to use the padding | 0:18:18 | 0:18:19 | |
and the bits that are in the footstool | 0:18:19 | 0:18:21 | |
to build up a lovely, comfortable base for the chair | 0:18:21 | 0:18:23 | |
and just rest it on that webbing. | 0:18:23 | 0:18:25 | |
Using the foam from the footstool makes for | 0:18:30 | 0:18:33 | |
a really cosy, comfortable seat. | 0:18:33 | 0:18:35 | |
But if it's longevity you're looking for, | 0:18:36 | 0:18:39 | |
you can replace the springs with a new spring set for around £15. | 0:18:39 | 0:18:44 | |
Oh, that's so much better! | 0:18:49 | 0:18:51 | |
It's really comfortable now. | 0:18:51 | 0:18:53 | |
Hey, here comes the exciting bit, though. | 0:18:53 | 0:18:55 | |
I've got vintage fabric to put on this to make it look lovely. | 0:18:55 | 0:18:58 | |
It's going to be a bit of a task, | 0:18:58 | 0:18:59 | |
cos I'm reclaiming some of it from an old coat. | 0:18:59 | 0:19:01 | |
And that old coat has come from a charity shop. | 0:19:02 | 0:19:05 | |
I absolutely love this Harris Tweed. | 0:19:06 | 0:19:08 | |
It's such a beautiful, old, well-made fabric. | 0:19:08 | 0:19:11 | |
I want to keep a little bit of detail of the coat, | 0:19:11 | 0:19:13 | |
but I don't want it to look like it's been draped over the chair. | 0:19:13 | 0:19:16 | |
-That's a good bit there... -To keep everything safe, | 0:19:17 | 0:19:20 | |
Sarah has added a special fire retardant cloth under the tweed. | 0:19:20 | 0:19:24 | |
Just using the edge of the seam of the front of the coat here | 0:19:25 | 0:19:29 | |
to provide a really neat edge. | 0:19:29 | 0:19:31 | |
Sarah has positioned the fabric of the coat | 0:19:31 | 0:19:34 | |
so that the buttonholes are down the side of each arm. | 0:19:34 | 0:19:37 | |
Clever! | 0:19:37 | 0:19:38 | |
Definitely want to make a feature out of these things, otherwise, | 0:19:38 | 0:19:41 | |
they're going to look like they're just holes in the fabric. | 0:19:41 | 0:19:44 | |
And I've actually got the pocket here, which I'm going to leave in. | 0:19:44 | 0:19:46 | |
Maybe you can put the remote control in there. | 0:19:46 | 0:19:48 | |
A pocket in an armchair! | 0:19:48 | 0:19:50 | |
That is out there, Sarah! | 0:19:50 | 0:19:52 | |
I think this might actually work. | 0:19:52 | 0:19:54 | |
Sarah spent £50 in fabric for the chair. | 0:19:55 | 0:19:58 | |
If she somehow makes this thing desirable, | 0:19:58 | 0:20:01 | |
she could stand to make a fair bit of profit. | 0:20:01 | 0:20:04 | |
Back in Walthamstow, | 0:20:12 | 0:20:13 | |
Daniel is getting to grips with the easel. | 0:20:13 | 0:20:16 | |
Or should I say, man stand? | 0:20:16 | 0:20:18 | |
We've got this artist's easel. | 0:20:19 | 0:20:21 | |
We're going to turn it into a man stand. | 0:20:21 | 0:20:24 | |
A man stand is basically going to be like a man's dressing station, | 0:20:24 | 0:20:27 | |
so we're going to have a mirror on it, | 0:20:27 | 0:20:29 | |
and we're going to have a place to hang a jacket, | 0:20:29 | 0:20:32 | |
maybe somewhere to put your watch and your tie. | 0:20:32 | 0:20:35 | |
A little accessories shelf as well. | 0:20:35 | 0:20:37 | |
So hopefully, it's going to be | 0:20:37 | 0:20:39 | |
quite a quirky little sort of bedroom accessories stand. | 0:20:39 | 0:20:42 | |
In the old days, | 0:20:42 | 0:20:43 | |
your Edwardian gentleman would have had what was called a valet stand | 0:20:43 | 0:20:48 | |
to hang his suit on. | 0:20:48 | 0:20:49 | |
But your modern man, well, he needs a mirror, of course. | 0:20:49 | 0:20:53 | |
Daniel's making a back for the mirror out of plywood | 0:20:56 | 0:20:59 | |
for mounting on the stand. | 0:20:59 | 0:21:01 | |
Good luck with cutting that circle out! | 0:21:01 | 0:21:04 | |
I have to get it roughly into a circle, | 0:21:10 | 0:21:12 | |
and then I'm going to use a massive disk sander | 0:21:12 | 0:21:15 | |
to bring it to a nice, smooth edge all around the sides. | 0:21:15 | 0:21:19 | |
Ah, so that's how you make neat circles out of plywood! | 0:21:19 | 0:21:24 | |
Daniel's got some serious machinery in his workshop. | 0:21:24 | 0:21:27 | |
I'd love a go on his sander. | 0:21:27 | 0:21:29 | |
OK, so I've just cut this to size, I hope the... | 0:21:36 | 0:21:39 | |
hope the mirror fits. | 0:21:39 | 0:21:41 | |
Oh, spot-on! | 0:21:44 | 0:21:46 | |
This is going to go up on the easel here. | 0:21:46 | 0:21:50 | |
Somewhere. | 0:21:50 | 0:21:51 | |
I imagine we might try and make it off centre, | 0:21:52 | 0:21:56 | |
or maybe central, not entirely sure yet. | 0:21:56 | 0:22:00 | |
While Daniel reflects on that, he's got to clean up that easel. | 0:22:00 | 0:22:04 | |
Great! Are we going back to the big sander? | 0:22:05 | 0:22:07 | |
Aww, just a small sander this time. | 0:22:08 | 0:22:11 | |
But good for doing fine detail. | 0:22:11 | 0:22:14 | |
To get into all the corners means dismantling the whole thing. | 0:22:14 | 0:22:18 | |
Yeah, I hope I can remember how to put it all back together. | 0:22:24 | 0:22:26 | |
Yeah, me too, Daniel! | 0:22:26 | 0:22:27 | |
Once we get it back to this all over... | 0:22:28 | 0:22:30 | |
..and then we put a really, really nice hard wood oil on it, | 0:22:32 | 0:22:36 | |
it'll bring out the grain, bring out the colour, | 0:22:36 | 0:22:38 | |
but it'll be really, really consistent, | 0:22:38 | 0:22:40 | |
and it'll look really good, I think. | 0:22:40 | 0:22:42 | |
A beautiful finish will give it | 0:22:42 | 0:22:44 | |
that cool, sophisticated look that Daniel's aiming for. | 0:22:44 | 0:22:48 | |
But how do you make this plywood mirror mount look just as good? | 0:22:49 | 0:22:53 | |
OK, so we've got this piece of wood that's going to be | 0:22:53 | 0:22:55 | |
the back of the mirror. | 0:22:55 | 0:22:56 | |
It's going to be exposed, | 0:22:56 | 0:22:58 | |
because it's going to be attached to the easel. | 0:22:58 | 0:23:00 | |
I quite like the grain on here, but I just don't like... | 0:23:00 | 0:23:03 | |
I don't think the colour's going to be good for what we're doing, | 0:23:03 | 0:23:06 | |
so I think they should stain it or we should paint it. | 0:23:06 | 0:23:08 | |
Daniel is testing out a dark wood stain | 0:23:08 | 0:23:11 | |
on the spare bit of ply to see if it works for him. | 0:23:11 | 0:23:13 | |
Yeah, there we go. | 0:23:13 | 0:23:15 | |
So, yeah... | 0:23:15 | 0:23:17 | |
I think that could be nice. | 0:23:17 | 0:23:18 | |
I think I'm going to go for it. | 0:23:18 | 0:23:19 | |
Daniel is using a wood stain rather than paint | 0:23:21 | 0:23:24 | |
to help the grain of the wood show through. | 0:23:24 | 0:23:27 | |
Remember when using a wood stain to always brush | 0:23:27 | 0:23:30 | |
the same way as the grain. | 0:23:30 | 0:23:32 | |
This makes brushstrokes less noticeable. | 0:23:32 | 0:23:35 | |
The stain that we put on this, | 0:23:36 | 0:23:37 | |
we might put on other parts of the easel as well. | 0:23:37 | 0:23:39 | |
Like the shelf, or the hanger, | 0:23:39 | 0:23:42 | |
that might be in the same stain, | 0:23:42 | 0:23:44 | |
so we have a bit of a mixture of different wood colours. | 0:23:44 | 0:23:47 | |
But just keeping it quite sophisticated. | 0:23:47 | 0:23:50 | |
Well, I'm not seeing sophisticated just yet. | 0:23:51 | 0:23:54 | |
But Daniel's got a real vision of his concepts, right? | 0:23:54 | 0:23:57 | |
I like to think that the man stand, | 0:23:57 | 0:24:00 | |
trademark pending, | 0:24:00 | 0:24:02 | |
could be a common thing in the bachelor pad, | 0:24:02 | 0:24:05 | |
but, you know, I'm thinking it's more kind of... | 0:24:05 | 0:24:08 | |
..James Bond. | 0:24:10 | 0:24:11 | |
It's a bit more Odd Job than James Bond at the moment. | 0:24:13 | 0:24:16 | |
Let's hope he can pull it off. | 0:24:17 | 0:24:19 | |
Back in Hellingly, Norman is getting to grips | 0:24:27 | 0:24:30 | |
with the reality of the Z bed | 0:24:30 | 0:24:32 | |
becoming some sort of drinks trolley. | 0:24:32 | 0:24:34 | |
We are going to make it into a champagne trolley. | 0:24:35 | 0:24:37 | |
We're going to use oak, | 0:24:37 | 0:24:39 | |
and let's see where we go. | 0:24:39 | 0:24:40 | |
So I have plans in my head, | 0:24:40 | 0:24:43 | |
but this is going to be one that I think I'm going to be making up | 0:24:43 | 0:24:46 | |
as I go along. | 0:24:46 | 0:24:47 | |
Flying by the seat of his pants. | 0:24:47 | 0:24:49 | |
Go on, Norman! | 0:24:49 | 0:24:51 | |
Yeah, we'll take the top off first, | 0:24:51 | 0:24:52 | |
and then it'll help me get to the springs. | 0:24:52 | 0:24:55 | |
Norman only wants the actual bed frame to work with, | 0:24:56 | 0:25:00 | |
so all the springs have to go. | 0:25:00 | 0:25:02 | |
I suppose the good thing about it is, | 0:25:03 | 0:25:05 | |
I can always have a kip halfway through, can't I? | 0:25:05 | 0:25:07 | |
There's no rest for the wicked, Norman. | 0:25:08 | 0:25:11 | |
First to go is the old wooden table top. | 0:25:11 | 0:25:13 | |
Next to go are the springs. | 0:25:15 | 0:25:17 | |
That actually looks like fun. | 0:25:19 | 0:25:20 | |
It's great. You can take your anger out on it, | 0:25:22 | 0:25:24 | |
and if someone's upset you during the day, | 0:25:24 | 0:25:26 | |
you can think it is them, can't you? | 0:25:26 | 0:25:27 | |
Steady on, big fella! | 0:25:27 | 0:25:29 | |
Right, that bit, this is going to be the first bit of the structure, | 0:25:31 | 0:25:34 | |
so we're going to obviously use that for the top. | 0:25:34 | 0:25:36 | |
I think we're going to take this bit off and lose this bit. | 0:25:36 | 0:25:39 | |
I think we'll get the drill and the saw | 0:25:39 | 0:25:40 | |
and we'll try and take this apart, drill it out. | 0:25:40 | 0:25:42 | |
This bed is around 70 years old. | 0:25:42 | 0:25:44 | |
So the only way to get it apart is with brute force. | 0:25:45 | 0:25:49 | |
Bingo! | 0:25:54 | 0:25:56 | |
Right, throw that bit away. | 0:25:57 | 0:25:58 | |
Another bit. | 0:25:58 | 0:26:00 | |
Next to be chucked out are these little metal wheels. | 0:26:00 | 0:26:03 | |
Oh, I can feel a drill or a hammer coming on. | 0:26:03 | 0:26:07 | |
What's it going to be? | 0:26:07 | 0:26:08 | |
It's the drill! | 0:26:08 | 0:26:09 | |
Bingo. | 0:26:13 | 0:26:14 | |
I've taken these off another job, | 0:26:14 | 0:26:16 | |
so I thought one day they'd come in handy, | 0:26:16 | 0:26:18 | |
so this is what we're going to do. | 0:26:18 | 0:26:20 | |
So I'm going to plug that with a piece of wood, | 0:26:20 | 0:26:23 | |
get a nice piece of wood, and I'll glue it in, | 0:26:23 | 0:26:24 | |
and then once it's gone off, | 0:26:24 | 0:26:26 | |
and then I can drill it in, and then I can put that in, | 0:26:26 | 0:26:28 | |
and glue that in as well. | 0:26:28 | 0:26:30 | |
So, put that in, | 0:26:30 | 0:26:31 | |
that in, | 0:26:31 | 0:26:32 | |
and that in! | 0:26:32 | 0:26:33 | |
Fantastic. What about the rest of it? | 0:26:33 | 0:26:36 | |
Got us a nice bit of oak. We've already cut it to size, | 0:26:36 | 0:26:38 | |
so we're going to just pop it into the base, | 0:26:38 | 0:26:41 | |
and then go from there. | 0:26:41 | 0:26:43 | |
Oak is a really dense hardwood | 0:26:43 | 0:26:45 | |
which has good resistance to things like stains and scratches. | 0:26:45 | 0:26:49 | |
Great wood for a champagne trolley, I reckon. | 0:26:49 | 0:26:51 | |
A bit of brute force and ignorance always helps. | 0:26:53 | 0:26:55 | |
That's one shelf well and truly in. | 0:26:58 | 0:27:00 | |
Now for the table top. | 0:27:01 | 0:27:03 | |
It's safety glasses and big, powerful saw time. | 0:27:03 | 0:27:07 | |
He makes that look easy. | 0:27:09 | 0:27:10 | |
And in the blink of an eye, | 0:27:11 | 0:27:13 | |
Norman's made an oak table top for his trolley. | 0:27:13 | 0:27:16 | |
And what's next? | 0:27:17 | 0:27:18 | |
We're going to put a piece in here all the way round. | 0:27:18 | 0:27:21 | |
We're going to have this as the front. | 0:27:21 | 0:27:23 | |
If we get this in, and then it'll start really taking shape. | 0:27:23 | 0:27:27 | |
I'm glad, Norman, | 0:27:27 | 0:27:28 | |
because all I can see is an old Z bed with a shelf in it. | 0:27:28 | 0:27:32 | |
With our makers busy overhauling the first two tip finds, | 0:27:35 | 0:27:39 | |
we're going back to West Sussex to see how Sarah's getting on | 0:27:39 | 0:27:43 | |
with her armchair. | 0:27:43 | 0:27:44 | |
I've got as much of the coat on as possible. | 0:27:46 | 0:27:49 | |
It's covered a fair bit. | 0:27:49 | 0:27:50 | |
I'm going to do the arms and the inside | 0:27:50 | 0:27:53 | |
in this lovely houndstooth. | 0:27:53 | 0:27:55 | |
Sarah started with a striped armchair and footstool. | 0:28:04 | 0:28:09 | |
The fabric was frazzled, | 0:28:09 | 0:28:10 | |
and the seat was too lumpy to get comfy. | 0:28:10 | 0:28:13 | |
But now... | 0:28:13 | 0:28:14 | |
It's been completely made over, | 0:28:18 | 0:28:21 | |
with a mixture of vintage fabric in on trend carnival colours. | 0:28:21 | 0:28:26 | |
The small embellishments like these buttons | 0:28:26 | 0:28:29 | |
leave just a hint of that coat made from hand-woven Harris tweed, | 0:28:29 | 0:28:34 | |
and the new padding made from the now discarded footstool | 0:28:34 | 0:28:38 | |
makes it a real treat for the rear. | 0:28:38 | 0:28:41 | |
It's compliant with all UK fire safety regulations, | 0:28:41 | 0:28:45 | |
and I have to say, I had my doubts about this one, | 0:28:45 | 0:28:48 | |
but now, I absolutely love it. | 0:28:48 | 0:28:51 | |
Time to grab the old pipe and slippers. | 0:28:51 | 0:28:54 | |
I popped a little bit of floral into the seat. | 0:28:55 | 0:28:57 | |
I've used absolutely as much of that old coat as possible, | 0:28:57 | 0:29:00 | |
and I'm really pleased with its lovely tweed feeling. | 0:29:00 | 0:29:04 | |
I hope it'll find a nice new home. | 0:29:04 | 0:29:06 | |
Let's find out. | 0:29:07 | 0:29:08 | |
It was at Witley recycling centre that Sarah spotted Alex. | 0:29:10 | 0:29:14 | |
That looks like a sweet chair. | 0:29:14 | 0:29:16 | |
It is a great chair. | 0:29:16 | 0:29:17 | |
Alex had spent seven years with his trusty chair and footstool. | 0:29:17 | 0:29:21 | |
My pride and joy. | 0:29:21 | 0:29:22 | |
But he was reluctantly saying goodbye. | 0:29:22 | 0:29:25 | |
The springs have broken, | 0:29:25 | 0:29:26 | |
but unfortunately, it was too much money to repair. | 0:29:26 | 0:29:29 | |
Alex was chuffed that Sarah wanted to transform his saggy-seated combo. | 0:29:29 | 0:29:34 | |
I'm sure she's going to upcycle it and give it a new, lovely home. | 0:29:34 | 0:29:38 | |
Two became one, | 0:29:38 | 0:29:39 | |
as Sarah used the footstool to help revamp the chair. | 0:29:39 | 0:29:43 | |
She shared pictures of it online, | 0:29:44 | 0:29:46 | |
and it wasn't long before it was snapped up by a private buyer. | 0:29:46 | 0:29:50 | |
But is there a profit for Alex? | 0:29:50 | 0:29:52 | |
Well, unfortunately, I haven't been able to catch up with Alex | 0:29:52 | 0:29:54 | |
to talk about his old striped armchair, | 0:29:54 | 0:29:56 | |
but I really pleased to say that I've got quite a bit of profit | 0:29:56 | 0:29:58 | |
to send his way. | 0:29:58 | 0:30:00 | |
In fact, I've got £170 here, | 0:30:00 | 0:30:01 | |
and that's going straight to him. | 0:30:01 | 0:30:03 | |
Sarah spent only £50 on materials for the chair, | 0:30:03 | 0:30:07 | |
and she sold it for £220, | 0:30:07 | 0:30:10 | |
leaving a healthy profit of £170 for Alex. | 0:30:10 | 0:30:15 | |
Well done, Sarah. | 0:30:15 | 0:30:16 | |
In East London, | 0:30:26 | 0:30:27 | |
Sarah's come back to Walthamstow | 0:30:27 | 0:30:29 | |
to see how Daniel's getting on with the artist's easel. | 0:30:29 | 0:30:33 | |
So, the man stand is almost ready. | 0:30:33 | 0:30:38 | |
Occasionally, I'll go to just tighten a nut, | 0:30:38 | 0:30:41 | |
and I'll realise it's still wet... | 0:30:41 | 0:30:42 | |
..so, yeah, we're pretty close to time on this one. | 0:30:44 | 0:30:47 | |
Ready or not, here she comes. | 0:30:47 | 0:30:49 | |
But will Sarah be impressed? | 0:30:49 | 0:30:51 | |
I think she's really going to like it. | 0:30:51 | 0:30:53 | |
I think all the materials have come together really well, so, yeah, | 0:30:53 | 0:30:57 | |
can't wait for her to see it. | 0:30:57 | 0:30:58 | |
Well, I'm here in a very busy Walthamstow, | 0:30:59 | 0:31:01 | |
coming to pick up my easel tip find, | 0:31:01 | 0:31:03 | |
and I'm hoping Dan has turned it into something super saleable. | 0:31:03 | 0:31:07 | |
Daniel started off with an everyday wooden artist's easel. | 0:31:07 | 0:31:11 | |
Now it's a dressing stand for the modern man. | 0:31:16 | 0:31:19 | |
Daniel has sanded and oiled the original wood, | 0:31:20 | 0:31:24 | |
added a useful shelf, | 0:31:24 | 0:31:26 | |
and there's even a coat hanger at the back. | 0:31:26 | 0:31:29 | |
Perfect for your suit jacket. | 0:31:29 | 0:31:31 | |
The crowning glory is this magnificent mirror, | 0:31:32 | 0:31:35 | |
which Daniel had etched with one of his signature bird designs. | 0:31:35 | 0:31:39 | |
Stunning. | 0:31:39 | 0:31:41 | |
This might be repurposing as art, | 0:31:44 | 0:31:47 | |
but will this hipster furniture stand up to Sarah's expectations? | 0:31:47 | 0:31:51 | |
-Hey, Dan! -Hey, Sarah. How are you doing? | 0:31:54 | 0:31:56 | |
-I'm really well. How are you? -Good to see you. | 0:31:56 | 0:31:58 | |
Dan, it's a fantastic thing. | 0:31:58 | 0:32:00 | |
The man stand is here, yeah. | 0:32:00 | 0:32:03 | |
Wow, it's really neat. | 0:32:03 | 0:32:04 | |
And is that a vintage mirror you've got? | 0:32:04 | 0:32:06 | |
It's not. I just bought a new piece of glass and vintageified it. | 0:32:06 | 0:32:11 | |
I did the etching on it. | 0:32:11 | 0:32:13 | |
Daniel created this design, | 0:32:13 | 0:32:14 | |
then had it etched using a laser engraving machine. | 0:32:14 | 0:32:18 | |
I think it's inspiring stuff, | 0:32:18 | 0:32:19 | |
and what you've done, I love it. | 0:32:19 | 0:32:22 | |
Thank you. | 0:32:22 | 0:32:23 | |
Sarah's certainly feeling the love, | 0:32:23 | 0:32:25 | |
but is she sensing a profit? | 0:32:25 | 0:32:27 | |
It's come out looking very sleek, but how's the budget been? | 0:32:27 | 0:32:31 | |
We use as much of the original thing as we could. | 0:32:31 | 0:32:33 | |
Just got a standard size piece of mirror. | 0:32:33 | 0:32:36 | |
Spray paint, oil, that was it. | 0:32:37 | 0:32:40 | |
-So 200 quid, are we in? -Yeah, we're in. | 0:32:40 | 0:32:42 | |
Thank you. | 0:32:43 | 0:32:44 | |
This one was quite challenging for me, | 0:32:44 | 0:32:46 | |
because the easel is such a kind of simple contraption, | 0:32:46 | 0:32:50 | |
and they're really, really common. | 0:32:50 | 0:32:52 | |
I wanted to do something interesting with it, | 0:32:52 | 0:32:53 | |
and I'm really happy how it's turned out. | 0:32:53 | 0:32:55 | |
Well, I was expecting a practical man stand, | 0:32:56 | 0:32:59 | |
but I think Dan's delivered something really beautiful. | 0:32:59 | 0:33:02 | |
He's groomed that easel | 0:33:02 | 0:33:03 | |
into something that is going to turn a tidy profit. | 0:33:03 | 0:33:06 | |
At Witley recycling centre, | 0:33:10 | 0:33:12 | |
Sarah ran into Colin, throwing out an old artist's easel. | 0:33:12 | 0:33:16 | |
-Do you paint? -I do. Yes. | 0:33:16 | 0:33:18 | |
Colin had a newer one, | 0:33:19 | 0:33:20 | |
so had no use for the old one. | 0:33:20 | 0:33:22 | |
This one's just standing in the garage, | 0:33:22 | 0:33:24 | |
in the way, as all things in the garage are. | 0:33:24 | 0:33:27 | |
But he did have an inkling of how to re-use it. | 0:33:27 | 0:33:30 | |
I can imagine it making quite a nice lamp, perhaps, out of it. | 0:33:30 | 0:33:35 | |
And once Daniel got his hands on it, | 0:33:35 | 0:33:37 | |
the man stand was born. | 0:33:37 | 0:33:39 | |
The beautiful etched bird caught the eye of this barber shop in Glasgow. | 0:33:41 | 0:33:46 | |
It's not hard to see why. | 0:33:46 | 0:33:47 | |
Owner Stephen thought it would fit in perfectly | 0:33:48 | 0:33:52 | |
with all things manly in his quirky shop. | 0:33:52 | 0:33:54 | |
Well, it's quite good for us as barbers. | 0:33:54 | 0:33:56 | |
So, we've got the stand to put all our products on, | 0:33:56 | 0:33:58 | |
but I particularly like the etching on it, | 0:33:58 | 0:34:00 | |
because our logo is actually a bird. | 0:34:00 | 0:34:03 | |
Time for Sarah to take flight over to Haslemere | 0:34:03 | 0:34:06 | |
to show Colin what happened to his old easel. | 0:34:06 | 0:34:09 | |
-Hello there. -Oh, hello, Sarah! | 0:34:13 | 0:34:15 | |
-How are you? -I'm very well. | 0:34:15 | 0:34:16 | |
-Nice to see you. -And to see you. | 0:34:16 | 0:34:18 | |
You were dropping off a lovely old artist's easel when I met you. | 0:34:18 | 0:34:22 | |
Did you wonder what we might do with it after we took it away? | 0:34:22 | 0:34:25 | |
I did, yes. | 0:34:25 | 0:34:26 | |
I mean, the thought of it just being another easel, | 0:34:26 | 0:34:30 | |
but nicely sort of presented was one thought that occurred to me. | 0:34:30 | 0:34:33 | |
Well, actually, I did have a few thoughts about it, | 0:34:33 | 0:34:36 | |
but in the end, I took it to Walthamstow | 0:34:36 | 0:34:37 | |
to a great guy called Dan, | 0:34:37 | 0:34:39 | |
who is actually a surface pattern designer, | 0:34:39 | 0:34:41 | |
so I've got some pictures to show you what he did with your easel. | 0:34:41 | 0:34:43 | |
-OK, this I'm looking forward to, yes. -Here it is. | 0:34:43 | 0:34:46 | |
Oh, my goodness. | 0:34:46 | 0:34:47 | |
That is lovely, isn't it? | 0:34:47 | 0:34:49 | |
He has turned it into what we have termed the man stand. | 0:34:49 | 0:34:53 | |
Right. Right, yes. | 0:34:53 | 0:34:54 | |
So appropriate, today, isn't it? | 0:34:54 | 0:34:56 | |
I mean, men spend a lot more time in front of the mirror. | 0:34:56 | 0:35:00 | |
It is our mission, having had things made, to sell them, | 0:35:00 | 0:35:03 | |
and your man stand has gone to a lovely barber's from Glasgow, | 0:35:03 | 0:35:08 | |
-so I have £60 here for you, as well, for your old easel. -Wow! | 0:35:08 | 0:35:13 | |
Thank you very much indeed! | 0:35:13 | 0:35:15 | |
That's an absolute pleasure. | 0:35:15 | 0:35:16 | |
Have you got any idea what you might spend £60 on? | 0:35:16 | 0:35:19 | |
That's going to the kidney research, | 0:35:19 | 0:35:22 | |
UK Kidney Research. | 0:35:22 | 0:35:24 | |
-OK. -And that's what I'd like to do with it. | 0:35:24 | 0:35:27 | |
Well, that sounds like an amazing thing to do with it. | 0:35:27 | 0:35:29 | |
-Thank you so much for letting us have it. -Thank you. | 0:35:29 | 0:35:31 | |
-Goodbye, Colin. Thank you so much. -Thank you very much. Bye-bye, now. | 0:35:31 | 0:35:34 | |
Well, it was lovely to catch up with Colin again, | 0:35:37 | 0:35:39 | |
and I bet he didn't see a man stand coming! | 0:35:39 | 0:35:41 | |
But I think he approved of what we made of it, and I'm so pleased | 0:35:41 | 0:35:44 | |
we managed to make a bit of profit for his charity. | 0:35:44 | 0:35:46 | |
Daniel charged a total of £200 for his work and materials. | 0:35:47 | 0:35:52 | |
And the man stand was sold to the barber's for £260, | 0:35:52 | 0:35:57 | |
leaving a pleasant profit of £60 for Colin's chosen charity. | 0:35:57 | 0:36:01 | |
Over in East Sussex, | 0:36:10 | 0:36:12 | |
Sarah's back, to see the transformation of the Z bed, | 0:36:12 | 0:36:15 | |
and it looks like Norman's got something on ice for her. | 0:36:15 | 0:36:19 | |
It's the most craziest thing I've ever had to do, really. | 0:36:19 | 0:36:21 | |
But we have done the best of our ability, | 0:36:23 | 0:36:26 | |
and I think it's turned out really well. | 0:36:26 | 0:36:28 | |
Well, I've traversed Sussex to pick up my transformed trolley, | 0:36:28 | 0:36:31 | |
and I'm hoping it's going to be service with a smile | 0:36:31 | 0:36:33 | |
and drinks all round, | 0:36:33 | 0:36:35 | |
because a grumpy Norman is not a pleasant sight! | 0:36:35 | 0:36:37 | |
Sarah left Norman with this rusty old 1940s Z bed. | 0:36:38 | 0:36:43 | |
Now, it's an absolutely fabulous drinks trolley. | 0:36:46 | 0:36:49 | |
He's made a luxurious light oak table top | 0:36:49 | 0:36:52 | |
with sunken ice boxes to chill your bubbly. | 0:36:52 | 0:36:56 | |
All held within the original metal frame, | 0:36:57 | 0:37:00 | |
complete with bedsprings to give it that sense of history | 0:37:00 | 0:37:04 | |
that comes with a vintage wine. | 0:37:04 | 0:37:06 | |
Pass me the bubbly, darling! | 0:37:07 | 0:37:09 | |
-Oh, hello! -Hello, you. | 0:37:09 | 0:37:11 | |
How are you? You all right? | 0:37:11 | 0:37:12 | |
SHE GASPS | 0:37:12 | 0:37:13 | |
-Norman! -There we go. | 0:37:14 | 0:37:16 | |
That is one on-trend trolley, isn't it? | 0:37:16 | 0:37:19 | |
You've got two lots of champagne. | 0:37:19 | 0:37:21 | |
We've put glasses in there, but you've got two lots. | 0:37:22 | 0:37:24 | |
Got storage underneath. | 0:37:24 | 0:37:25 | |
You've got the glasses, and even a drawer for your bits and pieces, | 0:37:25 | 0:37:28 | |
your umbrellas. | 0:37:28 | 0:37:29 | |
You've given it some class where it was really lacking. | 0:37:32 | 0:37:36 | |
I mean, we've used oak this time, and we've kept it very...light, | 0:37:36 | 0:37:39 | |
so it's a bit of a modern, with the old, | 0:37:39 | 0:37:41 | |
-so it's a bit of a twist on both. -Both counts. | 0:37:41 | 0:37:44 | |
The old Z bed has been completely reconstructed. | 0:37:45 | 0:37:49 | |
But some clever touches mean it will never be forgotten. | 0:37:49 | 0:37:52 | |
You move round the back... | 0:37:52 | 0:37:53 | |
-Oh, Norman! -We kept that bar on, so that's for your tea towels. | 0:37:54 | 0:37:57 | |
And then we put the springs in the back there to help hold it, | 0:37:57 | 0:38:00 | |
and just remind everyone what it was. | 0:38:00 | 0:38:03 | |
Well, I think you've just kept all the good bits out of it. | 0:38:03 | 0:38:05 | |
-Yeah. -And you've given it some lovely little casters as well. | 0:38:05 | 0:38:08 | |
Yeah, changed the casters. | 0:38:08 | 0:38:09 | |
We didn't repaint it or do anything, | 0:38:09 | 0:38:12 | |
because I wanted to try and keep the history of it being a Z bed, | 0:38:12 | 0:38:14 | |
and the label and everything, so we just cleaned it up and lacquered it, | 0:38:14 | 0:38:17 | |
and yeah, I think it works. | 0:38:17 | 0:38:19 | |
I think you've done well, cos that was a tricky thing to transform. | 0:38:19 | 0:38:23 | |
It is a trolley with class. | 0:38:23 | 0:38:25 | |
Come on, hit me with the money, cos it was just over 400 quid, | 0:38:26 | 0:38:29 | |
-wasn't it? -It was, but we went a bit over budget with this one. | 0:38:29 | 0:38:33 | |
Really? Go on, then. | 0:38:33 | 0:38:35 | |
We got it to 800, I'm afraid. | 0:38:35 | 0:38:37 | |
-You didn't?! -No, no, 425! | 0:38:37 | 0:38:38 | |
Of course Norman kept to budget, and Sarah's pretty impressed. | 0:38:39 | 0:38:44 | |
I think that you've created something out of nothing, | 0:38:44 | 0:38:46 | |
and that's an achievement, and it's full of alcohol! | 0:38:46 | 0:38:48 | |
-What more could you ask for? -Fantastic, yeah! | 0:38:48 | 0:38:50 | |
-Come on, Norman. -Glass with ice. -Sun's out. Let's take it outside. | 0:38:50 | 0:38:53 | |
I thought, what am I doing, taking it on? | 0:38:56 | 0:38:58 | |
But as we got into it and everything, | 0:38:58 | 0:39:00 | |
it turned into a really great project, | 0:39:00 | 0:39:02 | |
and I actually quite like it, | 0:39:02 | 0:39:03 | |
so I hope there's someone out there will love it as well, | 0:39:03 | 0:39:06 | |
and I'm really pleased that Sarah liked it. | 0:39:06 | 0:39:08 | |
Well, it certainly goes to show, you snooze, you lose. | 0:39:10 | 0:39:12 | |
If I hadn't picked that up on the tip, | 0:39:12 | 0:39:14 | |
we wouldn't have this fantastic drinks trolley. | 0:39:14 | 0:39:16 | |
I think Norman's done a cracking job, | 0:39:16 | 0:39:18 | |
and I can't wait to let everybody else have a look at it. | 0:39:18 | 0:39:20 | |
At the Witley recycling centre, | 0:39:21 | 0:39:23 | |
Sarah ran into Anthony, who had some old metal in his boot. | 0:39:23 | 0:39:28 | |
Oh, wow, that looks old and lovely. | 0:39:28 | 0:39:29 | |
-Hi there. -It is. Hello. | 0:39:29 | 0:39:31 | |
For Anthony, this was a bit of family history. | 0:39:31 | 0:39:34 | |
It's a real Z bed, isn't it? | 0:39:34 | 0:39:35 | |
Real Z bed, which has been in the family...a lot of years. | 0:39:35 | 0:39:39 | |
Sarah thought it had potential. | 0:39:39 | 0:39:41 | |
Can I take away your Z bed? | 0:39:41 | 0:39:42 | |
Yes, thank you. | 0:39:42 | 0:39:43 | |
But Anthony had his doubts. | 0:39:43 | 0:39:45 | |
A Z bed is an unusual item... | 0:39:46 | 0:39:49 | |
..which may limit its possibilities of changing it. | 0:39:50 | 0:39:53 | |
But our Norman knows no limits, | 0:39:54 | 0:39:56 | |
and, after a wrestle with the metal... | 0:39:56 | 0:39:59 | |
..he produced this champion champagne trolley. | 0:40:00 | 0:40:04 | |
Its unique vintage styling grabbed the attention of Nicole. | 0:40:04 | 0:40:08 | |
Oh, fantastic! | 0:40:08 | 0:40:09 | |
She bought it for her mobile catering company, | 0:40:09 | 0:40:12 | |
We Are Lollapalooza, | 0:40:12 | 0:40:14 | |
to serve the bubbly at their chic events. | 0:40:14 | 0:40:17 | |
Yeah, I'm liking this. | 0:40:17 | 0:40:18 | |
The metal and wood combined gives it a unique look. | 0:40:18 | 0:40:22 | |
I like how they've still got the springs kept on it, too. | 0:40:22 | 0:40:25 | |
Yeah, really like it. | 0:40:25 | 0:40:26 | |
A happy buyer means Sarah has popped over to see Anthony | 0:40:28 | 0:40:32 | |
to give him the good news about his old Z bed. | 0:40:32 | 0:40:34 | |
-Oh, hi there! -Hello, Sarah! | 0:40:37 | 0:40:38 | |
-You been in the wars? -Yes, a hip operation. | 0:40:39 | 0:40:42 | |
-Came out yesterday. -Oh, really? | 0:40:42 | 0:40:44 | |
-Oh, well, thank you so much for seeing me. -My pleasure. | 0:40:44 | 0:40:47 | |
Well, I said I would be in contact with you about your Z bed. | 0:40:47 | 0:40:50 | |
Did you wonder what might happen to it after we take it away? | 0:40:50 | 0:40:52 | |
I did indeed. I expressed...surprise, | 0:40:52 | 0:40:54 | |
because I know you've got your experts around the country, | 0:40:54 | 0:40:57 | |
but I did wonder what on earth they could do with this one. | 0:40:57 | 0:40:59 | |
Well, you'll be pleased to know, | 0:40:59 | 0:41:02 | |
lovely Norman, who is a great, normally go to guy for wood work, | 0:41:02 | 0:41:06 | |
said, I'd love a challenge, let me have your Z bed. | 0:41:06 | 0:41:09 | |
And I've got some pictures here to show you how it turned out. | 0:41:09 | 0:41:12 | |
So here is your Z bed. | 0:41:12 | 0:41:14 | |
-It now looks like that. -Oh, wow! Oh, I see! | 0:41:14 | 0:41:16 | |
With a top, a drawer, and, oh! And a drinks cabinet. | 0:41:16 | 0:41:20 | |
Drinks cabinet, yup, | 0:41:20 | 0:41:21 | |
and he's got all sorts of little features in it to hold the glasses. | 0:41:21 | 0:41:24 | |
Lovely. Love the wood. The choice of wood, yeah. | 0:41:24 | 0:41:27 | |
Lovely, solid oak on the top. | 0:41:27 | 0:41:29 | |
-Yeah. -Well, it's definitely going places. | 0:41:29 | 0:41:31 | |
In fact, it's going all the way up north to a catering company, | 0:41:31 | 0:41:34 | |
and something to celebrate too, | 0:41:34 | 0:41:36 | |
I've got a little £45 windfall there for your Z bed. | 0:41:36 | 0:41:42 | |
So that's for you. Are you happy to take that? | 0:41:42 | 0:41:44 | |
Yes, thank you very much! | 0:41:44 | 0:41:45 | |
Thank you. That's probably £45 more than I thought! | 0:41:45 | 0:41:48 | |
-So that's very good. Thank you. -As you weren't expecting that, | 0:41:48 | 0:41:51 | |
can I put you on the spot and say what might you do with it? | 0:41:51 | 0:41:53 | |
Probably go to charity, I think. | 0:41:54 | 0:41:56 | |
Well, that sounds very generous. | 0:41:56 | 0:41:57 | |
Thank you so much. I wish you happy convalescence. | 0:41:57 | 0:42:00 | |
-Thank you, Sarah. -Bye-bye. -Bye-bye. | 0:42:00 | 0:42:02 | |
Well, the Z bed is still going places, | 0:42:06 | 0:42:08 | |
and it sounds like the £45 is going somewhere very special, too. | 0:42:08 | 0:42:11 | |
The drinks trolley cost £425 for Norman's labour and materials, | 0:42:11 | 0:42:17 | |
and the catering company bought it for £470, | 0:42:17 | 0:42:21 | |
which left a profit of £45, | 0:42:21 | 0:42:23 | |
which Anthony will be giving to charity. | 0:42:23 | 0:42:26 | |
I'll drink to that! | 0:42:26 | 0:42:27 | |
Sarah saved three items being discarded at the dump. | 0:42:32 | 0:42:35 | |
Instead of going to waste, they were renovated... | 0:42:37 | 0:42:40 | |
..revolutionised... | 0:42:42 | 0:42:44 | |
..and reinvented. | 0:42:47 | 0:42:48 | |
Well, with the help of my friends, | 0:42:53 | 0:42:54 | |
we've managed to save stuff from the skip and turn things into saleable, | 0:42:54 | 0:42:57 | |
stylish items, and handing over a bit of money for nothing? | 0:42:57 | 0:43:01 | |
Well, that is a real bonus. | 0:43:01 | 0:43:02 |