0:00:02 > 0:00:06The master craftsmen and women of the past have all helped to make Britain great.
0:00:06 > 0:00:09And today, there is a dedicated band of people
0:00:09 > 0:00:12all helping to keep these traditional skills alive and relevant.
0:00:12 > 0:00:16But they need your help to make sure that some of them are not lost for ever.
0:00:16 > 0:00:20So, come on, join them, and me, Paul Martin, in our Handmade Revolution!
0:00:20 > 0:00:23CHEERING
0:00:47 > 0:00:49We've been combing the country
0:00:49 > 0:00:52to find Britain's most talented amateur makers.
0:00:52 > 0:00:57At last, bigging up the arts, as the teenagers say at the moment.
0:00:57 > 0:01:00And we'll be finding out how important their items could be.
0:01:00 > 0:01:02Things handmade with skill and passion.
0:01:02 > 0:01:07There's been some absolutely fantastic stuff, really interesting and different.
0:01:07 > 0:01:09But what these people don't know is that
0:01:09 > 0:01:12one of them will be given a life-changing opportunity.
0:01:12 > 0:01:17The chance to see their work at the spiritual home of the handmade.
0:01:17 > 0:01:20Today's judges' favourite is...
0:01:25 > 0:01:27Here, at the Amberley Heritage Centre in Sussex,
0:01:27 > 0:01:31a group of passionate and talented craftspeople are doing all they can
0:01:31 > 0:01:33to safeguard our traditional skills.
0:01:33 > 0:01:35And, by celebrating the past,
0:01:35 > 0:01:39we can safeguard the future for the great British craft heritage.
0:01:39 > 0:01:42Everyone here today has signed up to the handmade revolution.
0:01:42 > 0:01:45But this also about finding the antique of the future.
0:01:46 > 0:01:51Later in the show, you can learn about the art of handmade textiles.
0:01:51 > 0:01:53- That's beautiful. - Luscious, isn't it?
0:01:53 > 0:01:55That's absolutely beautiful.
0:01:55 > 0:01:59Five finalists have been selected from the hundreds who applied,
0:01:59 > 0:02:01to show us what they can do.
0:02:01 > 0:02:04And that lucky group are right here at my masters and makers day,
0:02:04 > 0:02:07to run the gauntlet of our panel of judges.
0:02:07 > 0:02:09And here they are.
0:02:10 > 0:02:15Mary Jane Baxter is a hat fanatic, who runs her own millinery business.
0:02:15 > 0:02:17I can't wait to see the best of British makers.
0:02:17 > 0:02:20I know there's tons of talent out there.
0:02:21 > 0:02:24Piyush Suri has more than ten years' experience in the design industry,
0:02:24 > 0:02:28and believes Britain's desire for individuality
0:02:28 > 0:02:30has never been more buoyant.
0:02:30 > 0:02:33There is a revival in handmade all across Britain,
0:02:33 > 0:02:35and I absolutely love being a part of it.
0:02:35 > 0:02:38And our head judge, Glenn Adamson,
0:02:38 > 0:02:42is a curator at the Victoria & Albert Museum, the spiritual home of the arts movement.
0:02:42 > 0:02:44So he really does know his stuff!
0:02:44 > 0:02:46Britain has a wonderful craft heritage,
0:02:46 > 0:02:51and I'm looking to find people who are taking that tradition on into the 21st century.
0:02:51 > 0:02:54The chosen few will get a unique opportunity,
0:02:54 > 0:02:58to be able to see their work at London's Victoria & Albert Museum.
0:03:00 > 0:03:02What could be better for an up-and-coming maker?
0:03:02 > 0:03:07Which one will have what it takes to be named Judges' Favourite?
0:03:07 > 0:03:11From what I have already seen, their decision will be a hard one.
0:03:11 > 0:03:14If they can't agree, then it's over to me.
0:03:19 > 0:03:23First of the day for Piyush is Sian Rookwood, a 24-year-old student.
0:03:25 > 0:03:27I have seen this type of work before.
0:03:27 > 0:03:31How do you think your work is very different from the work which is already in the market?
0:03:31 > 0:03:35I am trying to use unusual materials in my products.
0:03:35 > 0:03:38I try and recycle or upcycle materials as much as possible.
0:03:38 > 0:03:41I think that something I haven't seen quite so much of
0:03:41 > 0:03:44with this particular style of metalwork jewellery.
0:03:44 > 0:03:45What kind of metalwork are you using?
0:03:45 > 0:03:49They are actually industrial split washers, so they are repurposed.
0:03:49 > 0:03:50They're not recycled,
0:03:50 > 0:03:54they're upcycled, because they're not previously used for any other purpose.
0:03:54 > 0:03:56Where do you source this material?
0:03:56 > 0:04:00Anywhere that sells nuts, bolts, hardware, that sort of thing.
0:04:00 > 0:04:01Just a general hardware store.
0:04:01 > 0:04:04And, why this fascination with nuts and bolts?
0:04:04 > 0:04:07I think I really like the idea of using something that's quite chunky and industrial,
0:04:07 > 0:04:11and trying to make something a bit more delicate and feminine out of it.
0:04:11 > 0:04:12I play with materials and ideas.
0:04:12 > 0:04:15- So, there is USP to your work? - Yes, I think so.
0:04:15 > 0:04:19- What's your background in terms of education?- I'm actually a trainee architect.- OK.
0:04:19 > 0:04:22I'm studying for my masters degree at the minute.
0:04:22 > 0:04:25I think a lot of ideas, my architectural aesthetic,
0:04:25 > 0:04:27come through in my jewellery work.
0:04:27 > 0:04:29- Hence, the structure. - Yeah, very structured pieces.
0:04:29 > 0:04:32Quite rigid and industrial-looking.
0:04:32 > 0:04:35I really like, with that piece in particular, that,
0:04:35 > 0:04:38despite the fact it's made from something so solid and rigid,
0:04:38 > 0:04:43it's really fluid, and quite snakelike, quite a tactile piece.
0:04:43 > 0:04:47Everyone that looks as it tends to want to pick it up and have a play with it.
0:04:47 > 0:04:51- Very gladiator like? Yes. - Quite warrior like, most of them.
0:04:51 > 0:04:54- I quite like the piece you're wearing.- Thank you.
0:04:54 > 0:04:57It's very interesting, the shape, it looks like a collar.
0:04:57 > 0:04:59It is a Peter Pan-inspired collar.
0:04:59 > 0:05:03There's quite a lot of it around at the moment in the shops, the fashion items on dresses.
0:05:03 > 0:05:06I just like the reinterpretation in the metal.
0:05:06 > 0:05:10The gold colour, does it come off after a while because of the material you are using?
0:05:10 > 0:05:12It is brass plating that I'm using.
0:05:12 > 0:05:17Partly because I am working within an affordable price range at the moment.
0:05:17 > 0:05:19I am trying to make big statement pieces,
0:05:19 > 0:05:22but that people can readily afford.
0:05:22 > 0:05:26Don't you think women spend so much amount of money on jewellery?
0:05:26 > 0:05:27They do.
0:05:27 > 0:05:30So, why affordable? If it's a good concept, why affordable?
0:05:30 > 0:05:32For my own personal taste,
0:05:32 > 0:05:35I was really struggling to find things that I wanted
0:05:35 > 0:05:38from the high street that were affordable for me on my budget.
0:05:38 > 0:05:40So I started playing around with things,
0:05:40 > 0:05:43making pieces for myself, and then friends and family.
0:05:43 > 0:05:45I actually have a nan, my nan,
0:05:45 > 0:05:50who wears one of my chainmail pieces to church, which I think is fantastic.
0:05:50 > 0:05:52She's very trendy, I must say.
0:05:52 > 0:05:54She is very trendy.
0:05:54 > 0:05:56So what is the price range of your pieces?
0:05:56 > 0:05:58Anything from about £20,
0:05:58 > 0:06:02up to about £70 or £80.
0:06:02 > 0:06:05So, for instance, this is in the region of £40.
0:06:05 > 0:06:07This would be more like £60.
0:06:07 > 0:06:09How do you price your products?
0:06:09 > 0:06:12I do it roughly on how long it takes me to make a piece.
0:06:12 > 0:06:15I don't really factor in material costs too much at the moment.
0:06:15 > 0:06:16I am buying in bulk,
0:06:16 > 0:06:19and it is a relatively inexpensive material to buy.
0:06:19 > 0:06:22So I work out roughly how long it takes me to make each piece,
0:06:22 > 0:06:25and I have a basic hourly rate that I work on.
0:06:25 > 0:06:27Does your architectural background
0:06:27 > 0:06:29help you in creating these kinds of pieces?
0:06:29 > 0:06:32I feel I'm a lot freer with what I can do with the jewellery work.
0:06:32 > 0:06:35There's a lot of restrictions in architecture.
0:06:35 > 0:06:41It's an escape for me to be able to do whatever I want without any boundaries.
0:06:41 > 0:06:43I must say, less than £100
0:06:43 > 0:06:47for some interesting, unusual handmade jewellery is very reasonable.
0:06:47 > 0:06:52I certainly know a lot of ladies who'd buy her chainmail statement pieces.
0:06:52 > 0:06:54Piyush was clearly struck by her work.
0:06:54 > 0:06:56But will the other judges share his view?
0:06:56 > 0:06:59Mary Jane has our second amateur maker.
0:06:59 > 0:07:02Kath Hitchings is a 39-year-old primary school teacher
0:07:02 > 0:07:07who is a very enthusiastic guerrilla knitter, whatever that might be!
0:07:07 > 0:07:09- Kath, we're in knitting heaven here. - We are.
0:07:09 > 0:07:12We've got our own little knitting forest going.
0:07:12 > 0:07:17I've got a knitted rug laid across my lap.
0:07:17 > 0:07:20And I gather this is made out of your kids' T-shirts?
0:07:20 > 0:07:24It is, my children's T-shirts, old pyjamas, my husband's dodgy fleece.
0:07:24 > 0:07:27The ones you always want to get rid of, just wait till he's out of the house.
0:07:27 > 0:07:30You wish he didn't wear, you mean, so you make them into a rug.
0:07:30 > 0:07:34- Definitely.- It's amazing. I've tried rag rug making.
0:07:34 > 0:07:38- But this isn't rag rug making, it's a knitted rug.- Yes.
0:07:38 > 0:07:40How does it differ to the rag rug technique?
0:07:40 > 0:07:44With a rag rug, you'd use hessian on the back, and a hook.
0:07:44 > 0:07:49With this, it's knitted with this size needles, in small sections.
0:07:49 > 0:07:51It's made using the loop stitch.
0:07:51 > 0:07:54Is that the stitch you're having a go at there?
0:07:54 > 0:07:56I'm good to start with a bit of purl.
0:07:56 > 0:07:59A bit later on, on the next row, I'll do some loops for you.
0:07:59 > 0:08:02How long would it take you to make a rug like this?
0:08:02 > 0:08:05Those questions are a nightmare, aren't they! I don't know.
0:08:05 > 0:08:08I'm quite a quick knitter, but it's quite difficult to quantify.
0:08:08 > 0:08:10I suppose, over a couple of weeks if you sat by the telly.
0:08:10 > 0:08:13Some programmes are ideal to knit to.
0:08:13 > 0:08:17- It's a great thing to do whilst you're watching telly.- Yeah.
0:08:17 > 0:08:21I love it because it's got your family history in it.
0:08:21 > 0:08:24It's all woven in there. It's also a bit make do and mend.
0:08:24 > 0:08:26I think it's really ingenious.
0:08:26 > 0:08:28But it's not the only thing you knit,
0:08:28 > 0:08:32because I'm leaning on this yucca, covered in a knitted coat.
0:08:32 > 0:08:34Yeah, this is an example of
0:08:34 > 0:08:37perhaps a slightly unconventional form of knitting.
0:08:37 > 0:08:40People may have seen guerrilla knitting.
0:08:40 > 0:08:42So you're a guerrilla knitter?
0:08:42 > 0:08:45I am. I probably shouldn't be saying that in public.
0:08:45 > 0:08:47Normally, we're going out under the cloak of darkness,
0:08:47 > 0:08:50and we're knitting for inanimate objects.
0:08:50 > 0:08:53I think it's all about bringing joy to people in places.
0:08:53 > 0:08:56That was going to be my next question. Why, why do it?
0:08:56 > 0:09:00What's the point of going around, knitting a coat for a yucca,
0:09:00 > 0:09:02or a lamppost, or other things like that?
0:09:02 > 0:09:05I think artists were ever thus misunderstood, weren't they?
0:09:05 > 0:09:07If it's not got a point, why do it?
0:09:07 > 0:09:10But it's all about bringing joy to people, in unexpected places.
0:09:10 > 0:09:13It's about promoting knitting as an art form.
0:09:13 > 0:09:16And that it's OK to put it somewhere unexpected,
0:09:16 > 0:09:19because it transforms an inanimate object
0:09:19 > 0:09:22- into something lively and interesting.- It makes people look.
0:09:22 > 0:09:24You might not look at a yucca,
0:09:24 > 0:09:26but I'm looking at it, not twice, but three times now.
0:09:26 > 0:09:29Also, sculptures too, sculptures are often not noticed.
0:09:29 > 0:09:31Public works of art are neglected.
0:09:31 > 0:09:34But you put a scarf on a sculpture, a leg warmer, suddenly people look.
0:09:34 > 0:09:36It attracts attention.
0:09:36 > 0:09:39Have you managed to get to a stage where you can show us
0:09:39 > 0:09:41how to make one of your lovely loop stitches?
0:09:41 > 0:09:44I'm ready to rock and roll with the knitting needles here. OK.
0:09:44 > 0:09:46Here's a very straightforward knit stitch.
0:09:46 > 0:09:50Now I'm going to do a loop stitch. So, you go in, and round.
0:09:50 > 0:09:54You take your thumb and you put your piece of yarn or T-shirt material.
0:09:54 > 0:09:57I've got a loop now. I'm pulling that out.
0:09:57 > 0:10:00I'm going to put my needle in there. Round we go.
0:10:00 > 0:10:03Then, you hook this little guy over there. You've got a loop.
0:10:03 > 0:10:06- You got a loop. Bob's your uncle.- Indeed.
0:10:06 > 0:10:10Kath, you're obviously... You wear it, you sit on it,
0:10:10 > 0:10:12- you cover your yuccas in it. - I don't eat it?
0:10:12 > 0:10:14You don't eat knitting yet.
0:10:14 > 0:10:17But what would you like to achieve from coming on the programme?
0:10:17 > 0:10:20I suppose I really want to encourage people out there
0:10:20 > 0:10:23to see that knitting isn't any more from perhaps the older generation.
0:10:23 > 0:10:26It's great that older people knit, but it's for everybody.
0:10:26 > 0:10:27It's for all generations.
0:10:27 > 0:10:32It's not just for jumpers and dodgy things for Christmas.
0:10:32 > 0:10:35You can use the skill in any way that you want, any which way,
0:10:35 > 0:10:37and it can be an art form.
0:10:41 > 0:10:45I think, at the minute, we're in an economic downturn.
0:10:45 > 0:10:48People are looking for ways to adorn themselves and their lives,
0:10:48 > 0:10:51and to be more positive. I think it's creating that.
0:10:51 > 0:10:54I'm not sure if Kath's rug does it for me,
0:10:54 > 0:10:57and I don't think her knitted pieces have real commercial appeal.
0:10:57 > 0:11:00Although I can't help but admire her philosophy
0:11:00 > 0:11:02for bringing joy to the world!
0:11:06 > 0:11:09It probably never occurred to the master craftsmen of the past
0:11:09 > 0:11:12that their work, one day, many decades later,
0:11:12 > 0:11:15would exchange hands for huge sums of money.
0:11:15 > 0:11:16Today, upmarket auction rooms
0:11:16 > 0:11:19regularly resemble a veritable treasure trove.
0:11:19 > 0:11:23Kath's a real champion of taking knitting into the future.
0:11:23 > 0:11:26But what of the ancient art of textiles?
0:11:30 > 0:11:32At the top end of the market is tapestry,
0:11:32 > 0:11:36a domestic art which dates from the third century BC.
0:11:38 > 0:11:41Here we have a French tapestry of about 1900.
0:11:41 > 0:11:44It's quite typical of its date.
0:11:44 > 0:11:48The colours are not quite what you'd expect from an 18th-century tapestry.
0:11:48 > 0:11:51The colours are a little brighter, and more garish in areas.
0:11:51 > 0:11:54They would have been very expensive pieces.
0:11:54 > 0:11:57Throughout the 19th century and Victorian days,
0:11:57 > 0:12:00they would form part of an interior decoration of a typical house.
0:12:00 > 0:12:03Especially a big, draughty house, where they were useful
0:12:03 > 0:12:06not only for decoration, but keeping the place warm.
0:12:06 > 0:12:09But, with the light, airy spaces,
0:12:09 > 0:12:13and then the minimalism of the art nouveau and deco period,
0:12:13 > 0:12:16a lot of tapestries would have gone by the by really.
0:12:16 > 0:12:20This piece is the affordable end of the spectrum.
0:12:20 > 0:12:22The estimate is £600-800.
0:12:22 > 0:12:26For that, you'd get a nice tapestry
0:12:26 > 0:12:30in the long tradition of the makers from Aubusson, Belgium,
0:12:30 > 0:12:32other places in continental Europe.
0:12:34 > 0:12:37Even when tapestries went out of fashion in the 19th century,
0:12:37 > 0:12:39they never lost value.
0:12:39 > 0:12:42In 2004, a tapestry by William Morris
0:12:42 > 0:12:48fetched an unbelievable £180,000 at the Lyon & Turnbull auction house.
0:12:48 > 0:12:51Today, tapestries are enjoying a revival.
0:12:51 > 0:12:55British artist Grayson Perry is currently working in the medium.
0:13:02 > 0:13:06Maybe we'll find someone today who is creating an antique of the future.
0:13:08 > 0:13:10But first, let me show you a trade
0:13:10 > 0:13:13which is being resurrected right here.
0:13:16 > 0:13:18Once upon a time, Fleet Street was buzzing
0:13:18 > 0:13:22with hand-worked printing presses like these.
0:13:22 > 0:13:24Even in an industry as massive as the world of newspapers,
0:13:24 > 0:13:29the tradition, until the mid-1980s, was to print by hand.
0:13:29 > 0:13:32After the introduction of mechanisation and computers,
0:13:32 > 0:13:35it seemed that the hand-operated printing world
0:13:35 > 0:13:40would become a thing of the past but for some dedicated practitioners.
0:13:40 > 0:13:43Amberley is not only lucky enough to have its own print shop,
0:13:43 > 0:13:46but it's also run by a highly skilled team of volunteers
0:13:46 > 0:13:48with a Fleet Street pedigree.
0:13:48 > 0:13:50- Hello, John.- Hello, Paul.
0:13:50 > 0:13:53You were the head printer at a newspaper for 35 years.
0:13:53 > 0:13:55What was your apprenticeship like?
0:13:55 > 0:13:59My apprenticeship was at a local newspaper in Croydon.
0:13:59 > 0:14:02Seven years, one taken off for National Service.
0:14:02 > 0:14:04I'd always wanted to work in Fleet Street.
0:14:04 > 0:14:08So, after my apprenticeship, I then had to do two years' probation.
0:14:08 > 0:14:12I was 30 when I got the permanent job I'd always wanted in Fleet Street.
0:14:12 > 0:14:15That is a long apprenticeship.
0:14:15 > 0:14:16What do let visitors do here?
0:14:16 > 0:14:20We mostly try to explain how newspapers were produced.
0:14:20 > 0:14:23This represents a hot metal newspaper.
0:14:23 > 0:14:26And we've probably got the best display in any museum in the country.
0:14:26 > 0:14:29You can see all the lovely wood block and typeset.
0:14:29 > 0:14:30It takes me back as well.
0:14:30 > 0:14:33I started collecting a lot of that 30 years ago.
0:14:33 > 0:14:36You've got something lined up for me to have a go at?
0:14:36 > 0:14:39Yes, we've got something lined up, we've got a form down there,
0:14:39 > 0:14:40which is made up with wood letter,
0:14:40 > 0:14:44- which we'd like you to go and take a copy of.- I'm going to have a go.
0:14:44 > 0:14:46Thanks a lot.
0:14:46 > 0:14:50Chris. I love the smell of print and ink. It's work in progress.
0:14:50 > 0:14:53Yes, I know what you mean, whenever I walk through the door,
0:14:53 > 0:14:55it takes me back years to when I was a lad.
0:14:55 > 0:14:58You go, "Yeah, that's the office." What are you going to let me do?
0:14:58 > 0:15:01- Roll some ink?- You're going to print your own poster.- OK.
0:15:03 > 0:15:05- This way on like that?- That's right.
0:15:05 > 0:15:07Make sure it's all on there.
0:15:07 > 0:15:10- That is a great smell, isn't it? - It is, isn't it?
0:15:10 > 0:15:13- Ready for this? - Lower it down confidently.
0:15:14 > 0:15:16That's it. With that handle, you wind this under.
0:15:16 > 0:15:20You will feel it come to a stop.
0:15:20 > 0:15:21That's it.
0:15:21 > 0:15:25And look at that. Imagine doing this all day, it breaks your back.
0:15:25 > 0:15:28- It would do, after a while. Oh!- Oh!
0:15:29 > 0:15:32- Is that allowed?- No... - Well, actually, it's not bad.
0:15:32 > 0:15:35It shouldn't actually have done that, really at that.
0:15:35 > 0:15:38I can see one little error straight away on the "i" of revolution.
0:15:38 > 0:15:40There wasn't quite enough ink on it.
0:15:40 > 0:15:42- But you can forgive me that, can't you?- I certainly will.
0:15:42 > 0:15:45That is what it's all about, look at that.
0:15:52 > 0:15:55Someone who's promoting traditional skills
0:15:55 > 0:15:58is 76-year-old Bastien Gomperts.
0:15:58 > 0:16:02He's a retired academic who taught himself woodwork.
0:16:02 > 0:16:05This is not just a box, is it?
0:16:05 > 0:16:06It's a bit more than that.
0:16:06 > 0:16:09There are boxes within the box.
0:16:09 > 0:16:11So let's have a little look inside. Do you want to...
0:16:11 > 0:16:15- Actually, take two out at a time. - Two at a time.
0:16:15 > 0:16:18- If you do this, it's just nice. - Oh, I see.
0:16:18 > 0:16:21- So, there is a method to unpacking it.- Two more.
0:16:21 > 0:16:24I imagine, Bastien, there's a reason behind that,
0:16:24 > 0:16:26that you're going to explain to me.
0:16:26 > 0:16:28I was commanded to make it by my daughter.
0:16:28 > 0:16:31Obviously, you're using different types of wood to get this design.
0:16:31 > 0:16:35Mahogany, pear, and rosewood.
0:16:35 > 0:16:38- And also there's a silver inlay. - That's right.
0:16:38 > 0:16:43What gave you the idea of using this particular oval design here?
0:16:43 > 0:16:45I've done many, many patterns.
0:16:45 > 0:16:47In fact, you get some idea of the pattern
0:16:47 > 0:16:49if you look at the logo underneath.
0:16:49 > 0:16:51- Turn it right over. - Look, right over there.
0:16:51 > 0:16:55You can see a little bit, a little fraction of my complex patterns there.
0:16:55 > 0:16:57I don't know whether the camera will see it.
0:16:57 > 0:17:00I make big panels with such patterns on them.
0:17:00 > 0:17:01They're computer-generated.
0:17:01 > 0:17:05- How did you start?- I think boxes are very attractive things to make.
0:17:05 > 0:17:08There is something about a box which is very, very exciting.
0:17:08 > 0:17:13- It speaks of treasures and hidden things.- I think it does.
0:17:13 > 0:17:16- You are retired now, Bastien, aren't you?- Yes, I am.
0:17:16 > 0:17:18You have more time to do this sort of work?
0:17:18 > 0:17:21I try to spend as much time on this as I can.
0:17:21 > 0:17:23Is it a release from other...?
0:17:23 > 0:17:25- It's an obsession!- An obsession!
0:17:25 > 0:17:28I like it when people are honest about things.
0:17:28 > 0:17:30It keeps me in house which is very important,
0:17:30 > 0:17:33because I'm a carer, I have to look after my wife.
0:17:33 > 0:17:37And my workshop is just an extension of our basement room.
0:17:37 > 0:17:39So I am at the dark end. And we live at the other end.
0:17:39 > 0:17:42So this means you can be working on something you are passionate about
0:17:42 > 0:17:45- but be close to your wife. - I don't have to go down the garden to a shed,
0:17:45 > 0:17:47I can be there all the time.
0:17:47 > 0:17:54- So, is this a form of therapy, as it were?- No, I don't go for therapy!
0:17:54 > 0:17:57- I go for pleasure. - You go for pleasure.
0:17:57 > 0:17:59When I retired, there was a choice.
0:17:59 > 0:18:02I could learn to play piano, fingers!
0:18:02 > 0:18:06Or I could do this, fingers!
0:18:06 > 0:18:08- And this was the choice. - This was the right choice, actually.
0:18:08 > 0:18:12I can see, just one thing I notice from it,
0:18:12 > 0:18:16it's very much the decorative finish and surface that you enjoy.
0:18:16 > 0:18:19- Boxes should be, yes. - Why do you think boxes should be?
0:18:19 > 0:18:21Because, look at you handling it.
0:18:21 > 0:18:24- It's just in that way.- Yes, it does make me want to touch it.
0:18:24 > 0:18:26- It is like that. - You're absolutely right.
0:18:26 > 0:18:29And what would you use this for? For jewellery?
0:18:29 > 0:18:32My daughter uses it for jewellery, this one belongs to her.
0:18:32 > 0:18:33Very lucky daughter,
0:18:33 > 0:18:36I wish I had a dad who could make me a jewellery box like this.
0:18:36 > 0:18:38I've got about 50 boxes, all different.
0:18:38 > 0:18:40- You say you do it very much for pleasure.- Absolutely.
0:18:40 > 0:18:43Is there a commercial aspect to making something like this?
0:18:43 > 0:18:46No, I don't give it a thought. I like them too much.
0:18:46 > 0:18:48Why come on the show?
0:18:48 > 0:18:50It's not a commercial reason, obviously, that's driving you,
0:18:50 > 0:18:53- so why did you want to come on? - I was pushed into it.
0:18:53 > 0:18:57My daughter came along and said, "You've got to do this."
0:18:57 > 0:19:00So she obviously sees a commercial value of what you're doing,
0:19:00 > 0:19:04- she thinks it's worth something. - I think she thought that, yes.
0:19:04 > 0:19:06Perhaps you ought to listen to her.
0:19:06 > 0:19:10- That's what she would say too! - THEY LAUGH
0:19:10 > 0:19:13With Bastien's combination of traditional techniques
0:19:13 > 0:19:17with a contemporary graphic twist in silver,
0:19:17 > 0:19:21this box could probably go on the market for over £200.
0:19:21 > 0:19:24But will the other judges see its merits?
0:19:27 > 0:19:28Well, I'm all for promoting crafts.
0:19:28 > 0:19:32I think she loved it, didn't she? That's the impression I got.
0:19:38 > 0:19:40As well as keeping an eye open for new talent,
0:19:40 > 0:19:44head judge Glenn is keen to see professional makers at work,
0:19:44 > 0:19:47especially someone working in the tradition
0:19:47 > 0:19:49of one of his favourite glass artists.
0:19:49 > 0:19:50Here, in her workshop,
0:19:50 > 0:19:54Di Hill has been making stained glass for 30 years.
0:19:54 > 0:19:56But this is glass with a difference.
0:19:56 > 0:20:01- Normally, we think of stained glass as a flat art, flat thing.- Yes.
0:20:01 > 0:20:03But you're doing it as a form of sculpture really?
0:20:03 > 0:20:06Yes. Today, I'm working on a three-dimensional bird.
0:20:06 > 0:20:08This is copper foiled work,
0:20:08 > 0:20:13which was pioneered by Louis Tiffany at the turn of the century.
0:20:13 > 0:20:16So you start with a pattern.
0:20:16 > 0:20:18And then with the glass cutter.
0:20:22 > 0:20:27Really, what you want to do is get a nice, deep score mark.
0:20:27 > 0:20:33Very accurate to the pattern, but so that it breaks very cleanly.
0:20:33 > 0:20:35- You can really hear it. - You can, can't you?
0:20:35 > 0:20:38It means all the pieces on the pattern
0:20:38 > 0:20:40are going to fit tightly together.
0:20:40 > 0:20:42- No margin for error?- Definitely not.
0:20:42 > 0:20:47The more accurate you are, the better the finished result will be.
0:20:47 > 0:20:50So, we think of Louis Comfort Tiffany
0:20:50 > 0:20:54as one of the greatest figures in the history of the medium,
0:20:54 > 0:20:57arts and crafts, stained glass maker, in America,
0:20:57 > 0:21:00and doing not only windows, but also these beautiful lamps people know,
0:21:00 > 0:21:04with dragonfly wings, all kinds of leaves and flowers on them.
0:21:04 > 0:21:06An incredible use of colour.
0:21:06 > 0:21:09And then also a very strong sculptural idea,
0:21:09 > 0:21:11not only the shape of the lamp,
0:21:11 > 0:21:15but also building up the glass into a kind of volumetric design,
0:21:15 > 0:21:18not just on something that's flat.
0:21:18 > 0:21:20That's right, that's one of his key strengths.
0:21:24 > 0:21:26And then, basically,
0:21:26 > 0:21:30you're wrapping each piece of glass centrally within the copper foil.
0:21:30 > 0:21:34Then you end up with pieces all wrapped.
0:21:34 > 0:21:37And put back on the pattern, ready to solder.
0:21:39 > 0:21:42That looks like the tricky part there.
0:21:42 > 0:21:44It's learning how much heat to put on, for a good finish,
0:21:44 > 0:21:47but not so much that you actually crack the grass glass.
0:21:47 > 0:21:50You hold a wing at an angle,
0:21:50 > 0:21:52spot solder it.
0:21:55 > 0:21:59Smoke's very exciting, it makes you feel like it's alchemy!
0:21:59 > 0:22:03The other pieces that you need to do are the ring at the top,
0:22:03 > 0:22:05which is attached with wire.
0:22:05 > 0:22:07And putting on the beak.
0:22:07 > 0:22:11And then you've got a finished result of a 3D bird.
0:22:11 > 0:22:15- So, instant hummingbird, except maybe not so instant.- Definitely.
0:22:15 > 0:22:17It's so satisfying to make something yourself.
0:22:17 > 0:22:20And there are plenty of willing teachers out there,
0:22:20 > 0:22:23so why not find out what's happening in your area.
0:22:27 > 0:22:30If you'd like to try your hand at arts and crafts,
0:22:30 > 0:22:32then visit our website for videos to inspire you,
0:22:32 > 0:22:36or download our how-to guide for crafty tips.
0:22:36 > 0:22:40That's bbc.co.uk/handmade.
0:22:42 > 0:22:47Many of our finalists have found making gives them a second lease of life.
0:22:47 > 0:22:5083-year-old Rowena Kelly
0:22:50 > 0:22:53was in the first in a generation of female graphic artists.
0:22:53 > 0:22:58She's been making in her spare time for 44 years.
0:22:58 > 0:23:02I wonder what Piyush will make of her unusual piece?
0:23:02 > 0:23:04What a trendy candleholder.
0:23:04 > 0:23:08Well, I'm very interested in architecture and buildings.
0:23:08 > 0:23:11And that, as you can see, is where the starting point was.
0:23:11 > 0:23:14And I just love working with clay.
0:23:14 > 0:23:17So, you are fascinated by the buildings and architecture?
0:23:17 > 0:23:20I would have liked to have been an architect when I was young.
0:23:20 > 0:23:24I do this sort of thing, but also more abstract,
0:23:24 > 0:23:27that really become like sculptures.
0:23:27 > 0:23:29I see you've got some beautiful buildings here.
0:23:29 > 0:23:32I really should be taking note of them.
0:23:32 > 0:23:34I am speechless, at this age, you are doing fascinating work.
0:23:34 > 0:23:38Oh, yes, but I started a long time ago.
0:23:38 > 0:23:41Life in general contributes to what you produce.
0:23:41 > 0:23:43And...
0:23:43 > 0:23:48I mean, clay is just a lovely thing to have your hands in.
0:23:48 > 0:23:52- Have you done any clay? - I have tried, just once.- Oh.
0:23:52 > 0:23:54- I would love to do that. - Oh, you must.
0:23:54 > 0:23:56There's something in clay for everyone.
0:23:56 > 0:24:01- Is it porcelain you are using? - No, this is white earthenware.- OK.
0:24:01 > 0:24:04It's cheaper to fire.
0:24:04 > 0:24:07- Tell me more about your glazing? - It's lovely.
0:24:07 > 0:24:10When it's lit, it reflects back beautifully.
0:24:10 > 0:24:12You seem to be very passionate about your work.
0:24:12 > 0:24:15Do you do it for a commercial purpose,
0:24:15 > 0:24:17or just your hobby?
0:24:17 > 0:24:20It really is really is my hobby, but I'm an old-age pensioner,
0:24:20 > 0:24:24so I need to supplement it, if I can.
0:24:24 > 0:24:26But it's not easy to earn money.
0:24:26 > 0:24:30I've really got to start again with building up clients really.
0:24:30 > 0:24:32You're never too old to start.
0:24:32 > 0:24:35- Definitely not. - It's worth a try, I think.
0:24:35 > 0:24:37I think it's an investment because,
0:24:37 > 0:24:41unless and until you show your work to a wider audience, you don't know.
0:24:41 > 0:24:45I think any criticism you get is a constructive criticism.
0:24:45 > 0:24:46And your work will grow from there.
0:24:46 > 0:24:48I'm all for criticism.
0:24:48 > 0:24:50If you can advise me, please do.
0:24:50 > 0:24:52I think you should expand on scale.
0:24:52 > 0:24:54I know it's very difficult to work on scale.
0:24:54 > 0:24:56But I think it would be worth it.
0:24:56 > 0:24:57Yes.
0:24:57 > 0:25:00The only thing is, the bigger you get,
0:25:00 > 0:25:02the more you have to charge.
0:25:02 > 0:25:07And, if people are not prepared to pay, say, £30,
0:25:07 > 0:25:10they're never going to be prepared to pay £100.
0:25:10 > 0:25:12- You are meeting the wrong people. - Maybe that's it.
0:25:12 > 0:25:16- I should have met you earlier.- Yes! THEY LAUGH
0:25:16 > 0:25:18I don't think you should think that way,
0:25:18 > 0:25:20that people are not going to pay for it.
0:25:20 > 0:25:22If it's a good product, people are ready to pay.
0:25:22 > 0:25:24I can quote you?
0:25:27 > 0:25:30Rowena is clearly passionate about architecture
0:25:30 > 0:25:32and I think her piece is very commercial.
0:25:32 > 0:25:37The £50 or so she would charge for this piece doesn't seem much,
0:25:37 > 0:25:41so I'm sure Piyush's advice will be welcome.
0:25:41 > 0:25:44I felt that he knew what he was talking about.
0:25:44 > 0:25:51And, I'm here to gain things from other people, if I can.
0:25:56 > 0:26:00Back to Mary Jane, and something weird and wonderful.
0:26:00 > 0:26:03Christine Williams works in secondary education,
0:26:03 > 0:26:07but she's also pioneering a unique form of 3D felt making.
0:26:08 > 0:26:12Chris, I make felt hats, as a milliner.
0:26:12 > 0:26:17But I have to say, I've never had a go at making my own felt.
0:26:17 > 0:26:22The felting itself is just using pure wool of a sheep.
0:26:22 > 0:26:27And using strands of it to help it entwine.
0:26:27 > 0:26:29So you are making that textile. It's not woven,
0:26:29 > 0:26:32but you're layering the textile on each other.
0:26:32 > 0:26:36And then, you've got to agitate it,
0:26:36 > 0:26:38like you would in a washing machine, when it all shrinks.
0:26:38 > 0:26:41You think, "Oh my God," but you've just made a brilliant piece of felt.
0:26:41 > 0:26:44You've got to add the moisture, that's the most important thing.
0:26:44 > 0:26:47- It's wet felting.- Wet felting, as opposed to dry felting.
0:26:47 > 0:26:49It's just amazing.
0:26:49 > 0:26:52When I first saw it, I thought, "Oh my God, this is what I want to do."
0:26:52 > 0:26:55- Does it grow quite quickly?- It does.
0:26:55 > 0:26:58It actually shrinks, so it has this elasticity, like your hair.
0:26:58 > 0:27:02I suppose it's hair really. It sounds horrible, hair!
0:27:02 > 0:27:07- It is, it's sheep's hair.- And it has this elasticity first of all.
0:27:07 > 0:27:11Then it will shrink up to 40%, so you've got to be quite...
0:27:11 > 0:27:14- You've got to start big and go small. - And go small.
0:27:14 > 0:27:17What's interesting about you, there are lots of felters out there,
0:27:17 > 0:27:22what's unique about what you've done is to combine it with this cane work.
0:27:22 > 0:27:25I have never seen anything like this before.
0:27:25 > 0:27:26My background is illustration,
0:27:26 > 0:27:30so it's always been a bit of paper on the floor.
0:27:30 > 0:27:34I've always wanted to make some sort of three-dimensional thing.
0:27:34 > 0:27:37Discovering felt, I thought, brilliant, I can do that.
0:27:37 > 0:27:41- It's sort of experiment, in a way. - Yeah.
0:27:41 > 0:27:42This basketry.
0:27:42 > 0:27:47Again, I've seen very even basketry, very closely and carefully woven.
0:27:47 > 0:27:49This almost looks like you've knitted it.
0:27:49 > 0:27:54It was very loosely, literally, on my knee, intertwining it all,
0:27:54 > 0:27:58- and thinking, oh, my gosh, until it...- Until it came to be.
0:27:58 > 0:28:00Then it was like, oh, my God, I'm going to stop now.
0:28:00 > 0:28:05It's growing too big. What strikes me, Chris, could you do this again?
0:28:05 > 0:28:08If you were doing this as more than a hobby,
0:28:08 > 0:28:10if you were trying perhaps to market something like this,
0:28:10 > 0:28:12do think it would be possible?
0:28:12 > 0:28:15Now that I know what to do, especially the felting time,
0:28:15 > 0:28:18yeah, I could do that again, I'd love to do that again.
0:28:18 > 0:28:23- You're a teacher at the moment.- Yes. - A learning support worker.
0:28:23 > 0:28:25Could you, would you like to take this further?
0:28:25 > 0:28:28For me, art has always been my therapy.
0:28:28 > 0:28:30It's one of the things that, when I'm teaching,
0:28:30 > 0:28:33or whatever stresses there are in life,
0:28:33 > 0:28:36I would always go and do something art and creative,
0:28:36 > 0:28:38and that would relax me.
0:28:38 > 0:28:41- There's one thing I have to try, Chris, as a hat maker.- Yes.
0:28:41 > 0:28:44Do you think it could work as some sort of a hat?
0:28:44 > 0:28:48There's something about it, it's just made to be a hat, I think.
0:28:48 > 0:28:52- Well...- I'm looking at it and I'm thinking it could.- It could.
0:28:52 > 0:28:55I would love to see this, perhaps, used in millinery,
0:28:55 > 0:28:57perhaps that something else you could try?
0:28:57 > 0:28:59- Yes, absolutely. - It's very inspiring.
0:29:01 > 0:29:03I share Mary Jane's scepticism about this item,
0:29:03 > 0:29:07and I'm not convinced it could be replicated easily.
0:29:07 > 0:29:10But, as a one-off, I can see it making £150.
0:29:10 > 0:29:14What matters is whether Christine strikes the right note with the other judges.
0:29:14 > 0:29:18My travels have taken me all over the United Kingdom,
0:29:18 > 0:29:20and I've met fascinating people wherever I've been.
0:29:20 > 0:29:22But the people who inspire me the most
0:29:22 > 0:29:24are people who work with their hands.
0:29:24 > 0:29:26Especially the ones who are striving
0:29:26 > 0:29:29to ensure the survival of our traditional crafts.
0:29:32 > 0:29:35The Stroud Valleys in Gloucestershire
0:29:35 > 0:29:38have a rich history of textile production.
0:29:39 > 0:29:43These fertile slopes provided an ideal grazing for sheep,
0:29:43 > 0:29:47whose coats proved a valuable asset to the local economy.
0:29:47 > 0:29:51That association with textiles is still well and truly alive. In fact, it's even gone global.
0:29:51 > 0:29:54Here in the Cotswolds, there's a small studio,
0:29:54 > 0:29:56which is home to a textiles designer,
0:29:56 > 0:30:00whose work has graced the catwalks of Paris, London and Milan.
0:30:00 > 0:30:01She reckons she can teach me
0:30:01 > 0:30:06to screen print fabric in about three hours, so I'm up for that.
0:30:09 > 0:30:13Liz Lippiatt has an impressive background in the world of haute couture.
0:30:13 > 0:30:16She's sold her finely decorated accessories
0:30:16 > 0:30:19to some of the world's most discerning high-end stores.
0:30:19 > 0:30:23But her start was a far cry from the glamour of Fifth Avenue.
0:30:23 > 0:30:27When I started, in my father's cowshed on the farm...
0:30:27 > 0:30:29Is that how you really started - in your father's cowshed?
0:30:29 > 0:30:33Yeah, I did. Dad let me have an old shed.
0:30:33 > 0:30:35I set up a print table.
0:30:36 > 0:30:40Today, Liz prints her own designs onto fine fabrics,
0:30:40 > 0:30:42which are supplied to the likes of Harrods and Liberty's.
0:30:42 > 0:30:47It's a case of, from the cowshed to the catwalk.
0:30:47 > 0:30:51I did a fashion degree, which meant I understood the cloth
0:30:51 > 0:30:54and how it was going to be used and the cut of the cloth.
0:30:54 > 0:30:57That's what's led me into the world of haute couture.
0:30:57 > 0:31:01- I bet it's highly competitive.- It is. It's a pretty cut-throat world.
0:31:01 > 0:31:04In a way, that's why I preferred the textile side of it.
0:31:04 > 0:31:06I do love the decoration of the cloth.
0:31:06 > 0:31:08I hope Liz is going to be gentle with me,
0:31:08 > 0:31:11as I'm going to be her apprentice.
0:31:11 > 0:31:15First, we're trying a simple cushion pattern.
0:31:15 > 0:31:17I thought we could do something which one can easily do at home.
0:31:17 > 0:31:20What we need to do is make a stencil,
0:31:20 > 0:31:22which is going to be our pattern.
0:31:22 > 0:31:27You can take a really, really simple piece of paper
0:31:27 > 0:31:30and cut something which is like a paper chain.
0:31:30 > 0:31:34- Because I know you've got a lovely daughter...- Called Meredith.
0:31:34 > 0:31:37I thought we could take her initial and use that.
0:31:39 > 0:31:43Screen printing materials are readily available and affordable.
0:31:43 > 0:31:46And the style can be seen on everything,
0:31:46 > 0:31:49from tea towels to high-street fashion.
0:31:51 > 0:31:55Lovely! The next stage is to put the stencil onto the silkscreen.
0:31:55 > 0:31:58It's called a silkscreen, but, of course, these days, it's polyester.
0:31:58 > 0:32:03- I'm going to iron it, because it's. - A bit crumply.- An iron on paper.
0:32:04 > 0:32:07And it just sticks down.
0:32:07 > 0:32:10So, there we are. It's ready to print.
0:32:10 > 0:32:14Liz uses a traditional form of fabric screen printing,
0:32:14 > 0:32:17which has its origins in Japanese stencilling.
0:32:17 > 0:32:20Silk was stretched on frames
0:32:20 > 0:32:25to support hand-painted stencils. A process used by William Morris.
0:32:25 > 0:32:29This is your tool for printing. This is a squeegee.
0:32:29 > 0:32:32That's what's going to force the dye through your stencil
0:32:32 > 0:32:34and onto your fabric.
0:32:36 > 0:32:38Beautiful!
0:32:39 > 0:32:42Screen printing hit the mainstream in the 1950s and '60s
0:32:42 > 0:32:47when pop artist Andy Warhol used this technique to create art.
0:32:47 > 0:32:52His iconic Marilyn being the most famous example.
0:32:52 > 0:32:55And we can lift the screen - hopefully.
0:32:56 > 0:33:02It will all come through perfect.
0:33:02 > 0:33:04- That's great.- Lovely!
0:33:04 > 0:33:09- Handmade.- Exactly. - Nothing's the same twice, is it?
0:33:10 > 0:33:14Much like wheel writing and newspaper printing,
0:33:14 > 0:33:16the handcrafted side of screen printing is being swept away
0:33:16 > 0:33:18by new technology.
0:33:18 > 0:33:21Now, much of it is digital printing.
0:33:21 > 0:33:24- Yes, you can tell the difference, can't you?- Totally, yes.
0:33:24 > 0:33:28Because it's much more superficial. It just sits on the surface.
0:33:28 > 0:33:31- You don't get that same depth of colour.- You're right.
0:33:31 > 0:33:34But there's still a market for screen printing by hand.
0:33:34 > 0:33:38Lizzie's speciality is the textured finish, known as devore.
0:33:40 > 0:33:42It's this technique, which is so beloved
0:33:42 > 0:33:45at the high end of fashion houses.
0:33:45 > 0:33:47- This is quite labour intense. - Yes, yeah.
0:33:47 > 0:33:50Well, anything which is hand done is quite labour-intensive.
0:33:50 > 0:33:55It's a very delicate process but Liz has agreed to let me try it.
0:33:55 > 0:33:59Now we're going to use what you cut out from your stencil.
0:33:59 > 0:34:03- So we're going to make full use of all your artwork.- My Merediths?
0:34:03 > 0:34:06Yes. Place them on to this open screen.
0:34:08 > 0:34:12We just need to touch them with the iron, just to make them stay.
0:34:14 > 0:34:18So, I'm going to pour the devore paste into our well.
0:34:18 > 0:34:21That's just going to burn that out.
0:34:21 > 0:34:23It's going to burn out the root of the pile.
0:34:23 > 0:34:27The only thing left standing at the end of this process
0:34:27 > 0:34:29is my Meredith Ms.
0:34:29 > 0:34:32The erosion is then accelerated by heat.
0:34:34 > 0:34:35There, you can see it.
0:34:35 > 0:34:39If you put your nail against it, you can see it's just crumbling away.
0:34:39 > 0:34:41That will all come out in the wash?
0:34:41 > 0:34:44It should do. Fingers crossed.
0:34:47 > 0:34:51You can see, it's starting to work. Still needs a bit more washing off.
0:34:51 > 0:34:56- You can see all the little lumps, can't you, just falling off.- Yeah.
0:34:56 > 0:34:59- And now you're going to put some colour onto it.- Exactly.
0:34:59 > 0:35:02Simple dye. And you use salt in with the dye.
0:35:02 > 0:35:06Because that attracts the dye to the fibres.
0:35:06 > 0:35:09And this you can do at home just on a stove, in a saucepan.
0:35:09 > 0:35:13- How long do you leave that in there for?- Ten minutes minimum, really.
0:35:14 > 0:35:17Right, now we just need to play the waiting game.
0:35:17 > 0:35:20If that hasn't convinced you to try it out for yourselves,
0:35:20 > 0:35:22I don't know what will.
0:35:22 > 0:35:24In just a few hours, with the excellent guidance
0:35:24 > 0:35:29of our master crafts woman, I've grasped the basics.
0:35:29 > 0:35:32I can't wait to see the fruits of my labour.
0:35:32 > 0:35:34- Is that the same piece?- Yeah.
0:35:34 > 0:35:38- That looks so rich.- Transformed. - That's beautiful.
0:35:38 > 0:35:41- Luscious, isn't it? - Absolutely beautiful!
0:35:42 > 0:35:44Yeah.
0:35:44 > 0:35:49- I can't believe that's the same piece.- I know. It is. It's magical.
0:35:51 > 0:35:54I can't recommend screen printing enough.
0:35:54 > 0:35:57If I can do it, so can you.
0:35:58 > 0:36:02I'm bowled over by the passion and skill that so many people -
0:36:02 > 0:36:04young and old - have shared with me today.
0:36:04 > 0:36:08I'm really optimistic that my handmade revolution can make a difference.
0:36:08 > 0:36:11And, for one of the finalists, the moment of truth has come.
0:36:11 > 0:36:13It's time to find out
0:36:13 > 0:36:17which one of them will be named judges' favourite.
0:36:17 > 0:36:19OK, guys. Here we are with our five finalists.
0:36:19 > 0:36:21I think it's a really difficult decision.
0:36:21 > 0:36:23Lots of very different things on the table.
0:36:23 > 0:36:27Perhaps you could tell me a little bit about your conversations with the makers.
0:36:27 > 0:36:31- Mary Jane, do you want to start? - I'll start with Kath, over here.
0:36:31 > 0:36:34Kath is one of the most passionate and enthusiastic knitters
0:36:34 > 0:36:38- I have ever met.- That's saying something.- That's saying something. I've met a few.
0:36:38 > 0:36:41Knitting has just been my woolly lifeline. Ever since I was 13.
0:36:41 > 0:36:46I was going through quite a hard family time. My sister was very ill.
0:36:46 > 0:36:49An old lady in the church taught me to knit and it's been kind of...
0:36:49 > 0:36:52If it makes sense, my therapy, for me.
0:36:52 > 0:36:53If I'm stressed, I just get my needles out,
0:36:53 > 0:36:56and it's really important to me.
0:36:56 > 0:36:58That piece is made out of old T-shirts,
0:36:58 > 0:37:01which she's actually knitted together using a loop stitch.
0:37:01 > 0:37:05A bit like rag rug making but a different twist on it.
0:37:05 > 0:37:10- What do you think, Piyush? - Haven't I seen that before?
0:37:10 > 0:37:13Maybe you have. And the colours perhaps are a bit obvious, as well.
0:37:13 > 0:37:16I think so. Not my cup of tea.
0:37:16 > 0:37:20Maybe not. But she was... She's a real revolutionary.
0:37:20 > 0:37:23But I have seen that hundreds of times. Come on!
0:37:23 > 0:37:25In India, it happens all the time.
0:37:25 > 0:37:28OK. It's not a rag rug though, remember.
0:37:28 > 0:37:30It's knitted, I know. I can see that.
0:37:30 > 0:37:32Then we've got Bastien.
0:37:32 > 0:37:35His box is over here. Six little trays.
0:37:35 > 0:37:38Made obviously in a different array of woods
0:37:38 > 0:37:40with silver pointing in it as well.
0:37:40 > 0:37:43I think working with one's hands is a wonderful thing,
0:37:43 > 0:37:46as you use your brain at the same time.
0:37:46 > 0:37:50It's a beautifully constructed box - but it's a box.
0:37:50 > 0:37:52It's very safe. For me, it's a bit safe.
0:37:52 > 0:37:55A bit familiar but very finely made.
0:37:55 > 0:37:59Beautifully made. All the parallel lines line up inside.
0:37:59 > 0:38:01It's special in its way.
0:38:01 > 0:38:04And then, what can I say?
0:38:04 > 0:38:07Chris's basket, which I suggested might be a wonderful hat.
0:38:07 > 0:38:10I don't know if she'd like that.
0:38:10 > 0:38:13She's used a felting method in the centre
0:38:13 > 0:38:16and then incorporated it into this cane masterpiece.
0:38:16 > 0:38:19I love the aspect of showing off the craft.
0:38:19 > 0:38:22So, for Paul Martin's Handmade Revolution,
0:38:22 > 0:38:26it was like, at last, bigging up the arts, as they say.
0:38:26 > 0:38:29I couldn't miss the opportunity.
0:38:29 > 0:38:34It sort of bamboozles me a little. I can imagine a cat curled up in it.
0:38:34 > 0:38:36Perhaps a soft landing for apples. I'm not sure.
0:38:36 > 0:38:40I'm struggling to understand this piece actually.
0:38:40 > 0:38:44For me, it's a bit unfinished. The colours are very random.
0:38:44 > 0:38:47I think she's just tried to place everything she could fill it with.
0:38:47 > 0:38:50Maybe its strength and its weakness is its exuberance.
0:38:50 > 0:38:51Yes, I think that's it.
0:38:51 > 0:38:55I do like the challenging materials together actually, to be honest.
0:38:55 > 0:38:58Certainly not something we've seen before in that case.
0:38:58 > 0:39:01- OK, Piyush, what about your...? - Here I have the gorgeous Rowena.
0:39:01 > 0:39:04She's an inspiration to everybody out there.
0:39:04 > 0:39:08She was a graphic designer for 50 years - more than 50 years actually.
0:39:08 > 0:39:10Then now she works in clay.
0:39:10 > 0:39:13She tries to create models of different buildings.
0:39:13 > 0:39:18There's something in making with your hands for everybody.
0:39:18 > 0:39:20Don't you agree? Yes.
0:39:20 > 0:39:23This is a candlelight holder.
0:39:23 > 0:39:26She's trying to develop a lot more sculptural pieces as well.
0:39:26 > 0:39:29Nice to see the light flickering through it.
0:39:29 > 0:39:32It's shiny glaze inside as well, lovely yellow colour.
0:39:32 > 0:39:37Then we have Sian. She's an architectural student and she took up chainmail jewellery.
0:39:37 > 0:39:40Initially, when I saw that piece, I thought, oh, it was run of the mill.
0:39:40 > 0:39:43But when she explained me the concept,
0:39:43 > 0:39:46she uses factory washers to create that piece.
0:39:46 > 0:39:48That piece doesn't do that much for me
0:39:48 > 0:39:51but if you see the bracelet
0:39:51 > 0:39:54the combination of gold and silver - I think it's fantastic.
0:39:54 > 0:39:57There's a lovely weight to it, isn't there?
0:39:57 > 0:40:00I do think that can develop into completely high-fashion items.
0:40:00 > 0:40:03She's playing a little bit safe here but it could be developed.
0:40:03 > 0:40:07Imagine some brilliant big pieces that really worked on the catwalk.
0:40:07 > 0:40:11- Definitely!- I'd really like to go more into the high-fashion route.
0:40:11 > 0:40:16I think that's given me the confidence I could do it.
0:40:16 > 0:40:19I've just been holding myself back from it really.
0:40:19 > 0:40:21It does create a very luxurious effect really.
0:40:21 > 0:40:24- The whole recycling message. - Yeah. Exactly.
0:40:24 > 0:40:28Really interesting use of materials. Several of these. We have the T-shirts,
0:40:28 > 0:40:30we have the cane, these washers.
0:40:30 > 0:40:33- I'm going to find this quite hard to choose.- It's a tough one.
0:40:33 > 0:40:37What do you think? Do you have a strong sense of where you might be leaning for your favourite?
0:40:37 > 0:40:41Definitely, definitely. From the process of elimination, I think I only have one choice.
0:40:41 > 0:40:42What about you, Mary Jane?
0:40:42 > 0:40:46Well, there are all sorts of things here, which are interesting in their own right.
0:40:46 > 0:40:52As you said, the use of materials. For me, there is one clear choice.
0:40:52 > 0:40:55One clear favourite. It's the same for me. There's really one thing I think would
0:40:55 > 0:40:58really be great to see at the V&A.
0:40:58 > 0:41:01- Are we really all agreed? - Sounds like we are.
0:41:01 > 0:41:02You'd better agree with me.
0:41:02 > 0:41:04- Or else.- Yes.- OK.
0:41:04 > 0:41:07- Shall we talk to Paul then?- Let's.
0:41:21 > 0:41:25- So, judges, have you come to a decision?- Yes, we have.- You have.
0:41:25 > 0:41:28Wonderful! I think it's time we got the finalists in.
0:41:34 > 0:41:36Congratulations to all of you!
0:41:36 > 0:41:39You've done extremely well to get to this stage so far.
0:41:39 > 0:41:41You're all gifted, talented makers.
0:41:41 > 0:41:43Your work is technically executed
0:41:43 > 0:41:47and I'm sure will be a source of inspiration to all the viewers watching.
0:41:47 > 0:41:51I can now reveal who today's judges favourite is.
0:41:51 > 0:41:54Before I do that, let me tell you what's at stake for that person.
0:41:54 > 0:41:57It's a chance to have your work put on display
0:41:57 > 0:42:01at the Victoria & Albert Museum in London -
0:42:01 > 0:42:04the spiritual home of arts and crafts.
0:42:04 > 0:42:07That's a wonderful showcase. It doesn't get any better than that.
0:42:07 > 0:42:10Good luck to all of you, whatever the outcome.
0:42:10 > 0:42:15You're all fully fledged members of the handmade revolution.
0:42:15 > 0:42:17You've done us proud.
0:42:17 > 0:42:20The judges' decision is based on...
0:42:20 > 0:42:22and they've all agreed. This one piece demonstrates
0:42:22 > 0:42:27careful craftsmanship, teamed with innovation.
0:42:27 > 0:42:32It gives me great pleasure to reveal that today's judges' favourite is...
0:42:37 > 0:42:39Sian, with her jewellery.
0:42:39 > 0:42:41Well done, well done!
0:42:41 > 0:42:46Absolutely lovely! Well done.
0:42:46 > 0:42:49I love the magnificence as well.
0:42:49 > 0:42:51Congratulations to the losers.
0:42:51 > 0:42:53While the judges thought that Sian could take her skill
0:42:53 > 0:42:56to the next level and push herself,
0:42:56 > 0:43:00there was no doubting her raw talent and the commercial viability of her pieces.
0:43:00 > 0:43:03They were unanimous in their conviction
0:43:03 > 0:43:05that Sian deserves her place.
0:43:07 > 0:43:10All of these wonderful pieces are a real testament to the fact
0:43:10 > 0:43:13there's some talented and passionate people out there.
0:43:13 > 0:43:16This is just the start. I'm asking for your help.
0:43:16 > 0:43:18Harness your creativity. We need you.
0:43:18 > 0:43:22Come and join our handmade revolution. See you next time.