0:00:02 > 0:00:05There was a time when most of us made our own clothes
0:00:05 > 0:00:07and the sewing machine was as prevalent in the home
0:00:07 > 0:00:08as the television is today.
0:00:08 > 0:00:11So, for the quarterfinal, we thought we'd take our sewers back
0:00:11 > 0:00:15to that time, to use techniques that our grandmothers used.
0:00:15 > 0:00:18We never said this was going to be easy.
0:00:18 > 0:00:23Last week, the sewers had to prove they could handle difficult fabrics.
0:00:23 > 0:00:26That's going to be a brute!
0:00:26 > 0:00:29For the first time, Tamara was awarded Garment Of The Week
0:00:29 > 0:00:31for her nylon anorak.
0:00:31 > 0:00:34This is a jacket, I'd be very happy to wear myself.
0:00:34 > 0:00:37Leather was David's undoing. I think they'll hate it.
0:00:37 > 0:00:40But velvet was too much for Jenni,
0:00:40 > 0:00:43who bid an emotional farewell to the Sewing Bee.
0:00:43 > 0:00:46I love you, guys!
0:00:47 > 0:00:51Now, the five remaining sewers are being taken back in time.
0:00:51 > 0:00:55I will never use a 1930s pattern again.
0:00:55 > 0:00:58To face the most brain-teasing pattern yet.
0:00:58 > 0:01:01It's almost like it's in Morse code.
0:01:01 > 0:01:04The biggest alteration challenge so far.
0:01:04 > 0:01:07I'm being ambitious, but I think it might be a risk worth taking.
0:01:07 > 0:01:13And the heftiest made to measure garment that pushes them all.
0:01:13 > 0:01:15I've got a lot to do.
0:01:15 > 0:01:18But who will produce Garment Of The Week?
0:01:18 > 0:01:20It's pretty ingenious.
0:01:20 > 0:01:24And who will fall apart at the seams?
0:01:24 > 0:01:26Oh, Lordy!
0:01:26 > 0:01:29Our sewers are about to bring history back to life.
0:01:29 > 0:01:32Welcome to the Great British Sewing Bee.
0:01:58 > 0:02:00The five sewers return to the sewing room
0:02:00 > 0:02:03to stitch their way to a place in the semifinal.
0:02:03 > 0:02:05Oh, I love this!
0:02:05 > 0:02:09I can't tell you how excited I am to be in the quarterfinals.
0:02:09 > 0:02:10I feel like I'm buzzing.
0:02:10 > 0:02:14Woken up every morning, dreaming of some sort of sewing sleeves,
0:02:14 > 0:02:17or broken sewing machines.
0:02:17 > 0:02:19I need to keep my eye on Chinelo,
0:02:19 > 0:02:22we're very similar in the way we think about using fabrics.
0:02:22 > 0:02:25Lynda, she's technically very good
0:02:25 > 0:02:27and David, the underdog, is, like, really climbing.
0:02:27 > 0:02:32We're all sort of neck and neck, I think, so it's difficult.
0:02:32 > 0:02:35How are you? Lovely to see you all.
0:02:35 > 0:02:38You might have noticed that, on your stations,
0:02:38 > 0:02:42the very fancy, big, clever sewing machines have been taken away
0:02:42 > 0:02:46and you now have much more basic ones from the 1930s.
0:02:46 > 0:02:49Have any of you seen or worked with anything like this before?
0:02:49 > 0:02:52This is the sort of machine my mother had when I was little.
0:02:52 > 0:02:53So, you're happy working with it?
0:02:53 > 0:02:56Very happy. Anybody else happy working with this?
0:02:56 > 0:02:59Had it at school. You had it at SCHOOL, Heather!
0:02:59 > 0:03:04OK, so you two are fine, the other three, you look slightly horrified.
0:03:04 > 0:03:06This week it's all about making the clothes we USED to wear
0:03:06 > 0:03:09using authentic methods and techniques.
0:03:09 > 0:03:11May, what have you got?
0:03:11 > 0:03:15This week, we want you to make a blouse based on a 1930s pattern.
0:03:15 > 0:03:18And you'll find, once you open up the envelopes,
0:03:18 > 0:03:22that the pattern inside has none of the usual markings.
0:03:22 > 0:03:25You will need to very much engage the grey matter
0:03:25 > 0:03:28to make this one work. You have four hours,
0:03:28 > 0:03:30good luck, your time starts, now.
0:03:33 > 0:03:36Drapery fabric. Drapery fabric.
0:03:36 > 0:03:39To reproduce a 1930s blouse,
0:03:39 > 0:03:43the sewers should choose soft, drapey material from the haberdashery.
0:03:43 > 0:03:47I've gone for something similar to silk
0:03:47 > 0:03:50in the way that it drapes, but it isn't silk,
0:03:50 > 0:03:52so I'm hoping that's a good choice.
0:03:52 > 0:03:54It's an authentic choice.
0:03:54 > 0:03:57During the 30s, most home sewers would have used cheaper
0:03:57 > 0:03:59and more available alternatives to silk,
0:03:59 > 0:04:00like a man-made rayon or viscose.
0:04:00 > 0:04:04I don't want to give myself too much of a challenge, fabric-wise,
0:04:04 > 0:04:07cos this is going to be quite a challenge, anyway.
0:04:07 > 0:04:10Why historical clothing? Why make them go back?
0:04:10 > 0:04:13The traditional techniques are really relevant for today's sewers,
0:04:13 > 0:04:16because they're the basics of construction.
0:04:16 > 0:04:19A lot of the time, today's sewers rely too much on technology.
0:04:19 > 0:04:22We want to see whether they can recreate clothes,
0:04:22 > 0:04:25using the skills that traditional dressmakers and tailors employed.
0:04:25 > 0:04:30I've not made blouse before, so, yeah, I'm a little worried about it.
0:04:30 > 0:04:34The blouse pattern was part of a line of Hollywood-inspired designs,
0:04:34 > 0:04:38endorsed by the stars of the day, in this case, Bette Davis.
0:04:38 > 0:04:40The pattern is complex.
0:04:40 > 0:04:42It comprises a back piece
0:04:42 > 0:04:45and a front piece, which is gathered at the waist and neck.
0:04:45 > 0:04:48A two-piece collar, made of four sections
0:04:48 > 0:04:50is attached into the neck hole.
0:04:50 > 0:04:52Inserted sleeves, which are gathered,
0:04:52 > 0:04:56and also, there's a shaped peplum skirt at the waistline.
0:04:56 > 0:04:59As if this wasn't complex enough, the vintage patterns
0:04:59 > 0:05:02look very different to the patterns the sewers use today.
0:05:02 > 0:05:07I've never, ever used a pattern that has nothing on it like this before.
0:05:07 > 0:05:11Until the 1940s, dressmaking patterns didn't have any markings
0:05:11 > 0:05:16apart from a few holes. It's almost like it's in Morse code.
0:05:16 > 0:05:18Like, dot, dot, dash, dash.
0:05:18 > 0:05:21I think there will be an initial amount of confusion,
0:05:21 > 0:05:23because they don't have seam allowances,
0:05:23 > 0:05:24they don't have grain lines.
0:05:24 > 0:05:27The basic shapes are the same, but all of the markings
0:05:27 > 0:05:30that are on that pattern that guide them on where to stitch
0:05:30 > 0:05:33and where to lay that pattern have all been taken away,
0:05:33 > 0:05:35so they need to think very carefully.
0:05:35 > 0:05:37It's going to test their absolute basic understanding
0:05:37 > 0:05:39of pattern and fabric.
0:05:39 > 0:05:42To give them a fair chance of following the pattern,
0:05:42 > 0:05:44Patrick and May have included a crib sheet
0:05:44 > 0:05:46to help everyone read the codes.
0:05:46 > 0:05:48Three dots forming a triangle means the cut should be on a fold.
0:05:48 > 0:05:52On a modern pattern, it would just say, "Cut on a fold here."
0:05:52 > 0:05:56It's fascinating that, obviously, when this was current,
0:05:56 > 0:05:58everybody knew how to sew.
0:05:58 > 0:06:00It assumes you know absolutely everything.
0:06:00 > 0:06:02Absolutely, because they're all home sewers
0:06:02 > 0:06:04and that's how they got their clothing.
0:06:04 > 0:06:06How are you finding the pattern?
0:06:06 > 0:06:10This is very OK for me, this is usually the way I work, anyway.
0:06:10 > 0:06:11Is it? It is, it's just...
0:06:11 > 0:06:13What, with less information?
0:06:13 > 0:06:15Yeah, because I would have cut out my pieces
0:06:15 > 0:06:17and I just put it together from my head.
0:06:17 > 0:06:18So, this is better suited for you,
0:06:18 > 0:06:20because you never work from a modern pattern.
0:06:20 > 0:06:23Exactly. I usually wouldn't have instructions.
0:06:23 > 0:06:26For instance, I could have looked at that top and made it.
0:06:26 > 0:06:28Could you? Without the pattern, yeah. Shut up!
0:06:28 > 0:06:32Yes! Chinelo, can't you move in with me?
0:06:34 > 0:06:37Once the sewers are confident they understand the pattern markings,
0:06:37 > 0:06:40construction can begin, starting with the side seams.
0:06:40 > 0:06:44Stitch sides, leaving left side open between large circles,
0:06:44 > 0:06:46that's the next thing I'm going to do.
0:06:46 > 0:06:49To give them a true 1930s home sewing experience,
0:06:49 > 0:06:53the sewers have been given the same model of antique sewing machine
0:06:53 > 0:06:55in a variety of colours.
0:06:55 > 0:06:59The machine are capable of a straight stitch, but not much else.
0:06:59 > 0:07:01I'm just stitching the front to the back,
0:07:01 > 0:07:03this is basically what I learned on at school,
0:07:03 > 0:07:06when I was eventually allowed to use one of the electric machines,
0:07:06 > 0:07:11because up until then we all had to flog away on the treadle machines.
0:07:11 > 0:07:17What I REALLY wanted, was to use the one and only electric sewing machine
0:07:17 > 0:07:19and this was it.
0:07:19 > 0:07:23When those machines came on to the British market in 1935,
0:07:23 > 0:07:25they were really expensive.
0:07:25 > 0:07:28It would cost the average person about six months of wages,
0:07:28 > 0:07:32but still they flew off the shelves and became the must-have gadget.
0:07:32 > 0:07:34That's because the person behind them
0:07:34 > 0:07:37came up with a revolutionary repayment scheme,
0:07:37 > 0:07:40that would change the way we shop forever.
0:07:42 > 0:07:46Production line engineering developed during the war
0:07:46 > 0:07:48and the supply of electricity into houses
0:07:48 > 0:07:51combined to revolutionise the post-war sewing machine.
0:07:51 > 0:07:55The new technology would bring industrial quality dressmaking
0:07:55 > 0:07:57to the domestic market.
0:07:57 > 0:08:00The Singer 201 was fast, it was smoother, it was quieter,
0:08:00 > 0:08:03but much more importantly it was very, very reliable,
0:08:03 > 0:08:06you could go through multiple layers of cloth,
0:08:06 > 0:08:08you weren't messing around with the tension all day long,
0:08:08 > 0:08:10the thread just slipped through,
0:08:10 > 0:08:13hardened steel teeth that pulled the work through it.
0:08:13 > 0:08:16For the first time, they had a stitch length dial
0:08:16 > 0:08:18and if you put it on eight stitches an inch,
0:08:18 > 0:08:20you got eight stitches an inch.
0:08:20 > 0:08:24The Singer 201 was supplied as a manual treadle machine
0:08:24 > 0:08:26with an add-on electric motor,
0:08:26 > 0:08:28which allowed it to sew at over a thousand stitches a minute.
0:08:28 > 0:08:33Three times faster than a manual. But costing upwards of ?13,
0:08:33 > 0:08:37it represented a massive investment for home sewers.
0:08:37 > 0:08:43People say the 201K was the most expensive item in the house,
0:08:43 > 0:08:46besides the house itself
0:08:46 > 0:08:51and that was way too much money for most normal wages.
0:08:51 > 0:08:54But despite the cover price, there was one way,
0:08:54 > 0:08:57that the 201 was made affordable.
0:08:57 > 0:08:59A revolutionary hire purchase scheme,
0:08:59 > 0:09:03first devised by Isaac Singer and his lawyer, Edward Clarke.
0:09:03 > 0:09:06What did this system mean for people?
0:09:06 > 0:09:09The first real benefit was for poorer people, undoubtedly.
0:09:09 > 0:09:12Rather than just having a one-off payment,
0:09:12 > 0:09:14you could save up for the deposit
0:09:14 > 0:09:18and then she could gradually pay it off
0:09:18 > 0:09:21with fairly modest, I think, monthly payments.
0:09:21 > 0:09:24Did people ever group together and buy a sewing machine
0:09:24 > 0:09:26as a collective, if you like?
0:09:26 > 0:09:31Clark, who was the financial brain and legal brains behind Singer,
0:09:31 > 0:09:36he'd already thought of a scheme where groups could do that,
0:09:36 > 0:09:40they could buy one in a village or a street or as a big family,
0:09:40 > 0:09:43so there was one sewing machine and it could be shared.
0:09:43 > 0:09:47Between the wars, when millions of men found themselves out of work,
0:09:47 > 0:09:50the Singer hire purchase plan provided women with the opportunity
0:09:50 > 0:09:52to earn a living from home.
0:09:52 > 0:09:55For women it was particularly empowering.
0:09:55 > 0:09:57Not only could she make clothes for her family,
0:09:57 > 0:10:01but she could probably also make clothes
0:10:01 > 0:10:03and sell them to the better-off,
0:10:03 > 0:10:05so she was earning money at the same time.
0:10:05 > 0:10:07So this gave women freedom, really?
0:10:07 > 0:10:09For the first time, I think, it gave them a true sense
0:10:09 > 0:10:13of being independent. It was a new world for them.
0:10:13 > 0:10:18By the 1950s, almost every home in Britain had a sewing machine,
0:10:18 > 0:10:22enabling families to make all kinds of garments and fast.
0:10:22 > 0:10:25Not only that, those skills were passed down the generations
0:10:25 > 0:10:29to sewers, like the ones in our Sewing Bee.
0:10:33 > 0:10:36When I walked in and saw that sewing machine,
0:10:36 > 0:10:38it really brought me down to earth with a bump,
0:10:38 > 0:10:40because it just reminded me so much of my mother.
0:10:40 > 0:10:44Where's your mum? Is she on the wall? There's my mum.
0:10:44 > 0:10:46We always, always, until the day she died,
0:10:46 > 0:10:49had a sewing machine set up in the corner of her living room. No!
0:10:52 > 0:10:57Two-and-a-half hours remain to finish the 1930s blouses.
0:10:57 > 0:10:59Now they're joined at the sides,
0:10:59 > 0:11:01they need to be gathered at the front of the waist
0:11:01 > 0:11:03to create fullness around the bust.
0:11:03 > 0:11:06I'm just doing a running stitch on the bottom of blouse
0:11:06 > 0:11:08to make sure the gathers are even.
0:11:08 > 0:11:10Lynda's doing hand gathering,
0:11:10 > 0:11:15Heather and David have both done machine gathering.
0:11:15 > 0:11:18Oh! I found reverse!
0:11:18 > 0:11:21If I was under the time pressure that they're under,
0:11:21 > 0:11:23I would probably machine gather.
0:11:23 > 0:11:27I really love hand-stitching so any opportunity I find to do it,
0:11:27 > 0:11:29I do it.
0:11:31 > 0:11:36Crikey! Is it really fast? It is, very fast.
0:11:36 > 0:11:39That's that bit done.
0:11:39 > 0:11:42I'm attaching the sort of blouse top bit
0:11:42 > 0:11:44to the bottom skirty bit.
0:11:44 > 0:11:47I think they call it a peplum, but I'm not sure!
0:11:47 > 0:11:49The gathered bodice is attached to the peplum,
0:11:49 > 0:11:52which should sit flat against the body.
0:11:52 > 0:11:57I'm just making a mark on here, so I know how wide to stitch.
0:11:58 > 0:12:02There's your gathers. Straight bit, straight bit, gathers in the middle.
0:12:02 > 0:12:05I don't know if that's the result I'm supposed to achieve,
0:12:05 > 0:12:08but that's what I've got.
0:12:08 > 0:12:11Sewers, you've got two hours left.
0:12:11 > 0:12:13You're halfway through.
0:12:13 > 0:12:15SIGHING
0:12:15 > 0:12:17Which side have I got to leave open?
0:12:17 > 0:12:19The left side's that side.
0:12:21 > 0:12:24The blouse has an opening at the waist called a placket.
0:12:24 > 0:12:26They were commonly used in 1930s garments
0:12:26 > 0:12:29as a cheap alternative to zips.
0:12:29 > 0:12:35In its simplest possible terms, the placket is just a flap of fabric
0:12:35 > 0:12:38to which you will attach your fastening
0:12:38 > 0:12:41and the placket also serves
0:12:41 > 0:12:45to fill in any gaps between the seams.
0:12:45 > 0:12:48OK. All right, hide this.
0:12:48 > 0:12:51The perfect placket.
0:12:51 > 0:12:54Creating a placket opening isn't familiar to everyone.
0:12:54 > 0:12:56Tamara?
0:12:56 > 0:12:59I need your help or opinion on something.
0:12:59 > 0:13:02So, literally, what I've got to do is cut this bit here?
0:13:02 > 0:13:05I think that's right, yeah. And then just top-stitch along there?
0:13:05 > 0:13:08I think so, yeah. I'm still trying to work it out, to be honest.
0:13:08 > 0:13:10I don't really understand.
0:13:10 > 0:13:12I don't know what a placket is.
0:13:12 > 0:13:17Hopefully what I've done is good enough.
0:13:17 > 0:13:20You got to cut that with the pinking shears. Yeah.
0:13:20 > 0:13:23And then you fold that back over to the seam like that.
0:13:23 > 0:13:26You sew across there and then you turn it through. Then turn it out.
0:13:26 > 0:13:30Oh, OK, I get it. Thank you. I think!
0:13:30 > 0:13:32I tell them all what to do. I might be wrong!
0:13:32 > 0:13:37Just getting this little placket sorted out.
0:13:37 > 0:13:41I'm hoping this is correct.
0:13:41 > 0:13:43Oh!
0:13:49 > 0:13:52Just as they've mastered one new technique,
0:13:52 > 0:13:54the neckline of the blouse requires another.
0:13:54 > 0:13:56Shirring on the front, isn't it?
0:13:56 > 0:13:58Yeah, that's what I'm thinking.
0:13:58 > 0:14:01So, these lines have got to be the shirring lines. Yeah.
0:14:01 > 0:14:05Shirring gathers up fabric by using elastic on the bobbin.
0:14:05 > 0:14:09So, the bobbin now has my elastic in it.
0:14:09 > 0:14:13So, I guess I need to have some threads free here?
0:14:13 > 0:14:15Maybe you have to pull on them or something.
0:14:15 > 0:14:19The shirring should be sewn in long, neat parallel rows...
0:14:19 > 0:14:22The more lines you have, the more gathered it is.
0:14:22 > 0:14:25..along just one section at the centre front of the neckline.
0:14:25 > 0:14:28I think that's looking shirred.
0:14:28 > 0:14:32So, now what I need to do is try and keep the tension the same
0:14:32 > 0:14:34through this next row.
0:14:34 > 0:14:36The lines need to be evenly spaced...
0:14:36 > 0:14:40One, two, three, four lines.
0:14:40 > 0:14:42That's line one.
0:14:42 > 0:14:45..and gather just the right amount of neckline...
0:14:45 > 0:14:48It's not easiest thing in the world to do.
0:14:48 > 0:14:51..to get the perfect fit.
0:14:51 > 0:14:55David hasn't shirred nearly enough of the front of the top,
0:14:55 > 0:14:58his shirring's too short so he's got a big gap
0:14:58 > 0:15:01and now what he's having to do is go back and shirr over the top
0:15:01 > 0:15:04of his original shirring to try and bring that neckline in.
0:15:04 > 0:15:07It's going to look messy. It may not even work.
0:15:07 > 0:15:09Frankly, it could be a little bit of a boo-boo.
0:15:09 > 0:15:13I shall never, ever, EVER
0:15:13 > 0:15:16use a 1930s pattern again.
0:15:18 > 0:15:21Sewers, you have one hour left, one hour.
0:15:21 > 0:15:23Well, I better get a shifty on.
0:15:23 > 0:15:27Shirr the front of the blouse. Where's the rest of this?
0:15:27 > 0:15:29I've never made a collar like this before.
0:15:29 > 0:15:33Seem to sew these together and then there's two there.
0:15:35 > 0:15:37You doing your collar? Yeah.
0:15:37 > 0:15:40You got four bits? Does it say in the pattern to do four?
0:15:40 > 0:15:43No, but it's common sense. No.
0:15:43 > 0:15:45Thanks very much! For a woman!
0:15:47 > 0:15:49To help the sewers match their collar
0:15:49 > 0:15:51to the neckline of their blouse,
0:15:51 > 0:15:53the pattern includes little points called notches,
0:15:53 > 0:15:56which mark the joining position on the seams.
0:15:56 > 0:15:58Normally I wouldn't bother with these,
0:15:58 > 0:16:00but because this is such an old pattern
0:16:00 > 0:16:04and I haven't got much instruction, I'm going to mark it exactly.
0:16:04 > 0:16:07When I was joining the collar bits together,
0:16:07 > 0:16:10I chopped off the markings, the notches
0:16:10 > 0:16:12and it's made it really difficult for me
0:16:12 > 0:16:15to find out where the collar should be.
0:16:15 > 0:16:17My mother would say, "Calm down, for goodness' sake,
0:16:17 > 0:16:19"it's only a blouse, it's only a collar!"
0:16:19 > 0:16:21That's what my mother would say now.
0:16:21 > 0:16:24I'm just sewing the side seams of the sleeves together now,
0:16:24 > 0:16:26and then I'm going to attach the sleeve to the shoulder.
0:16:26 > 0:16:29This is tricky because what you don't want to do is get rucks
0:16:29 > 0:16:32and puckers, very difficult to say,
0:16:32 > 0:16:36in other places other than where they should be.
0:16:36 > 0:16:39I'm gathering my sleeve into the sleeve end,
0:16:39 > 0:16:42but I'm not doing it the traditional way.
0:16:42 > 0:16:45This is how I would gather sleeves.
0:16:45 > 0:16:50Don't know if I'll be able to get it done, but I just have to do my best.
0:16:50 > 0:16:52What they have to be careful of, is that they gather
0:16:52 > 0:16:54only between the points on the pattern
0:16:54 > 0:16:58and that they carefully put that sleeve in the armhole
0:16:58 > 0:17:01and we want all the fullness to be at the top, so that it puffs.
0:17:01 > 0:17:04Have you matched your dots, Dave?
0:17:04 > 0:17:07No, no.
0:17:07 > 0:17:09What will the judges say about that?
0:17:09 > 0:17:11I think they'll have plenty to say
0:17:11 > 0:17:13without worrying about matching the dots!
0:17:15 > 0:17:18Sewers, you have six minutes!
0:17:18 > 0:17:21There's no way I can fit a sleeve in six minutes.
0:17:21 > 0:17:24Any button will do!
0:17:24 > 0:17:26When it's stitched up,
0:17:26 > 0:17:29this button will go through.
0:17:34 > 0:17:37I've got a minute just to get this button on.
0:17:37 > 0:17:40Stressed. This looks lovely.
0:17:40 > 0:17:41What is this?
0:17:41 > 0:17:44Don't start! Patrick and May might see.
0:17:44 > 0:17:46You've got to do something about this.
0:17:46 > 0:17:49You've got to do something about it, fast. What have you done?
0:17:49 > 0:17:52I didn't do anything! Oh, yeah, I did that, yeah.
0:17:52 > 0:17:54You've got 30 seconds!
0:17:57 > 0:18:01I can't believe we've got another challenge after this.
0:18:08 > 0:18:12OK. That's it, times up. Well done, all of you.
0:18:12 > 0:18:15Don't even thread that needle, I don't know why you'd do that.
0:18:21 > 0:18:25Five blouses produced from a 1930s pattern in just four hours,
0:18:25 > 0:18:28but what will May and Patrick think of them?
0:18:31 > 0:18:34We have a beautifully flat collar,
0:18:34 > 0:18:36but we've got quite a big gap in the middle.
0:18:36 > 0:18:38I know, it expanded, I don't know what happened!
0:18:38 > 0:18:40I think this was a case of, when you pinned it together
0:18:40 > 0:18:43and put the facing in, you have to handle this carefully,
0:18:43 > 0:18:45because your shirring has obviously tried to escape.
0:18:45 > 0:18:47It's even.
0:18:47 > 0:18:50If it had just been together, it would've been spot on.
0:18:50 > 0:18:53We have got a hook and bar
0:18:53 > 0:18:55and we have got a placket.
0:18:55 > 0:18:59It's not 100% as requested, little off at the centre,
0:18:59 > 0:19:02but otherwise, it's a perfectly wearable blouse.
0:19:02 > 0:19:04Well done. Thank you.
0:19:09 > 0:19:13We've got some good set in sleeves with the fullness at the top.
0:19:13 > 0:19:16The collar is fairly even at the back,
0:19:16 > 0:19:20but it's just pinging away from the body, unfortunately.
0:19:20 > 0:19:24We've got a faced opening and you've neatened the edges of that,
0:19:24 > 0:19:28well done. Some really good points on blouse. Well done.
0:19:28 > 0:19:30Thank you.
0:19:36 > 0:19:38The first thing to notice, obviously,
0:19:38 > 0:19:41is you've had a lot of trouble with this collar.
0:19:41 > 0:19:45What's happening is, it's coming up and bouncing over,
0:19:45 > 0:19:48because the seam is too tight in the inside. Yeah.
0:19:48 > 0:19:51Also, all of your shirring is skew-whiff.
0:19:51 > 0:19:54It's all on one side of the collar, pretty much.
0:19:54 > 0:19:58Where's the placket? Not stitched down to the underside.
0:19:58 > 0:20:02The level of finish of it is not terrific, I'm afraid.
0:20:08 > 0:20:11The first thing I notice is how beautifully flat
0:20:11 > 0:20:13the collar is sitting around the neckline.
0:20:13 > 0:20:17This, to me, is the most important part of any garment, really.
0:20:17 > 0:20:22This is where we're always focusing, and this collar is beautifully flat.
0:20:22 > 0:20:25The shirring is neat, sitting in the centre
0:20:25 > 0:20:28and all of this fullness flows straight through into the gathers
0:20:28 > 0:20:31at the waist, which is exactly the way we want it to sit.
0:20:31 > 0:20:32Well done.
0:20:41 > 0:20:45The collar, unfortunately, is very uneven, very much bigger
0:20:45 > 0:20:48on the right side than the left side.
0:20:48 > 0:20:51So you've made a placket? I did!
0:20:51 > 0:20:54Just need to put some fastenings on there.
0:20:54 > 0:20:57You've made a feature of these pins throughout.
0:20:57 > 0:21:00We've got pins at the back neck, pins on the sleeves
0:21:00 > 0:21:01and pins on the side seams.
0:21:01 > 0:21:03They all match, Patrick! They match!
0:21:03 > 0:21:06I've seen you do better work. I know!
0:21:06 > 0:21:09And I think we'll just leave it at that. I think so, too.
0:21:09 > 0:21:10Thank you, Lynda.
0:21:12 > 0:21:15Patrick and May will now rank the blouses from five to one.
0:21:17 > 0:21:19Number five, sadly, David.
0:21:19 > 0:21:23There were just a few things that could've been better.
0:21:23 > 0:21:27Fourth, and not terribly far ahead, Lynda.
0:21:27 > 0:21:29Third is Tamara.
0:21:29 > 0:21:33You've got a very big gap in the middle at the front
0:21:33 > 0:21:34where your collar sits.
0:21:34 > 0:21:36Second place...
0:21:40 > 0:21:42Chinelo. A really good sew overall.
0:21:42 > 0:21:45Just a few areas where it wasn't quite neat enough
0:21:45 > 0:21:48and that collar pinging up at the back, I think, has cost you.
0:21:48 > 0:21:51So, Heather, you came first on this challenge.
0:21:55 > 0:21:56A huge well done to all of you.
0:21:56 > 0:21:58Go and have a relax
0:21:58 > 0:22:03and when you come back we'll give you your next challenge. Off you go.
0:22:04 > 0:22:07# Forget your troubles, come on, get happy
0:22:07 > 0:22:09# You better chase all your cares away... #
0:22:09 > 0:22:12I loved that vintage sewing machine.
0:22:12 > 0:22:13Lovely memories for me,
0:22:13 > 0:22:17and my goodness, coming first as well. What a bonus!
0:22:17 > 0:22:19I can blame my tools all we like,
0:22:19 > 0:22:22it was down to my performance which is why I was last.
0:22:22 > 0:22:25You know what? I still don't know what a placket is!
0:22:27 > 0:22:30Time always gets the better of me.
0:22:30 > 0:22:32I talk too much, I mess around too much.
0:22:32 > 0:22:36But, at the end of the day, I'm having a fantastic time, so...
0:22:39 > 0:22:42Now brace yourselves because the next challenge
0:22:42 > 0:22:43isn't going to be any easier.
0:22:43 > 0:22:45The judges want to take the sewers back
0:22:45 > 0:22:47to the time of "make do and mend"
0:22:47 > 0:22:51to see who can produce something new from something old.
0:22:56 > 0:22:58We've given you a man's suit.
0:22:58 > 0:23:01We would like you all to re-tailor these garments
0:23:01 > 0:23:05into one useable, wearable piece of women's clothing
0:23:05 > 0:23:07that fits on the mannequin.
0:23:07 > 0:23:10In the post-war years this was all that some people had
0:23:10 > 0:23:13somewhere tucked away in a wardrobe, so see what you can make us.
0:23:13 > 0:23:16This is your hour-and-a-half to make do and mend. Off you go.
0:23:21 > 0:23:24The sewers can choose any of the suits on the rails...
0:23:24 > 0:23:27Cor, that's a big bloke isn't it?
0:23:27 > 0:23:28..take it apart...
0:23:28 > 0:23:30I wouldn't be asking him out on a Friday night!
0:23:30 > 0:23:31..and reconstruct it
0:23:31 > 0:23:35into a piece of clothing to fit their female mannequin.
0:23:35 > 0:23:36I've got something in my head.
0:23:36 > 0:23:38I've never done anything like this before,
0:23:38 > 0:23:40but tell you what, it's good fun.
0:23:40 > 0:23:41Feels wrong cutting into a suit
0:23:41 > 0:23:44because I wear suits all the time at work. It's almost like,
0:23:44 > 0:23:45"Right, I've had enough!
0:23:45 > 0:23:47"Cut my suits up, I'm not going to work again!"
0:23:49 > 0:23:51Well, there's nothing to do but get the seam ripper out
0:23:51 > 0:23:54and hope inspiration bites somewhere along the line.
0:23:54 > 0:23:57I'm just cutting it up. I'm not following the suit at all.
0:23:57 > 0:24:00I'm, like, using my freehand cutting style,
0:24:00 > 0:24:03making my own pattern out of the suit.
0:24:04 > 0:24:06This is the first time the sewers have been limited
0:24:06 > 0:24:09to only using the garment they have in front of them.
0:24:09 > 0:24:13In previous weeks, our sewers have used the haberdashery to create
0:24:13 > 0:24:15all of the effect in the garments
0:24:15 > 0:24:18and what we want to see them do this week is use their tailoring skills
0:24:18 > 0:24:22to re-engineer something, still create that dramatic effect
0:24:22 > 0:24:25but without the crutch of all that embellishment and trim.
0:24:25 > 0:24:27You've got an awful lot in a suit.
0:24:27 > 0:24:30You've got buttons, you've got pockets on the trousers,
0:24:30 > 0:24:33you've got a lot of fabric, you've got a lot of processes in there,
0:24:33 > 0:24:36which, if they're careful with the suit, they can recycle them all.
0:24:40 > 0:24:43What are you making? I am making a pencil dress out of this.
0:24:43 > 0:24:45I'm just looking at this suit as a piece of fabric.
0:24:45 > 0:24:47I'm going to extract the things that I want from it
0:24:47 > 0:24:49like the collar, I want to use.
0:24:49 > 0:24:51So it's going to be like a sort of tailored dress
0:24:51 > 0:24:54and I'm just going to make the collar the feature.
0:24:55 > 0:24:56Have you got enough time?
0:24:56 > 0:24:59I'm being a bit ambitious for time, to be honest,
0:24:59 > 0:25:01but I think it might be a risk worth taking.
0:25:01 > 0:25:05You're excited, I can tell. It is emanating from you.
0:25:05 > 0:25:08While Chinelo's deconstructing the entire suit,
0:25:08 > 0:25:10Tamara's just using the jacket.
0:25:11 > 0:25:13I'm going to do like a backwards tuxedo.
0:25:13 > 0:25:16You see these V shapes here?
0:25:16 > 0:25:19I want to incorporate something in the lines at the front.
0:25:19 > 0:25:22I actually want it quite loose. It's just the front I want fitting
0:25:22 > 0:25:24because I want it to be sexy and gaping at the back.
0:25:24 > 0:25:27OK. What about - I hate to use the word - side-boob?
0:25:27 > 0:25:30Oh, yes, well, that'll be taken in.
0:25:30 > 0:25:33It's on backwards, Tamara. I realise that!
0:25:35 > 0:25:39I'm making a halter neck from the main fabric of the suit.
0:25:39 > 0:25:45I want to keep the fact that it once was a suit as part of the design, if you like.
0:25:45 > 0:25:47I've got a great picture in my head.
0:25:47 > 0:25:49What actually gets produced are two different things.
0:25:49 > 0:25:53I think I'm going to make a little top. Are you?
0:25:53 > 0:25:55With some nice darts in. Yeah.
0:25:55 > 0:25:58Simple and beautiful. I think they'll love it.
0:25:58 > 0:26:01'Lynda is the only sewer using just the trousers.'
0:26:01 > 0:26:04What is this? That's upside down, my love.
0:26:04 > 0:26:07Never mind! Is this a gorgeous skirt?
0:26:07 > 0:26:10This is going to be a pinafore slip.
0:26:10 > 0:26:14It's going to be a bib on top. Oh, divine!
0:26:14 > 0:26:18Should you just be doing that, David, just ripping?
0:26:18 > 0:26:21It's great. Very therapeutic. Want to try some?
0:26:21 > 0:26:23Can I rip it? Hang on. You pull it.
0:26:24 > 0:26:29OK, if you cut me, I will kill you. You should know that,
0:26:29 > 0:26:30on crutches or not on crutches.
0:26:30 > 0:26:34Are you sure we should just be doing this? Nobody else is doing this.
0:26:34 > 0:26:36Other people are, like, being a bit more careful.
0:26:40 > 0:26:43This is reminding me of my school skirt.
0:26:43 > 0:26:46We had to wear gymslips in the summer.
0:26:46 > 0:26:50When I was about 13 I decided, no, I'm not wearing gymslips any more.
0:26:50 > 0:26:54I cut it like this and I cut it into this tiny little skirt,
0:26:54 > 0:26:56instead of a big gymslip with a zip.
0:26:58 > 0:27:00I was naughty. I used to mess about
0:27:00 > 0:27:03and tie people's shoelaces together and stuff.
0:27:03 > 0:27:07You can imagine that, can't you?
0:27:09 > 0:27:12Sewers, you have one hour left. One hour.
0:27:12 > 0:27:15I'm putting in darts to give it shape around the bust line
0:27:15 > 0:27:19and I'm going to do it before I do any of this seaming.
0:27:19 > 0:27:21I actually quite like the length. I might make it a dress.
0:27:21 > 0:27:25We'll start with the darts otherwise I'll get confused.
0:27:25 > 0:27:29Whilst some of the sewers are using darts to shape the waist and bust of their garment,
0:27:29 > 0:27:32others are using them as a feature.
0:27:32 > 0:27:36I'm just going to try and put in the tiniest little darts just as a decorative measure
0:27:36 > 0:27:40so that it'll look like it's supposed to be like that.
0:27:41 > 0:27:44Heather has been thinking along the same lines.
0:27:44 > 0:27:48I'm going to try and use all the darting as a feature.
0:27:48 > 0:27:51There's going to be an asymmetrical back on it.
0:27:51 > 0:27:53An asymmetrical back? Love it!
0:27:53 > 0:27:57It looks like something we'd all want to wear. Super chic.
0:27:57 > 0:28:00These are pleats and darts and what I'm going to do
0:28:00 > 0:28:03is actually stitch them on the outside of the garment
0:28:03 > 0:28:05instead of the inside so you can see them.
0:28:05 > 0:28:06I'm going to top stitch them.
0:28:06 > 0:28:10I've got to cut into the jacket and I really didn't want to.
0:28:10 > 0:28:14My straps are just going to be rectangles folded over,
0:28:14 > 0:28:17hemmed, turned the right way and pressed.
0:28:17 > 0:28:18Oh, what a waste of a jacket.
0:28:21 > 0:28:25Sewers, you have 15 minutes left. 15 minutes.
0:28:27 > 0:28:31I've shaped my garment so I've completely restructured it.
0:28:31 > 0:28:35Tamara is using the cuffs to create a ruffle across her top.
0:28:35 > 0:28:39And I just wanted to use a bit more of the suit.
0:28:40 > 0:28:43What should I do with the collar at this point in my life?
0:28:43 > 0:28:46Is it going to be tight? Yep.
0:28:47 > 0:28:50David, this bit is gorgeous.
0:28:50 > 0:28:52I just want you to put... This feels...
0:28:52 > 0:28:56A little empty? Correct. You're a policeman, for goodness' sake.
0:28:59 > 0:29:01It's gorgeous, Lynda.
0:29:01 > 0:29:03Yeah, you'd wear it, wouldn't you, Claudia?
0:29:03 > 0:29:05I'd wear it with a black polo neck.
0:29:05 > 0:29:08Yeah, and kinky boots.
0:29:10 > 0:29:13You've got one minute 30 seconds.
0:29:16 > 0:29:18Love a good bodge.
0:29:18 > 0:29:21This girl really needs to go on a diet. She's too fat.
0:29:26 > 0:29:29Oh, God, I can't watch. That's not going to fit, is it, David?
0:29:29 > 0:29:30Yeah, yeah, it's going to fit.
0:29:35 > 0:29:37Never had any doubt it would fit.
0:29:37 > 0:29:40Right, that's it. Time's up.
0:29:40 > 0:29:41Don't touch it.
0:29:41 > 0:29:45OK, everybody, let's take them to the front and jumble them up. OK?
0:29:48 > 0:29:51# Got a brand-new suit
0:29:51 > 0:29:53# Got a brand-new tie
0:29:53 > 0:29:56# Got a brand-new twinkle in my eye. #
0:29:56 > 0:29:59Patrick and May have no idea
0:29:59 > 0:30:02which sewer is responsible for which transformed suit.
0:30:02 > 0:30:07Amazing. Absolutely amazing. Well done, everybody.
0:30:07 > 0:30:10I'm mightily impressed by everything I see in front of me.
0:30:10 > 0:30:13Have a closer gander.
0:30:16 > 0:30:19It's pretty ingenious actually.
0:30:19 > 0:30:21It's extremely well-shaped.
0:30:21 > 0:30:24Sleeves chopped off, brought up and reinserted.
0:30:24 > 0:30:27We've got the revere coming round the back here, look.
0:30:27 > 0:30:29There's the button from the revere.
0:30:29 > 0:30:32It's a really good idea, using the trouser leg and shaping up. Yep.
0:30:32 > 0:30:35Clever. You're impressed? We are impressed, yes.
0:30:40 > 0:30:46One of the simplest transformations but a wearable top.
0:30:46 > 0:30:48It fits the mannequin well.
0:30:48 > 0:30:50Quite a simple design altogether.
0:30:52 > 0:30:53It's one central panel
0:30:53 > 0:30:57and two panels which form the side and the back.
0:30:58 > 0:31:03It's actually a very straightforward piece of engineering
0:31:03 > 0:31:04and quite cleverly done.
0:31:09 > 0:31:14We've got some insertions here. OK. Some shaped insertions.
0:31:14 > 0:31:16Extra darting to give it bust shaping
0:31:16 > 0:31:20and we've got these darts down here which were in the original suit.
0:31:20 > 0:31:23It's neat, it fits the mannequin well,
0:31:23 > 0:31:26it's definitely a big transformation.
0:31:30 > 0:31:33It's an effective little pinafore dress. It is.
0:31:33 > 0:31:37A seam that's been matched all the way up the centre front.
0:31:37 > 0:31:41That looks like the bottom of a trouser leg by that tape there. You're right. It is.
0:31:41 > 0:31:44We've got some rouleau fastenings.
0:31:44 > 0:31:47Neatly sewn, fits the mannequin well.
0:31:47 > 0:31:49That works incredibly well.
0:31:54 > 0:31:59This is a substantial piece of re-engineering
0:31:59 > 0:32:03and it doesn't fit perfectly.
0:32:03 > 0:32:04Row of three buttons.
0:32:04 > 0:32:09We've taken both cuffs apart and used both cuffs to create this.
0:32:09 > 0:32:11It looks transformative
0:32:11 > 0:32:14but it is just the suit jacket turned back to front,
0:32:14 > 0:32:16sleeves and shoulders out.
0:32:16 > 0:32:21I'm not convinced it will stay on terribly comfortably but...
0:32:21 > 0:32:23I think it's a really interesting use of the fabric. Yep.
0:32:23 > 0:32:25May and Patrick now reveal
0:32:25 > 0:32:28who they think has made the best use of the suit
0:32:28 > 0:32:30and exhibited the finest tailoring techniques.
0:32:30 > 0:32:33This one just makes me smile.
0:32:33 > 0:32:37I love it, absolutely love it. Happy with that. OK.
0:32:37 > 0:32:40So in fifth place please come up...
0:32:41 > 0:32:44In a line-up of pretty radical transformations,
0:32:44 > 0:32:47we felt this still retained a lot of its jacket-ness
0:32:47 > 0:32:50and I think the fit over the bust wasn't terrific.
0:32:50 > 0:32:51And in fourth place...
0:32:53 > 0:32:54David.
0:32:54 > 0:32:59A really good transformation and the only thing we could say
0:32:59 > 0:33:01was that looks a bit like a jacket still.
0:33:01 > 0:33:05I did want to keep the fact that it was a jacket.
0:33:05 > 0:33:08If I was going out for a night on the town and I was a young female,
0:33:08 > 0:33:10I'd think, "Look! Showing off what I've done."
0:33:10 > 0:33:14That's a dream picture in my head, just so we're clear.
0:33:14 > 0:33:17I've got disturbing images.
0:33:17 > 0:33:19David, thank you.
0:33:19 > 0:33:22In third place is the very beautiful tailored boob tube.
0:33:24 > 0:33:27There were more complex and more creative ideas,
0:33:27 > 0:33:30but really well-executed and really well done. Thank you.
0:33:32 > 0:33:36Is Lynda second place? Yes! Lynda?
0:33:36 > 0:33:41Really great transformation, lots of shaping, lots of processes.
0:33:41 > 0:33:44Thank you. Well done.
0:33:44 > 0:33:47So the winner is Chinelo!
0:33:51 > 0:33:55I'm so happy! Finally. Yes!
0:33:55 > 0:33:58I mean, just terrific. It made me smile the moment we walked in here.
0:33:58 > 0:34:01Brilliant. Thank you.
0:34:04 > 0:34:07A huge well done to all of you.
0:34:07 > 0:34:10Go home, have a nap, have a cuddle.
0:34:10 > 0:34:14We will see you tomorrow for the big challenge. Thanks very much.
0:34:15 > 0:34:19I'm so excited, honestly, to finally come first in the alteration challenge.
0:34:19 > 0:34:24I've hogged second place for ages so I'm so happy to be first.
0:34:24 > 0:34:26It was a shock to come last
0:34:26 > 0:34:29but, you know, after my heart sunk to my boots I thought,
0:34:29 > 0:34:33"You know what? Pull your socks up and get on with it."
0:34:33 > 0:34:37Not great results, to be honest. Last and second from last
0:34:37 > 0:34:40which means I have to work doubly hard tomorrow.
0:34:54 > 0:34:54A brand-new day and just one challenge to go
0:34:54 > 0:34:55before one sewer will be sent home
0:34:55 > 0:34:57How have they all done? May?
0:34:57 > 0:34:59Lynda, who's been our most consistent,
0:34:59 > 0:35:02her blouse wasn't very good, which was a real surprise.
0:35:02 > 0:35:07David needs to really excel today or he could be in a bit of difficulty.
0:35:07 > 0:35:10Of everybody yesterday, I think Heather had the best day,
0:35:10 > 0:35:14but Chinelo also I think acquitted herself pretty admirably in both challenges.
0:35:14 > 0:35:16Tamara's blouse was in the middle of the pack.
0:35:16 > 0:35:19She needs to do well on the next challenge.
0:35:21 > 0:35:23With a place in the semifinals at stake,
0:35:23 > 0:35:25there's a lot riding on this last challenge.
0:35:25 > 0:35:28As usual, it's all about fit.
0:35:28 > 0:35:31The sewers will be recreating an historic item of clothing
0:35:31 > 0:35:33and must make it fit a real person,
0:35:33 > 0:35:36so their models have returned to the sewing room
0:35:38 > 0:35:39Good morning, everyone.
0:35:39 > 0:35:44Today the judges want you to make a historic coat.
0:35:44 > 0:35:46This could have come from an old pattern
0:35:46 > 0:35:51or maybe a beautiful photograph of an old coat that you've always wanted to make.
0:35:51 > 0:35:55As well as fit, the judges will be looking for authentic techniques.
0:35:55 > 0:36:00Sewers, you have six and a half hours and your time starts now.
0:36:01 > 0:36:04The sewers have done lots of homework for this task.
0:36:04 > 0:36:06They've been researching old sewing methods
0:36:06 > 0:36:09and sourcing appropriate fabrics, which May and Patrick
0:36:09 > 0:36:12have suggested they bring to the sewing room pre-cut.
0:36:12 > 0:36:15What we want to see from our sewers this week
0:36:15 > 0:36:18is a return to substantial fabrics.
0:36:18 > 0:36:21Construction techniques that mean that a coat will last,
0:36:21 > 0:36:23so canvassing, hand finishing on button holes,
0:36:23 > 0:36:27anything that makes the coat something that you will keep in your wardrobe for years.
0:36:27 > 0:36:31Where might our five sewers come undone?
0:36:31 > 0:36:35You need a coat to have a really beautifully clean edge
0:36:35 > 0:36:36and a really good finish to it,
0:36:36 > 0:36:40and some people might find that hard to do because it's quite bulky.
0:36:42 > 0:36:45The sewers have practised making their coats at home,
0:36:45 > 0:36:49but now they must try and achieve the sharp finish the judges are looking for,
0:36:49 > 0:36:54and ensure they fit their models, all in just six and a half hours.
0:36:54 > 0:36:56That's the back!
0:36:58 > 0:37:02Tamara's chosen to make a coat her mum made for herself back in 1967.
0:37:02 > 0:37:07It was one of the first complicated patterns she'd attempted. Oh!
0:37:07 > 0:37:09She told me all about it and we had a look through
0:37:09 > 0:37:12all the vintage patterns together, so it was quite nice.
0:37:12 > 0:37:16Tamara's homage to her mum's coat is a classic '60s shape,
0:37:16 > 0:37:19fitted at the bust with princess seams and an empire line.
0:37:19 > 0:37:21It's lined with contrast fabric
0:37:21 > 0:37:24and finished off with matching bound buttonholes.
0:37:24 > 0:37:26Tamara's making her coat in a bright yellow wool.
0:37:26 > 0:37:32My grandmother and my mum found all of these 1960s pattern books,
0:37:32 > 0:37:34which are amazing.
0:37:34 > 0:37:38The type of fabric that they used is very similar to what I've got.
0:37:38 > 0:37:40Quite a heavy wool. As I make this coat,
0:37:40 > 0:37:43I'm thinking of my mum going through the same processes as me.
0:37:43 > 0:37:45It's like reliving the past.
0:37:45 > 0:37:48Lynda's also been inspired by her mum.
0:37:48 > 0:37:50The pattern I've chosen really reminds me of my mum.
0:37:50 > 0:38:01The coat really brings back memories of that time,
0:38:01 > 0:38:02and when I was little
0:38:04 > 0:38:08In this photograph, she's actually pregnant with me
0:38:08 > 0:38:11and in that photograph there,
0:38:11 > 0:38:14she's actually wearing almost the same coat.
0:38:14 > 0:38:19Lynda's 1950s wool flannel coat has a shawl collar and full skirt.
0:38:21 > 0:38:24Have you quite enjoyed this task? I've loved it.
0:38:24 > 0:38:29I've been upset but I love it. I'm upset about my mother.
0:38:29 > 0:38:31She would love to make this. Would she?
0:38:31 > 0:38:34She would, yes. Because also she was a brilliant seamstress. She was.
0:38:34 > 0:38:37A tailoress, actually, so this is her thing.
0:38:37 > 0:38:40She made everything but when it came down to what she loved
0:38:40 > 0:38:44and did the best, it was tailored things like this.
0:38:44 > 0:38:46Good luck. See you later.
0:38:48 > 0:38:51After the war, fabrics weren't rationed any more
0:38:51 > 0:38:54so that point of austerity was over and done with.
0:38:54 > 0:38:58Christian Dior came in with new fashions of using a lot more fabric
0:38:58 > 0:39:01in a much more flamboyant and luxurious way.
0:39:01 > 0:39:07I have a photo here of just how much fabric one can put
0:39:07 > 0:39:10into a swing coat. I mean, awesome or what?
0:39:10 > 0:39:12Just beautiful.
0:39:12 > 0:39:13Heather's 1953 swing coat
0:39:13 > 0:39:16is a voluminous three-quarter length design
0:39:16 > 0:39:21with contrast drape collar, patch pockets and turned-back cuffs.
0:39:21 > 0:39:24You have the same fabrics but you've just got red and black? Yeah.
0:39:24 > 0:39:26What's the fabric composition?
0:39:26 > 0:39:30It's a cashmere and wool blend and I'm going to line it also in silk.
0:39:30 > 0:39:32You will have to make sure of course
0:39:32 > 0:39:36that it's hanging perfectly level and horizontally all the way around.
0:39:36 > 0:39:39The New Look Heather is referring to
0:39:39 > 0:39:42was launched by Christian Dior in 1947 in Paris,
0:39:42 > 0:39:45and it had an enormous impact on the fashion world.
0:39:45 > 0:39:49Chinelo has also been inspired by the Dior full-skirted look.
0:39:49 > 0:39:51Is this the photograph?
0:39:51 > 0:39:52This is my inspiration.
0:39:52 > 0:39:55Oh, it's beautiful. Absolutely stunning.
0:39:55 > 0:39:58Chinelo's 1940s style coat
0:39:58 > 0:40:00is fitted at the bodice
0:40:00 > 0:40:02and flares out at the waist.
0:40:02 > 0:40:04I've never made a coat before.
0:40:04 > 0:40:06I have attempted to make something like a jacket,
0:40:06 > 0:40:09but I've never made a proper tailored jacket.
0:40:09 > 0:40:12David's been inspired by something rather closer to home.
0:40:12 > 0:40:17I've decided to make a 1940s police coat because I'm a policeman
0:40:17 > 0:40:22and I just thought it would be nice to go back down memory lane,
0:40:22 > 0:40:25although I wasn't even born then.
0:40:25 > 0:40:27The police coat David's making
0:40:27 > 0:40:29has a high collar, side pleats,
0:40:29 > 0:40:32breast pockets and original buttons,
0:40:32 > 0:40:34all the result of his own research.
0:40:34 > 0:40:38Quite enjoyed phoning up the old men at the heritage centre and they were like,
0:40:38 > 0:40:42SQUEAKY VOICE: "Ooh, yes. It's very much like this. They had pointy pockets and everything."
0:40:42 > 0:40:47If they're watching, they might be slightly upset at your impersonation. I'm just saying!
0:40:47 > 0:40:49They were very helpful.
0:40:49 > 0:40:54They were very helpful? Good boy. This feels ridiculous. What is this?
0:40:54 > 0:40:56It feels like a carpet. Very heavy wool.
0:40:56 > 0:41:00Well, it's not far off it. It's really, really heavy wool.
0:41:00 > 0:41:02For the coats to be robust and retain their shape,
0:41:02 > 0:41:06they need to be structured inside with extra stiffening fabric.
0:41:06 > 0:41:08Canvassing, apparently.
0:41:08 > 0:41:11Around the room, we've got different sewers doing
0:41:11 > 0:41:14different types of structural canvassing inside.
0:41:14 > 0:41:17This canvas provides stability and the ability
0:41:17 > 0:41:18to shape the garment.
0:41:18 > 0:41:20If we took all of this out,
0:41:20 > 0:41:23what you'd find is you've just got cloth draping on the body.
0:41:23 > 0:41:25The point of tailoring is there is an internal structure
0:41:25 > 0:41:27which creates all of this shape.
0:41:27 > 0:41:29So much work goes into it.
0:41:33 > 0:41:38This is hair canvas, and it's very springy and resilient,
0:41:38 > 0:41:40so this is going to give body and substance and a little
0:41:40 > 0:41:44bit of spring to it, so it will keep its shape through the front line.
0:41:45 > 0:41:47Tamara's giving structure to her coat with
0:41:47 > 0:41:51interlining, which she is tacking to the inside of the coat.
0:41:52 > 0:41:59Normally, I would iron this on, but because I'm using '60s methods,
0:41:59 > 0:42:02I'm hand-stitching.
0:42:02 > 0:42:06So I'm just using really long stitches in a contrast thread that,
0:42:06 > 0:42:08when I'm finished doing my machine stitching,
0:42:08 > 0:42:11I can pull this thread out. You won't be able to see it.
0:42:14 > 0:42:18'Chinelo might be making a 1940s coat, but she's not sticking
0:42:18 > 0:42:19'to the 1940s methods.'
0:42:19 > 0:42:22What is this, by the way? This is interfacing. I'm cheating
0:42:22 > 0:42:25a little bit, because they would not have used fusible interfacing,
0:42:25 > 0:42:28but as we've only got six and half hours to do this,
0:42:28 > 0:42:29I have to cut some corners. Yeah.
0:42:29 > 0:42:33Are you worried that you've been slightly too ambitious on this task?
0:42:33 > 0:42:36I have definitely been ambitious on this task,
0:42:36 > 0:42:39but that's what got me first for yesterday's challenge,
0:42:39 > 0:42:41so hopefully it'll pay off again today.
0:42:45 > 0:42:49Two and a half hours down, four to go...
0:42:49 > 0:42:51SHE EXHALES
0:42:51 > 0:42:55..and at last, some construction begins.
0:42:55 > 0:42:57I'm doing the side back panels,
0:42:57 > 0:43:02which hopefully will give it a nice fit around the kidneys.
0:43:02 > 0:43:06The biggest challenge the sewers face is the sheer amount of fabric
0:43:06 > 0:43:07they have to handle.
0:43:07 > 0:43:11Achieving a sharp finish will not be easy.
0:43:11 > 0:43:16A lot of fabric bulk here to actually get under the machine foot.
0:43:16 > 0:43:19David's fabric is already causing problems.
0:43:19 > 0:43:22It's twice as thick as what I thought it was going to be.
0:43:22 > 0:43:24I ended up buying it over the phone.
0:43:24 > 0:43:27The fellow went, "Yeah, we've got exactly the thing for you.
0:43:27 > 0:43:31"Don't worry about it. Leave it with me." And he gave me this stuff.
0:43:32 > 0:43:36This fabric's proving to be really difficult to work with,
0:43:36 > 0:43:39and I didn't practice with this fabric, either.
0:43:39 > 0:43:42It's just falling to pieces the more I work with it.
0:43:42 > 0:43:46I could have done with something that wasn't so open.
0:43:48 > 0:43:50Heather's collar forms the front of her coat,
0:43:50 > 0:43:54so she's strengthening it with canvas and cotton poplin.
0:43:54 > 0:43:56This is a poplin interlining.
0:43:56 > 0:43:59I'm going to use it just around the back of the collar,
0:43:59 > 0:44:02and then I'm just going to face down the front through the hemline.
0:44:02 > 0:44:07David's adding a rather more personal touch to his collar.
0:44:07 > 0:44:09707 was my first collar number
0:44:09 > 0:44:13from when I used to walk the beat in Brixton.
0:44:13 > 0:44:18The collar is made from two pieces, and would have prevented you...
0:44:20 > 0:44:22..from being garrotted.
0:44:22 > 0:44:24According to the history books, anyway.
0:44:29 > 0:44:32Sewers, you're halfway through.
0:44:32 > 0:44:35You have three hours and 15 minutes left.
0:44:35 > 0:44:39The collar is now on. Sleeves are next - we'll see how they go.
0:44:40 > 0:44:44To allow for movement in the elbow of his heavy wool tunic,
0:44:44 > 0:44:48David's sleeves are made up of two parts, to produce a curve.
0:44:48 > 0:44:52The thing that worries me, though, is fitting sleeve heads in, because
0:44:52 > 0:44:55it's something I've not had practice at. Could be a complete disaster.
0:44:55 > 0:44:57Can you hold your arm out?
0:44:57 > 0:45:00Lynda's coat has simple dolman sleeves, which are cut out as part
0:45:00 > 0:45:04of the bodice. They're named after a Turkish robe called a dolaman.
0:45:04 > 0:45:07I think that's just about right. Yeah?
0:45:07 > 0:45:11Heather's more intricate coat includes cuffs.
0:45:11 > 0:45:14Now I am going to slip
0:45:14 > 0:45:17this sleeve into this sleeve,
0:45:17 > 0:45:21and here are my locating pins,
0:45:21 > 0:45:23so that goes on that side, and,
0:45:23 > 0:45:27obviously, my seam goes on that side.
0:45:28 > 0:45:33This is a gathered sleeve head, so you want it to have that shape,
0:45:33 > 0:45:39so when it fits into the arm hole, it falls down nice and flat.
0:45:39 > 0:45:42I'm just going to put it on him.
0:45:42 > 0:45:45Got to sort of work out where I need material
0:45:45 > 0:45:48and where I don't need material,
0:45:48 > 0:45:50and it's not easy.
0:45:52 > 0:45:54With the tricky bodice section complete,
0:45:54 > 0:45:58the sewers can finally get to work on the skirt.
0:45:58 > 0:46:02I'm attaching the skirt to the back bodice now.
0:46:02 > 0:46:04These pieces are the skirt of the jacket,
0:46:04 > 0:46:07so I'm going to sew it all together.
0:46:09 > 0:46:12Sewing a hem along a bulky fabric takes real patience,
0:46:12 > 0:46:15but Lynda and Chinelo have given themselves
0:46:15 > 0:46:19the hardest task of all - they both have three metres of skirt to hem.
0:46:21 > 0:46:23This is what I was panicking about.
0:46:23 > 0:46:24There's so much of it.
0:46:24 > 0:46:28The stitches shouldn't show on the outside of the garment,
0:46:28 > 0:46:30so Lynda is painstakingly hand-sewing.
0:46:30 > 0:46:35When I did the coat at home, the hem took me the longest.
0:46:35 > 0:46:38And that's what's worrying me - there's yards and yards of it.
0:46:39 > 0:46:43I'm not going to hem it. That's going to take forever.
0:46:43 > 0:46:46I'm going to bag it out with top stitch and then press it.
0:46:46 > 0:46:48Bagging out involves attaching the lining
0:46:48 > 0:46:50to the bottom of the coat, right side to right side.
0:46:50 > 0:46:54It's then machine stitched, and turned right-side-out,
0:46:54 > 0:46:57so all the raw seams are hidden inside the lining.
0:46:57 > 0:47:00Time at the moment is not my best friend.
0:47:05 > 0:47:06One hour to go.
0:47:09 > 0:47:12I'll be lucky if I get a finished garment
0:47:12 > 0:47:14in the time that we've got left.
0:47:14 > 0:47:17It'll probably all unravel into a pile of wool on the floor
0:47:17 > 0:47:18by the time it gets judged.
0:47:18 > 0:47:20How is it?
0:47:20 > 0:47:23Well, I'm halfway round the hem, so I'm really chuffed.
0:47:23 > 0:47:24You're working so fast!
0:47:24 > 0:47:28I'm boiling. My hands are sweating. This is really...
0:47:28 > 0:47:30Really hard, to do this quick.
0:47:30 > 0:47:33Look! You can't see it at all!
0:47:35 > 0:47:36RIPPING
0:47:36 > 0:47:37SHE GASPS
0:47:38 > 0:47:41Oh, lordy. This stuff is so fragile.
0:47:42 > 0:47:46That's where I ripped my coat.
0:47:46 > 0:47:47Sad face.
0:47:50 > 0:47:53Sewers, you have 22 minutes left.
0:47:54 > 0:47:58'As well as using vintage patterns for their coats,
0:47:58 > 0:48:00'the sewers have had to research authentic fastenings.'
0:48:00 > 0:48:04The buttons make the dress uniform - they've got to go on.
0:48:04 > 0:48:06'While David is using a modern buttonhole foot,
0:48:06 > 0:48:11'Tamara's using a more traditional method to create buttonholes.'
0:48:11 > 0:48:15I'm really trying to make the lips of the buttonhole even.
0:48:15 > 0:48:19I'm having a real nightmare with the fabric.
0:48:20 > 0:48:23Tamara's also covering her own buttons.
0:48:23 > 0:48:24I've done a couple of trials.
0:48:24 > 0:48:27I tried to make the button with this, but of course...
0:48:27 > 0:48:29Guess what happened!
0:48:29 > 0:48:34So I'm using the fabric that I used on my buttonholes.
0:48:35 > 0:48:38Five minutes to finish your coats
0:48:38 > 0:48:42and your policeman's dressing-up outfit.
0:48:44 > 0:48:45I have got a lot to do.
0:48:47 > 0:48:49SHE EXHALES HEAVILY
0:48:49 > 0:48:52I need to hand-stitch the inside of my buttonholes,
0:48:52 > 0:48:55which I have four to do.
0:48:55 > 0:48:58I'm putting buttons on the princess line.
0:48:58 > 0:49:01And there would've been two on the pockets, except time has got away
0:49:01 > 0:49:04from me and I haven't been able to do pockets.
0:49:04 > 0:49:07I'm definitely not going to have time to put my pockets on.
0:49:07 > 0:49:10If I can't get my buttons on, I definitely can't get my pockets on.
0:49:10 > 0:49:11You have one minute, everyone!
0:49:11 > 0:49:15One minute to make these beautiful coats.
0:49:22 > 0:49:25I've bruised my velvet.
0:49:25 > 0:49:26You've got ten seconds!
0:49:26 > 0:49:28Oh, good(!)
0:49:28 > 0:49:30Heather? I need the ten seconds.
0:49:37 > 0:49:38It's so bulky.
0:49:43 > 0:49:45That's it - the end.
0:49:47 > 0:49:49Ooh! Did you get a prick? Yep.
0:49:49 > 0:49:52Seriously? Oh, yeah. Sorry, I forgot to say,
0:49:52 > 0:49:53there's some pins down here.
0:49:53 > 0:49:55SHE EXHALES HEAVILY
0:49:55 > 0:49:58I just think everyone else's is amazing. I love Tamara's one.
0:49:58 > 0:50:01I love Heather's. I think that's garment of the week.
0:50:01 > 0:50:04Absolutely exhausted by that.
0:50:05 > 0:50:08I'm actually quite surprised it looks that good on.
0:50:09 > 0:50:13Ah, the medals are for seamstressing,
0:50:13 > 0:50:15cooking,
0:50:15 > 0:50:17and polishing brass.
0:50:23 > 0:50:27After six and a half hours of intense sewing, five historic coats
0:50:27 > 0:50:32have been produced, which Patrick and May will now judge.
0:50:33 > 0:50:34Lynda, please come forward.
0:50:41 > 0:50:42I think it looks good.
0:50:42 > 0:50:44From the front,
0:50:44 > 0:50:45the collar is sitting very nicely.
0:50:45 > 0:50:47The coat's running level
0:50:47 > 0:50:49all the way around the bottom.
0:50:49 > 0:50:51The sleeve looks nice and slim.
0:50:51 > 0:50:52They're both finishing
0:50:52 > 0:50:54at the same point on the crook in the hand.
0:50:54 > 0:50:56Darts are even.
0:50:56 > 0:50:59You've got lovely invisible hems. Lovely?
0:50:59 > 0:51:03Well done, because they are really invisible. Yeah.
0:51:03 > 0:51:05I think, overall, it looks like
0:51:05 > 0:51:07a well-fitted, well-balanced,
0:51:07 > 0:51:09well-executed coat. Thank you.
0:51:15 > 0:51:17The first thing I notice, David,
0:51:17 > 0:51:19is you got those sleeves in.
0:51:19 > 0:51:21Well done. I saw you struggling.
0:51:21 > 0:51:24They're not in the perfect place on both shoulders.
0:51:24 > 0:51:29However, you haven't got any pleating, so well done.
0:51:29 > 0:51:30Thank you.
0:51:30 > 0:51:33I think the fit is really good.
0:51:33 > 0:51:36Unfortunately, something a bit funny has happened with your collar.
0:51:36 > 0:51:40This one's sitting prouder than this one. I don't know whether
0:51:40 > 0:51:42it just wants... Needs a good press.
0:51:42 > 0:51:46It needs a good press to bring it back up where it ought to be.
0:51:46 > 0:51:48A tricky garment. I think you've fitted it well.
0:51:48 > 0:51:50I think there's a lot of good sewing in it.
0:51:50 > 0:51:52Just a couple of areas.
0:51:52 > 0:51:54But overall a pretty good stab at that.
0:51:54 > 0:51:56Thank you. Well done.
0:52:02 > 0:52:03I like it.
0:52:03 > 0:52:07You know, it's almost like I'm looking at the next Mrs Don Draper
0:52:07 > 0:52:11here. Fit-wise it looks good. The shoulders look good.
0:52:11 > 0:52:14Your buttons line up nicely with the holes ,and I like the fact
0:52:14 > 0:52:18that you've done your own covered buttons in that silk there, too.
0:52:18 > 0:52:20I'd rather not be seeing the under-collar.
0:52:20 > 0:52:22Especially when it's a contrast.
0:52:22 > 0:52:26When you're doing hems, particularly on such a bulky fabric,
0:52:26 > 0:52:28don't turn it up double.
0:52:28 > 0:52:30What's happening, it's a beautiful shape,
0:52:30 > 0:52:33but we've got this ridge all the way round the hem,
0:52:33 > 0:52:36and we've got the same all the way around the sleeves.
0:52:36 > 0:52:38I was really rushing to get it all done! I know.
0:52:51 > 0:52:55I'm a little sad, because it's so close to being a real knockout.
0:52:55 > 0:52:59There's so much that's good in it that's just let down by just
0:52:59 > 0:53:02a few little details.
0:53:02 > 0:53:04Just seeing that little bit of red
0:53:04 > 0:53:06on that front edge there,
0:53:06 > 0:53:10that one little thing sort of spoils the front of it. I know. I know.
0:53:10 > 0:53:13Didn't get round to doing the hem? No. Just ten minutes too late.
0:53:13 > 0:53:16That draped sort of shawl is really effective.
0:53:16 > 0:53:18I really like the way it's done,
0:53:18 > 0:53:20and you've handled the pockets very
0:53:20 > 0:53:22neatly. They're very well balanced.
0:53:22 > 0:53:26Sadly, we've got one sleeve head that's sitting quite flat
0:53:26 > 0:53:28and the other that's just a little bit proud.
0:53:28 > 0:53:29For me, it's a real shame,
0:53:29 > 0:53:33because it was that close to being a really lovely-looking garment.
0:53:40 > 0:53:42There's a couple of fit things.
0:53:42 > 0:53:46I think there's just a little bit of a wave around that bottom edge.
0:53:46 > 0:53:51The straight grain on the skirt is running from here, this way,
0:53:51 > 0:53:53rather than from here, this way.
0:53:53 > 0:53:57So it's just riding away from you a bit.
0:53:57 > 0:53:59The other thing that leaps out
0:53:59 > 0:54:00is this front edge, here.
0:54:00 > 0:54:04This needs to be absolutely flat, but it's lumpy around the edge.
0:54:04 > 0:54:09So we've got a beautiful lining, and also,
0:54:09 > 0:54:11you've bagged out your lining and
0:54:11 > 0:54:14your hem, and you've understitched.
0:54:15 > 0:54:18The shape through it is really very nice. It's draping well.
0:54:18 > 0:54:19The back is good.
0:54:19 > 0:54:22You've left a little bit of back drape there for movement.
0:54:22 > 0:54:23A lot of good stuff.
0:54:23 > 0:54:25I think it's a good-looking coat.
0:54:25 > 0:54:27It's just really control of those edges throughout
0:54:27 > 0:54:30that's let you down. It's in the details.
0:54:30 > 0:54:32Thank you very much. Thank you.
0:54:34 > 0:54:38A huge well done on that extraordinarily difficult challenge.
0:54:38 > 0:54:40It's now time for you guys to have a break.
0:54:40 > 0:54:43When you come back in, the judges will announce
0:54:43 > 0:54:46the best garment of the week, and, unfortunately, they're going to
0:54:46 > 0:54:49announce who's leaving the Sewing Bee.
0:54:50 > 0:54:52I'm not sure I've done enough.
0:54:52 > 0:54:54The girls' coats are just amazing, aren't they?
0:54:54 > 0:54:59I just hope I've done enough techniques to pull it off.
0:54:59 > 0:55:03Going in to the last challenge, I felt really confident, but then
0:55:03 > 0:55:09hitting that wall with the fabric, my confidence just went to zero.
0:55:09 > 0:55:11It is a competition, of course,
0:55:11 > 0:55:16but we're all incredibly friendly and nobody wants anybody to go.
0:55:18 > 0:55:20So this is the tricky bit.
0:55:20 > 0:55:24Who do you think needs to now leave?
0:55:24 > 0:55:29We had two blouses yesterday, both in polka dots - David's and Lynda's,
0:55:29 > 0:55:33neither of which were particularly good at all.
0:55:33 > 0:55:34The alteration challenges,
0:55:34 > 0:55:38there were a few that were relatively close.
0:55:38 > 0:55:41One of the weaker ones was Tamara's, wasn't it? Yes.
0:55:41 > 0:55:46That one, we felt, was the least well-managed.
0:55:46 > 0:55:49It's a difficult decision whichever way we look at it. Yes.
0:55:49 > 0:55:53I mean, I have an inkling myself... Yes. ..but I think May and I
0:55:53 > 0:55:56just need to talk about this one a little bit further. OK.
0:56:04 > 0:56:07Look at Lynda - already gone. I haven't even said anything.
0:56:07 > 0:56:10Well, I can't help it! I'm sorry.
0:56:10 > 0:56:11THEY CHUCKLE
0:56:11 > 0:56:14Let's do the good bit first.
0:56:14 > 0:56:16Our garment of the week this week is...
0:56:17 > 0:56:19..Lynda's coat. Oh, my God!
0:56:19 > 0:56:22APPLAUSE
0:56:25 > 0:56:29This was all about using vintage-style fabrics,
0:56:29 > 0:56:30old techniques,
0:56:30 > 0:56:33and what you did was perfectly on-point for that.
0:56:33 > 0:56:35Well done. Thank you!
0:56:35 > 0:56:38So here comes the horrid bit, and we've got to do it.
0:56:38 > 0:56:42The person leaving the Sewing Bee is...
0:56:50 > 0:56:51It's David.
0:56:51 > 0:56:52THEY ALL EXCLAIM
0:56:52 > 0:56:55I'm sorry! Come on!
0:56:55 > 0:56:57David! Oh, David!
0:56:57 > 0:57:00We're going to so miss you, David.
0:57:00 > 0:57:03David has been a joy to have in the sewing room.
0:57:03 > 0:57:07He has learnt so much every week and it's been fantastic watching
0:57:07 > 0:57:10somebody who's much more competent than when he started.
0:57:13 > 0:57:15Really upset that David's gone.
0:57:15 > 0:57:19I can't tell you how upsetting it is. He's just been amazing.
0:57:19 > 0:57:22It really won't be the same without him.
0:57:23 > 0:57:26I'm really, really sad that David's gone.
0:57:26 > 0:57:29Really sad. I love him. He's been my hero.
0:57:31 > 0:57:34I've reached my limit and that's fine.
0:57:34 > 0:57:35The girls deserve to be here.
0:57:35 > 0:57:37I'm really glad they're not going, actually,
0:57:37 > 0:57:40because I'd be quite upset if one of them went.
0:57:43 > 0:57:48I just realised, I'm through to the semifinal! Throat's hurting...
0:57:48 > 0:57:50from trying not to cry.
0:57:53 > 0:57:56Next week, it's the semifinal.
0:57:57 > 0:57:59You could cut the air with a knife.
0:57:59 > 0:58:03Tamara, Lynda, Chinelo and Heather go head-to-head.
0:58:03 > 0:58:06I shall be really disappointed if this doesn't work.
0:58:06 > 0:58:08Who will manage a dress with no pattern?
0:58:08 > 0:58:11This is the scary part!
0:58:11 > 0:58:14Which of them will produce the perfect alteration?
0:58:14 > 0:58:16That's not too bad. They're not going to be happy.
0:58:16 > 0:58:19Has Chinelo finally bitten off more than she can chew?
0:58:19 > 0:58:23These are all sewn on in individual pieces? Individual pieces, yeah.
0:58:23 > 0:58:24You're absolutely crazy.
0:58:24 > 0:58:26And who will make it to the final?
0:58:26 > 0:58:28I really hope I've done enough to stay in.
0:58:28 > 0:58:31That's really exactly what I didn't want to do.
0:58:31 > 0:58:33SHE EXHALES HEAVILY
0:58:34 > 0:58:38If you'd like to sharpen up your sewing skills, please go to...
0:58:39 > 0:58:42..for ideas and projects based on the series.