Browse content similar to 1960s Week. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
As we reach our halfway point, | 0:00:02 | 0:00:03 | |
it's all bell-bottoms, miniskirts and hot pants, | 0:00:03 | 0:00:05 | |
just a few of the iconic garments | 0:00:05 | 0:00:07 | |
that made the 1960s the golden age of home sewing. | 0:00:07 | 0:00:12 | |
Welcome to The Great British Sewing Bee. | 0:00:12 | 0:00:15 | |
Last time - The Sewing Bee took a trip around the world. | 0:00:15 | 0:00:19 | |
I'd love to wear something very similar. | 0:00:19 | 0:00:23 | |
Tracey took top spot... | 0:00:23 | 0:00:26 | |
twice. | 0:00:26 | 0:00:27 | |
I think I'm getting the hang of this now. | 0:00:27 | 0:00:30 | |
Joyce took a detour with her pattern. | 0:00:30 | 0:00:33 | |
Isn't that more interesting? | 0:00:33 | 0:00:34 | |
It's not what we asked for. | 0:00:34 | 0:00:37 | |
But her made-to-measure dress was a one-way ticket... | 0:00:37 | 0:00:40 | |
It's very crisp, very neat. | 0:00:40 | 0:00:42 | |
It looks really well fitted. | 0:00:42 | 0:00:44 | |
..to garment of the week. | 0:00:44 | 0:00:46 | |
For Josh, it was the end of the road... | 0:00:48 | 0:00:50 | |
Something has gone wrong over the hip. | 0:00:50 | 0:00:53 | |
..leaving the women to fight it out for a quarterfinal place. | 0:00:53 | 0:00:56 | |
This week, the sewers step back in time... | 0:00:59 | 0:01:01 | |
What was it like in the '60s? | 0:01:01 | 0:01:03 | |
Sex, drugs and rock and roll. | 0:01:03 | 0:01:06 | |
..reviving iconic garments... | 0:01:06 | 0:01:08 | |
Magic. | 0:01:09 | 0:01:10 | |
..using time-honoured techniques... | 0:01:10 | 0:01:12 | |
I'm too young for this. | 0:01:12 | 0:01:14 | |
..vintage patterns... | 0:01:14 | 0:01:15 | |
If Elvis wore it, it's good enough for me. | 0:01:15 | 0:01:17 | |
..and space-age fabrics. | 0:01:17 | 0:01:19 | |
It's just really yucky. | 0:01:19 | 0:01:21 | |
But with the judges more exacting than ever... | 0:01:21 | 0:01:23 | |
I'm going to grab a ruler. | 0:01:23 | 0:01:24 | |
..will the whiff of nostalgia... | 0:01:26 | 0:01:27 | |
I'm hoping today does her justice, she would have liked doing this. | 0:01:27 | 0:01:31 | |
..put a swing in their step? | 0:01:31 | 0:01:33 | |
You saucy minx. | 0:01:33 | 0:01:34 | |
Or will the '60s be a decade they'd rather leave firmly in the past? | 0:01:34 | 0:01:38 | |
I'm OK. | 0:01:38 | 0:01:40 | |
MUSIC: Get Ready by The Temptations | 0:01:59 | 0:02:01 | |
There are six women left. | 0:02:04 | 0:02:06 | |
Go, girls, go. | 0:02:06 | 0:02:08 | |
My plans for this week is to follow the instructions | 0:02:10 | 0:02:13 | |
to the subatomic particle. | 0:02:13 | 0:02:15 | |
I loved the 1960s fashion, so I'm very excited about this week. | 0:02:16 | 0:02:20 | |
I'm hoping they're not going to bring out a 1960s sewing machine. | 0:02:22 | 0:02:26 | |
Good morning, sewers. | 0:02:33 | 0:02:35 | |
-Morning. -Gather around. | 0:02:35 | 0:02:37 | |
Congratulations, you have made it to the halfway point. | 0:02:37 | 0:02:40 | |
-Amazing. -This week is all about the 1960s. | 0:02:40 | 0:02:44 | |
For your first challenge, the pattern challenge, | 0:02:44 | 0:02:46 | |
the judges have given you vintage machines. | 0:02:46 | 0:02:49 | |
What do you think? | 0:02:49 | 0:02:51 | |
-Love them. -Joyce very happy. | 0:02:51 | 0:02:53 | |
Good. All right. | 0:02:53 | 0:02:54 | |
Esme, what have you got for them? | 0:02:54 | 0:02:56 | |
Here you are. This is one of the most iconic garments of the '60s. | 0:02:56 | 0:03:02 | |
It's a shift dress, | 0:03:02 | 0:03:04 | |
a shift dress might sound simple, but it's colour-blocked, | 0:03:04 | 0:03:08 | |
made of 14 pieces. | 0:03:08 | 0:03:10 | |
THEY GASP | 0:03:10 | 0:03:12 | |
So we are looking for construction using very crisp, clean lines, | 0:03:12 | 0:03:17 | |
and we want well-balanced blocks of colour | 0:03:17 | 0:03:19 | |
to create something resembling | 0:03:19 | 0:03:21 | |
a work of art. | 0:03:21 | 0:03:22 | |
You have three hours 45 minutes, your time starts now. | 0:03:22 | 0:03:26 | |
-They are off. -That's the one I want. | 0:03:28 | 0:03:30 | |
All the sewers are using cotton sateen fabric, | 0:03:30 | 0:03:33 | |
but which shades they select will have a huge impact on the success of | 0:03:33 | 0:03:36 | |
their colour-block dress. | 0:03:36 | 0:03:38 | |
I've got white and orange and minty. | 0:03:38 | 0:03:41 | |
That's boring. | 0:03:41 | 0:03:42 | |
This complex 1960s pattern will test who has the | 0:03:42 | 0:03:46 | |
skills and sewing knowledge to adapt to vintage techniques. | 0:03:46 | 0:03:50 | |
I don't know a huge amount about the '60s. | 0:03:50 | 0:03:53 | |
My family were back in Bangladesh, actually, in the '60s. | 0:03:53 | 0:03:56 | |
I sewed, in the '60s, flared trousers. | 0:03:56 | 0:04:00 | |
Miniskirts. | 0:04:00 | 0:04:01 | |
It was a long time ago. | 0:04:01 | 0:04:03 | |
Both my grannies sewed in the '60s. | 0:04:03 | 0:04:05 | |
They would be so proud of me right now. | 0:04:05 | 0:04:08 | |
I was born in the 1960s, | 0:04:08 | 0:04:11 | |
but I remember my mum wearing this kind of shift dress. | 0:04:11 | 0:04:13 | |
I wasn't invented until 1998. | 0:04:13 | 0:04:16 | |
I mainly know about the '60s from the film Hairspray. | 0:04:16 | 0:04:20 | |
And things like that, I know it's not exactly like the '60s. | 0:04:22 | 0:04:26 | |
Judges, why the '60s? | 0:04:26 | 0:04:27 | |
Well, it was a really good moment for home sewing. | 0:04:27 | 0:04:30 | |
It was post-war, people had more money, | 0:04:30 | 0:04:33 | |
you could buy an electric domestic sewing machine. | 0:04:33 | 0:04:37 | |
This is probably one of the most iconic dresses there is. | 0:04:37 | 0:04:42 | |
The whole point of this dress is it's crisp blocks of colour. | 0:04:42 | 0:04:46 | |
It is kind of a stained-glass window. | 0:04:46 | 0:04:48 | |
And this is the lead, and we need these to be distinctly contrasting | 0:04:48 | 0:04:52 | |
with the panels on either side. | 0:04:52 | 0:04:53 | |
Now, what colours they choose and where they place them | 0:04:53 | 0:04:55 | |
will have a big impact on the look of the dress. | 0:04:55 | 0:04:58 | |
I'm hoping that their personalities | 0:04:58 | 0:05:00 | |
will come out in the colours they choose. | 0:05:00 | 0:05:02 | |
Oh, this is not a normal shift dress, | 0:05:04 | 0:05:06 | |
this is a shift dress made of 1,000 pieces. | 0:05:06 | 0:05:08 | |
To create the front of the dress, | 0:05:08 | 0:05:09 | |
five blocks of colour are stitched to four thinner panel pieces. | 0:05:09 | 0:05:13 | |
It's then joined to the back, | 0:05:13 | 0:05:15 | |
which is shaped with two darts and fastened with a zip. | 0:05:15 | 0:05:19 | |
I have to ask you this, after last week's pattern challenge... | 0:05:19 | 0:05:21 | |
I'm doing it by the book. | 0:05:21 | 0:05:22 | |
Pencil out, soon as I've gone past one, tick it. | 0:05:22 | 0:05:25 | |
-On to the next. -Good girl. | 0:05:25 | 0:05:27 | |
What colours have you chosen? | 0:05:27 | 0:05:28 | |
-Take a look. -Oh, my goodness. | 0:05:28 | 0:05:30 | |
I think that will be fantastic. | 0:05:30 | 0:05:32 | |
I think when you're working with colour sometimes | 0:05:32 | 0:05:34 | |
it's about thinking what are opposites on the colour wheel. | 0:05:34 | 0:05:37 | |
So purple and yellow would be opposites on the colour wheel. | 0:05:37 | 0:05:40 | |
So that'll make the two really stand out. | 0:05:40 | 0:05:42 | |
I prefer that down there, | 0:05:42 | 0:05:43 | |
but I don't want the yellow next to the orange. | 0:05:43 | 0:05:45 | |
And that looks too heavy to me. | 0:05:45 | 0:05:46 | |
Of course there's endless, endless variations. | 0:05:46 | 0:05:48 | |
But one will work. This is the funny thing. | 0:05:48 | 0:05:50 | |
We spend a really long time just staring at bits of fabric next to | 0:05:50 | 0:05:54 | |
one another in exactly the position of the colour and the size of the piece, | 0:05:54 | 0:05:57 | |
it makes a huge difference to the look of the garment. | 0:05:57 | 0:06:00 | |
It's going to be quite bright and vibrant, | 0:06:00 | 0:06:02 | |
which is what the '60s is all about. | 0:06:02 | 0:06:04 | |
I think if you're given an opportunity to do a block dress, just go mad, | 0:06:04 | 0:06:07 | |
just take as many colours as you can. | 0:06:07 | 0:06:11 | |
-JADE: -I'm giving you a black, white and grey dress. | 0:06:11 | 0:06:15 | |
So, in colour-block challenge, | 0:06:15 | 0:06:16 | |
you're giving us nothing but monochrome. | 0:06:16 | 0:06:19 | |
Exactly. | 0:06:19 | 0:06:20 | |
I've taken these off. This is the top. | 0:06:21 | 0:06:24 | |
Now the pattern pieces are all cut out, | 0:06:24 | 0:06:27 | |
the front of the dress can begin to be assembled. | 0:06:27 | 0:06:29 | |
Stitch panels one and two and three together. | 0:06:29 | 0:06:32 | |
I'm going to stitch up here. | 0:06:32 | 0:06:34 | |
The 1960s' domestic electric sewing machines are much more basic | 0:06:34 | 0:06:38 | |
than the modern-day ones. | 0:06:38 | 0:06:40 | |
Oh, this is weird. | 0:06:42 | 0:06:43 | |
What is going on here? | 0:06:43 | 0:06:45 | |
They are slower... | 0:06:45 | 0:06:47 | |
I've got my foot down on the pedal, nothing is happening. | 0:06:47 | 0:06:49 | |
..more fiddly... | 0:06:49 | 0:06:51 | |
and only do a simple straight or zigzag stitch. | 0:06:51 | 0:06:54 | |
I'm too young for this. | 0:06:54 | 0:06:56 | |
Joyce, is mine broke? | 0:06:58 | 0:07:00 | |
OK. You've got it on the wrong way. | 0:07:01 | 0:07:04 | |
Hold on, hold on. Put your foot on there. | 0:07:05 | 0:07:08 | |
It's a bit stiff. | 0:07:09 | 0:07:11 | |
It's OK, I used a machine like that when I was younger. | 0:07:11 | 0:07:14 | |
What section is that? | 0:07:15 | 0:07:16 | |
That's your booby bit. | 0:07:16 | 0:07:18 | |
That's the stuff for there. | 0:07:18 | 0:07:20 | |
-They are my colours. -Exactly. | 0:07:20 | 0:07:22 | |
-My colours! -They're my colours as well. | 0:07:22 | 0:07:24 | |
Get this, get this, while I'm here, | 0:07:27 | 0:07:28 | |
I'm going to use this as a fake microphone. | 0:07:28 | 0:07:30 | |
Sewers, you have had one hour. | 0:07:30 | 0:07:32 | |
One hour, I have not even started sewing anything yet. | 0:07:32 | 0:07:35 | |
"With right sides together, matching your notches..." | 0:07:35 | 0:07:37 | |
Stitch this white one onto here. | 0:07:37 | 0:07:39 | |
The dividing border between the colour blocks | 0:07:39 | 0:07:42 | |
must be exactly 1.5 inches wide | 0:07:42 | 0:07:45 | |
and perfectly parallel. | 0:07:45 | 0:07:47 | |
That bit's straight. | 0:07:47 | 0:07:48 | |
-Straight across the middle. -Like that? | 0:07:50 | 0:07:52 | |
Yes. | 0:07:52 | 0:07:53 | |
-PATRICK: -This challenge is all about accuracy, and already it is off at the top. | 0:07:53 | 0:07:57 | |
You know, you've got like a big strip running right down the middle. | 0:07:57 | 0:08:00 | |
If it deviates, it will be so visible. | 0:08:00 | 0:08:02 | |
They want precision, they'll get precision. | 0:08:02 | 0:08:05 | |
The '60s to me... | 0:08:07 | 0:08:08 | |
I was a screaming girl. | 0:08:08 | 0:08:10 | |
And... I mean, do you remember Marty Wilde? | 0:08:10 | 0:08:14 | |
He's got a daughter, Kim Wilde. | 0:08:14 | 0:08:16 | |
She sings, and I remember going to see him, all sorts of local stars, | 0:08:16 | 0:08:20 | |
it was just brilliant. But Elvis was my favourite. | 0:08:20 | 0:08:23 | |
You were either Elvis or Cliff Richard, and I was Elvis. | 0:08:23 | 0:08:26 | |
Oh, I had all his records and posters on the wall. | 0:08:31 | 0:08:36 | |
-Joyce? -Yes. | 0:08:38 | 0:08:39 | |
What was it like in the '60s? | 0:08:39 | 0:08:41 | |
Sex, drugs and rock and roll. | 0:08:41 | 0:08:43 | |
Brilliant. | 0:08:46 | 0:08:47 | |
MUSIC: A Little Less Conversation by Elvis Presley | 0:08:48 | 0:08:52 | |
-Magic. -That looks like the front of a dress to me. | 0:09:05 | 0:09:07 | |
-Hello. -Hello. | 0:09:07 | 0:09:09 | |
-How are you getting on? -Yes, not too bad. | 0:09:09 | 0:09:11 | |
So far, so good, I think. | 0:09:11 | 0:09:12 | |
Oh. I've done it the wrong way round. | 0:09:16 | 0:09:19 | |
You've got this back to front. | 0:09:19 | 0:09:21 | |
You've mirrored the front. | 0:09:21 | 0:09:23 | |
How did you manage that? | 0:09:23 | 0:09:25 | |
I don't know. | 0:09:25 | 0:09:26 | |
Pattern challenge is about following the pattern. | 0:09:28 | 0:09:30 | |
I just picked it up wrong. | 0:09:30 | 0:09:32 | |
Are you undoing it, Angeline? | 0:09:32 | 0:09:34 | |
There's no time to go back and rectify it. | 0:09:34 | 0:09:36 | |
Well, couldn't you just kick yourself? | 0:09:36 | 0:09:38 | |
The colour-block dress is arguably the ultimate '60s garment. | 0:09:41 | 0:09:46 | |
Emerging from this melting pot of a decade where haute couture, art, | 0:09:46 | 0:09:51 | |
home sewing and pop culture collided to create a fashion icon. | 0:09:51 | 0:09:56 | |
The '60s saw the rise of the teenager, | 0:09:58 | 0:10:00 | |
as young people sought to distance themselves from the older generation. | 0:10:00 | 0:10:05 | |
The 1960s, it was like lights, camera, action. | 0:10:05 | 0:10:09 | |
Suddenly everything changed. | 0:10:09 | 0:10:10 | |
You had new music, you had pop art, everything was different. | 0:10:10 | 0:10:15 | |
And it was so exciting | 0:10:15 | 0:10:16 | |
that the clothes had to be completely different. | 0:10:16 | 0:10:19 | |
One of the most famous designers | 0:10:21 | 0:10:22 | |
to respond to the changing times was Yves Saint Laurent. | 0:10:22 | 0:10:25 | |
He used a classic shift dress as a canvas | 0:10:25 | 0:10:27 | |
to display his love of modernist art. | 0:10:27 | 0:10:30 | |
These dresses were inspired by a number of different modern painters, | 0:10:30 | 0:10:34 | |
but specifically a Dutch painter called Mondrian, | 0:10:34 | 0:10:37 | |
hence the name of the collection. | 0:10:37 | 0:10:38 | |
And he puts it together in what is the illusion of a very simple dress. | 0:10:38 | 0:10:43 | |
It's very straight, it's got an A-line skirt to it, | 0:10:43 | 0:10:46 | |
but it is an incredibly complex dress to put together. | 0:10:46 | 0:10:49 | |
He put the seams where the lines are, | 0:10:49 | 0:10:52 | |
so it looks like a completely seamless dress. | 0:10:52 | 0:10:54 | |
Only a few people could afford such a covetable couture garment. | 0:10:55 | 0:10:59 | |
But with home sewing enjoying a resurgence, | 0:10:59 | 0:11:01 | |
this was a market Yves Saint Laurent was quick to embrace. | 0:11:01 | 0:11:05 | |
Usually couture fashion was a very secretive art, | 0:11:05 | 0:11:08 | |
and people just had to copy it from what they saw in magazines. | 0:11:08 | 0:11:11 | |
Yves Saint Laurent brought out the dress, | 0:11:11 | 0:11:13 | |
but also brought out a pattern. | 0:11:13 | 0:11:14 | |
The home dressmaker could actually have the exact Mondrian dress. | 0:11:14 | 0:11:18 | |
And Yves Saint Laurent went so far as to actually include | 0:11:18 | 0:11:22 | |
little dress labels you could sew into your dress, | 0:11:22 | 0:11:25 | |
so that you could feel like you had a couture dress. | 0:11:25 | 0:11:28 | |
Yves Saint Laurent had made haute couture accessible to all. | 0:11:28 | 0:11:31 | |
And as a result, his dresses remained | 0:11:31 | 0:11:33 | |
a much-loved icon of '60s home sewing. | 0:11:33 | 0:11:36 | |
Sewers, you have 45 minutes left to create colour-block '60s dresses. | 0:11:38 | 0:11:44 | |
Right, start on the back. | 0:11:44 | 0:11:45 | |
Pin and sew the double ended, or fish-eye darts, | 0:11:46 | 0:11:50 | |
matching up the marks from the pattern. | 0:11:50 | 0:11:52 | |
I'm inserting darts. | 0:11:52 | 0:11:54 | |
Because my back is yellow, | 0:11:54 | 0:11:56 | |
I've had to change the colour of the thread to yellow. | 0:11:56 | 0:11:59 | |
I need to really pull something out of the bag here. | 0:11:59 | 0:12:01 | |
Like Angeline, Joyce and Charlotte are matching their thread colour to | 0:12:02 | 0:12:06 | |
their blocks of fabric. | 0:12:06 | 0:12:07 | |
The others, however, have gone for a different design approach. | 0:12:07 | 0:12:11 | |
Blue and yellow. I like the contrast of it. | 0:12:11 | 0:12:14 | |
Are you guys changing the colour of your thread? | 0:12:14 | 0:12:16 | |
-I haven't. -You're just going to have grey on black? | 0:12:16 | 0:12:19 | |
-Yeah. -Grey on black. | 0:12:19 | 0:12:20 | |
Sewers, you only have half an hour left on this '60s pattern challenge. | 0:12:27 | 0:12:32 | |
-Jade, what colour zip? -That mint green. | 0:12:32 | 0:12:34 | |
Putting in the zip will be one of the scariest parts | 0:12:34 | 0:12:37 | |
of the pattern. | 0:12:37 | 0:12:39 | |
One feature of this dress that our sewers may struggle with | 0:12:39 | 0:12:42 | |
is this zip. | 0:12:42 | 0:12:44 | |
This is what we call a lapped zip. | 0:12:44 | 0:12:45 | |
A slim lap of fabric that sits over the top. | 0:12:45 | 0:12:50 | |
We want this lap so it's not only covering the zip, | 0:12:50 | 0:12:53 | |
it's covering the top stitching. | 0:12:53 | 0:12:55 | |
If it's not right, is it possible for them to do it again? | 0:12:55 | 0:12:58 | |
Well, if it's not right, they should do it again. | 0:12:58 | 0:13:00 | |
OK. Just an idea. | 0:13:00 | 0:13:03 | |
SHE LAUGHS | 0:13:03 | 0:13:04 | |
Slide the zip into the opening with the teeth facing up. | 0:13:04 | 0:13:07 | |
It's a hard thing to do, this zip. | 0:13:08 | 0:13:11 | |
Have you ever created a lapped zip? | 0:13:12 | 0:13:14 | |
-I haven't. -I feel bad I'm being a bother, but that is my job. | 0:13:14 | 0:13:18 | |
Doing the overlap. This is the fiddly bit. | 0:13:20 | 0:13:24 | |
Oh, dear me. | 0:13:24 | 0:13:25 | |
So you've put your zip in. | 0:13:26 | 0:13:27 | |
-I have. -The only thing is, we can see the stitching. | 0:13:27 | 0:13:30 | |
Esme wasn't terribly happy with my zip. | 0:13:35 | 0:13:38 | |
So what I'm doing, I'm doing it again. | 0:13:38 | 0:13:41 | |
I'm unpicking just because the zip won't close. | 0:13:41 | 0:13:43 | |
I feel sorry for the people in the '60s. | 0:13:43 | 0:13:45 | |
I think I'm having trouble getting it up. | 0:13:45 | 0:13:47 | |
-So I think I'm going to undo it. -I think you're going to have to... | 0:13:47 | 0:13:50 | |
No good if you can't get it up or down. | 0:13:50 | 0:13:52 | |
It defeats the object of the zip. | 0:13:52 | 0:13:54 | |
Oh, it is horrible. | 0:13:54 | 0:13:55 | |
I just realised I'm not doing the right kind of lap zip. | 0:13:55 | 0:13:58 | |
You're supposed to have it so that the lap completely covers | 0:13:58 | 0:14:00 | |
your line of stitching. | 0:14:00 | 0:14:01 | |
This is going badly wrong. | 0:14:01 | 0:14:04 | |
-Did you hear that, Rumana? -What? | 0:14:04 | 0:14:06 | |
I was doing the wrong kind of zip. | 0:14:06 | 0:14:08 | |
-I was doing a centre zip. -That's what I was doing. | 0:14:08 | 0:14:12 | |
Read the instructions. | 0:14:12 | 0:14:15 | |
Oh, shoot. | 0:14:15 | 0:14:16 | |
Yes. | 0:14:16 | 0:14:18 | |
-Did you do the right zip? -Yes. | 0:14:18 | 0:14:21 | |
Oh, disaster. | 0:14:21 | 0:14:22 | |
Sewers, you have ten minutes left. | 0:14:23 | 0:14:26 | |
Ten minutes, are you joking? | 0:14:26 | 0:14:28 | |
-Ten minutes. -Ten minutes to go. | 0:14:28 | 0:14:30 | |
Oh, hating it. | 0:14:32 | 0:14:33 | |
Oh, sugar. I wish I hadn't touched the zip. | 0:14:36 | 0:14:38 | |
It's not so good. Oh, blow. | 0:14:38 | 0:14:41 | |
Do you know what they're going to say to us? "Read the instructions." | 0:14:41 | 0:14:45 | |
But we did. | 0:14:45 | 0:14:46 | |
You've got five minutes left. | 0:14:47 | 0:14:49 | |
Oh, man. | 0:14:49 | 0:14:50 | |
-How are you, Joyce? -I just want a bit of orange thread to do the hem. | 0:14:50 | 0:14:54 | |
I'm using white thread for my hem | 0:14:54 | 0:14:56 | |
because I just don't have time to change it. | 0:14:56 | 0:14:58 | |
Three minutes. | 0:14:58 | 0:14:59 | |
My machine has come unthreaded now. Oh, that's all I need! | 0:15:03 | 0:15:06 | |
Two minutes, then we need your dresses on the mannequins. | 0:15:06 | 0:15:09 | |
Doom. Doom. | 0:15:09 | 0:15:12 | |
30 seconds left. | 0:15:12 | 0:15:14 | |
Well done, Rumana. | 0:15:15 | 0:15:17 | |
Charlotte. | 0:15:17 | 0:15:18 | |
That is it, that is time. | 0:15:20 | 0:15:21 | |
Angeline, now! | 0:15:21 | 0:15:23 | |
Oh, it's on. | 0:15:24 | 0:15:25 | |
Let's bring up your mannequins to the judges. | 0:15:25 | 0:15:29 | |
Man, that was awful. | 0:15:29 | 0:15:31 | |
Come up. Come up. | 0:15:31 | 0:15:34 | |
Six 1960s colour-block dresses | 0:15:39 | 0:15:42 | |
in just three and three quarter hours. | 0:15:42 | 0:15:44 | |
But what will Patrick and Esme think? | 0:15:44 | 0:15:46 | |
Joyce, you are up first. | 0:15:47 | 0:15:49 | |
I'm going to grab a ruler. | 0:15:55 | 0:15:57 | |
Oh, God. | 0:15:58 | 0:16:00 | |
This challenge is all about precision. | 0:16:01 | 0:16:04 | |
And everywhere we look, these bands are absolutely spot on. | 0:16:05 | 0:16:10 | |
And I really like the fact you've used orange thread. | 0:16:10 | 0:16:13 | |
The right colour of thread on your top stitching | 0:16:13 | 0:16:16 | |
is absolutely critical to making it look precise. | 0:16:16 | 0:16:19 | |
Talk about the zip, shall we? | 0:16:19 | 0:16:21 | |
It looks pretty good to me. | 0:16:21 | 0:16:22 | |
It's perfectly even all the way up. | 0:16:22 | 0:16:25 | |
I put it in three times. | 0:16:25 | 0:16:27 | |
You may have had to do three times, | 0:16:27 | 0:16:29 | |
but at least on the final go it looks right. | 0:16:29 | 0:16:31 | |
And I also think the colour combination is really good. | 0:16:31 | 0:16:34 | |
-Were you copying me? -I wasn't, promise! | 0:16:34 | 0:16:37 | |
We have the royal colours of Sweden. | 0:16:46 | 0:16:48 | |
Oh, I didn't realise that. | 0:16:48 | 0:16:49 | |
I'm not overwhelmed by this. | 0:16:49 | 0:16:52 | |
The big issue for me, really, is the zip. | 0:16:52 | 0:16:55 | |
It was a big issue for me as well! | 0:16:55 | 0:16:58 | |
-Well, yes. -You've put the lap the other way round. | 0:16:58 | 0:17:02 | |
And also the fact you've used yellow top stitching doesn't work for me. | 0:17:02 | 0:17:07 | |
-Really does let you down. -Yes. | 0:17:07 | 0:17:10 | |
I like the monochrome. | 0:17:20 | 0:17:22 | |
I think it has impact. | 0:17:22 | 0:17:25 | |
But it's not fabulously sewn. | 0:17:25 | 0:17:29 | |
I'm going to grab my stick. | 0:17:29 | 0:17:30 | |
One and 7/16 there. | 0:17:32 | 0:17:35 | |
12/16 there. | 0:17:36 | 0:17:37 | |
It's a bit off. | 0:17:37 | 0:17:39 | |
It's just a little bit wider here than it is there. | 0:17:39 | 0:17:41 | |
I know you wanted to do contrast, | 0:17:41 | 0:17:43 | |
but, for me, it doesn't actually work. | 0:17:43 | 0:17:46 | |
The zip is not great. | 0:17:46 | 0:17:47 | |
I mean, obviously the step at the top we'd see. | 0:17:47 | 0:17:50 | |
But if this was black, it wouldn't look half as messy. | 0:17:50 | 0:17:53 | |
The one thing that is clear | 0:18:03 | 0:18:05 | |
is that you've put these panels the wrong way round, | 0:18:05 | 0:18:09 | |
so you've mirrored the front of the dress. | 0:18:09 | 0:18:11 | |
-It's just not what the pattern asked for. -Yeah. | 0:18:11 | 0:18:14 | |
But actually, it's pretty neatly sewn. | 0:18:14 | 0:18:16 | |
This zip is not bad at all. | 0:18:16 | 0:18:19 | |
You've changed your top stitching threads, | 0:18:19 | 0:18:21 | |
so you've used white on the front and yellow on the back. | 0:18:21 | 0:18:24 | |
There is one thing for me, this white band at the bottom. | 0:18:24 | 0:18:28 | |
What it does visually, it makes it look like the dress stops here. | 0:18:28 | 0:18:31 | |
It's just a visual thing. | 0:18:31 | 0:18:33 | |
They are not the punchy primary colours that everybody has gone for, | 0:18:43 | 0:18:47 | |
but actually they do work extremely well together. | 0:18:47 | 0:18:49 | |
-How did you find putting... -I really struggled with the zip. | 0:18:49 | 0:18:52 | |
Here the zip has covered over this top stitching. | 0:18:52 | 0:18:55 | |
But when we get to here, this is narrower, | 0:18:55 | 0:18:59 | |
the lap over, and it's not covering the top stitching on this side. | 0:18:59 | 0:19:03 | |
Also you have done a white top stitching on a mint green. | 0:19:03 | 0:19:08 | |
Just not crisply finished. | 0:19:08 | 0:19:10 | |
More than anyone, | 0:19:18 | 0:19:19 | |
I think you sat and planned where your colours were all going to go | 0:19:19 | 0:19:23 | |
and you moved them around. | 0:19:23 | 0:19:25 | |
And I think the result is absolutely spot-on. | 0:19:25 | 0:19:28 | |
There's nothing that interrupts the sharp edges of all these blocks, | 0:19:28 | 0:19:32 | |
which is exactly what we want. | 0:19:32 | 0:19:34 | |
Self colour for the hem, which we like. | 0:19:34 | 0:19:37 | |
Unfortunately, this side of the zip, | 0:19:37 | 0:19:40 | |
it's overlapping the actual teeth of the zip. | 0:19:40 | 0:19:43 | |
And it should be absolutely on the edge there. | 0:19:43 | 0:19:47 | |
You know what, though? You should be very pleased with that. | 0:19:47 | 0:19:51 | |
The judges will now rank the '60s dresses from worst to best. | 0:19:56 | 0:20:00 | |
In sixth place, Tracey. | 0:20:02 | 0:20:05 | |
-I'm not surprised. -It wasn't very neat and tidy, | 0:20:05 | 0:20:07 | |
and we didn't like that contrast. | 0:20:07 | 0:20:09 | |
In fifth place is Jade. | 0:20:09 | 0:20:12 | |
The zip wasn't great. | 0:20:12 | 0:20:13 | |
In fourth place, Angeline. | 0:20:13 | 0:20:15 | |
Just a shame that you mirrored the front of the dress. | 0:20:15 | 0:20:17 | |
In third place is Rumana. | 0:20:17 | 0:20:20 | |
Very nicely done. | 0:20:20 | 0:20:22 | |
In second place... | 0:20:22 | 0:20:23 | |
..Charlotte. Fantastically sewn. | 0:20:28 | 0:20:31 | |
The margin just was in that zip. | 0:20:31 | 0:20:34 | |
So in first place, Joyce. | 0:20:34 | 0:20:36 | |
THEY APPLAUD | 0:20:36 | 0:20:39 | |
The finish was great, it was all very accurate. | 0:20:39 | 0:20:42 | |
The zip was great. | 0:20:42 | 0:20:43 | |
Oh, thanks so much. | 0:20:43 | 0:20:45 | |
Well done to all of you. | 0:20:45 | 0:20:46 | |
Give yourselves a huge pat on the back. | 0:20:46 | 0:20:49 | |
When you come back, the '60s alterations challenge. | 0:20:49 | 0:20:53 | |
Well done. | 0:20:53 | 0:20:54 | |
I'm thrilled. | 0:21:01 | 0:21:04 | |
You've got to remember I'm a '60s girl, and I remember those dresses. | 0:21:05 | 0:21:09 | |
I'm not in the least bit surprised by that judging. | 0:21:09 | 0:21:12 | |
That zip was the most horrendous thing I've ever done in my life. | 0:21:12 | 0:21:16 | |
'60s week is going well so far. I'm enjoying it. | 0:21:16 | 0:21:19 | |
I have no idea what they are going to throw at us for the | 0:21:19 | 0:21:22 | |
alterations challenge. I can't even begin to imagine. | 0:21:22 | 0:21:25 | |
Having been tested on a complex pattern, | 0:21:26 | 0:21:28 | |
now it's all about freeing their minds, | 0:21:28 | 0:21:31 | |
as the sewers are asked to totally transform a classic '60s garment. | 0:21:31 | 0:21:35 | |
Welcome back, sewers. | 0:21:37 | 0:21:38 | |
For your '60s alterations challenge, | 0:21:38 | 0:21:40 | |
the judges would like you to use a fabric that was all the craze then. | 0:21:40 | 0:21:45 | |
-Patrick, what have we got? -We are giving you... | 0:21:45 | 0:21:48 | |
THEY LAUGH | 0:21:48 | 0:21:51 | |
PVC raincoat. | 0:21:51 | 0:21:53 | |
Groovy. | 0:21:53 | 0:21:54 | |
Actually, one of the very first things I made | 0:21:56 | 0:21:59 | |
were outfits out of shower curtain fabric. | 0:21:59 | 0:22:03 | |
OK? Enormous luck. | 0:22:03 | 0:22:05 | |
You've got 90 minutes. | 0:22:05 | 0:22:06 | |
You two, go away so you don't know who's made what. | 0:22:06 | 0:22:09 | |
Your time starts now. Off you go. | 0:22:09 | 0:22:13 | |
Choose the one you like. | 0:22:13 | 0:22:14 | |
MUSIC: Shout by Lulu | 0:22:14 | 0:22:16 | |
Mind if I go for red? | 0:22:19 | 0:22:21 | |
Do you know what? I want that one. | 0:22:22 | 0:22:24 | |
-Lilac-y one. Oh, Jesus! -I might go with this one. | 0:22:26 | 0:22:29 | |
If you're going to make something ridiculous, | 0:22:29 | 0:22:31 | |
you might as well make it see-through. | 0:22:31 | 0:22:33 | |
All right, I'll be wearing those. | 0:22:35 | 0:22:37 | |
PVC! It's not something I have in my wardrobe! | 0:22:37 | 0:22:41 | |
This is a great alteration for '60s week. | 0:22:42 | 0:22:46 | |
Plastic is actually a really difficult fabric to sew. | 0:22:46 | 0:22:50 | |
It doesn't handle at all like a normal fabric. | 0:22:50 | 0:22:52 | |
-It's not a woven. -It can tear. | 0:22:52 | 0:22:55 | |
So these are yours. | 0:22:55 | 0:22:56 | |
-Yes. -This is... This was a shower curtain, is that right? | 0:22:56 | 0:22:59 | |
-Exactly. -It still has that shower curtain feel to it, | 0:22:59 | 0:23:04 | |
but you can top-stitch it, | 0:23:04 | 0:23:06 | |
you can dart it and put snaps onto it, you can gather it. | 0:23:06 | 0:23:10 | |
I'm hoping they're going to give us something graphic, | 0:23:10 | 0:23:13 | |
something pop, but something wearable. | 0:23:13 | 0:23:16 | |
I had a little yellow coat with a matching sou'wester hat. | 0:23:16 | 0:23:19 | |
I sweated like Billy-o in it. | 0:23:19 | 0:23:21 | |
Can you imagine when I went to the Roxy in that? | 0:23:21 | 0:23:24 | |
I'm just going to cut and see where it takes me. | 0:23:27 | 0:23:30 | |
-It's nice to cut. -No hemming required. | 0:23:31 | 0:23:34 | |
I'm trying to take some sort of inspiration from Esme. | 0:23:34 | 0:23:39 | |
It's going to be a bit risque, | 0:23:39 | 0:23:41 | |
but Esme was very daring with her designs. | 0:23:41 | 0:23:43 | |
I know she's probably looking for something really out there. | 0:23:43 | 0:23:46 | |
-OK. -What I wanted to do... | 0:23:46 | 0:23:48 | |
One shoulder! Look already how chic that is! | 0:23:48 | 0:23:51 | |
I might do a cut-out of another fabric, maybe black. | 0:23:51 | 0:23:54 | |
I feel I need to put my rain hood on. | 0:23:54 | 0:23:57 | |
My God! | 0:23:58 | 0:23:59 | |
Finally, everything makes sense. | 0:23:59 | 0:24:01 | |
What I'm planning to do is turn it back to front, | 0:24:01 | 0:24:06 | |
so that the buttons go down the back and make a shift dress, | 0:24:06 | 0:24:09 | |
put circles underneath. | 0:24:09 | 0:24:12 | |
Since Esme did a lot of stuff in PVC when she first started, | 0:24:12 | 0:24:16 | |
hopefully we'll live up to her expectations. | 0:24:16 | 0:24:18 | |
It's going to be a cut dress and there's going to be a waistband here | 0:24:18 | 0:24:22 | |
to attach to a boxy skirt and then the buttons are at the back. | 0:24:22 | 0:24:26 | |
How does somebody wear that? | 0:24:26 | 0:24:28 | |
-Just here. -Ring-a-ding-ding! | 0:24:28 | 0:24:29 | |
I'm going to have a strap round the back that ties in a bow. | 0:24:29 | 0:24:32 | |
A halterneck top and pleated skirt. | 0:24:32 | 0:24:35 | |
Something you might want to wear underwear underneath. | 0:24:35 | 0:24:38 | |
I'm going to make this into a short crop top shirt, | 0:24:38 | 0:24:43 | |
and then I'm going to turn this into a skirt. | 0:24:43 | 0:24:46 | |
I think that's great. | 0:24:46 | 0:24:48 | |
Who doesn't want to lilac see-through PVC crop top? | 0:24:48 | 0:24:50 | |
Exactly. | 0:24:50 | 0:24:52 | |
A bit indecent there. | 0:24:53 | 0:24:55 | |
Whilst most rain macs are getting skimpier by the second... | 0:24:55 | 0:24:59 | |
I hope it's wearable. | 0:24:59 | 0:25:00 | |
Less is not more for all the sewers. | 0:25:01 | 0:25:05 | |
It's an artists' top. | 0:25:05 | 0:25:07 | |
-A smock. -A smock top, yes. | 0:25:07 | 0:25:09 | |
I'm making it a bit wider at the sides. | 0:25:09 | 0:25:12 | |
I'm going to put nice pockets... | 0:25:12 | 0:25:14 | |
Like a handyman's pocket? | 0:25:14 | 0:25:16 | |
-Nice. -That the brushes go in. | 0:25:16 | 0:25:17 | |
-Did you wear this? -I wouldn't wear that stuff if you paid me. | 0:25:17 | 0:25:21 | |
Sewers, you're halfway through. | 0:25:23 | 0:25:26 | |
Halfway through PVC transformation challenge. | 0:25:26 | 0:25:30 | |
It's really sticky, especially when you're panicking in here. | 0:25:32 | 0:25:35 | |
It's just really yucky, | 0:25:35 | 0:25:38 | |
and I don't know what it's going to be like to sew. | 0:25:38 | 0:25:41 | |
I bent my needle. | 0:25:41 | 0:25:43 | |
It's not easy to sew with. | 0:25:43 | 0:25:45 | |
Slippery, but then also sticks. | 0:25:45 | 0:25:48 | |
This stuff is sticky! | 0:25:48 | 0:25:50 | |
It's terrible. | 0:25:51 | 0:25:54 | |
I'm just sewing in my circles. | 0:25:54 | 0:25:57 | |
It stretches slightly as you rotate. | 0:25:57 | 0:25:59 | |
Definitely one of the weirdest challenges we've had to do. | 0:26:01 | 0:26:04 | |
I don't know why people think that PVC is sexy. | 0:26:04 | 0:26:06 | |
It must be the most sweaty, uncomfortable thing to wear in the world. | 0:26:06 | 0:26:10 | |
If my husband knew I was sewing pink PVC now, he'd go, "Hmmm". | 0:26:10 | 0:26:13 | |
But he can wear it because I'm not. | 0:26:15 | 0:26:16 | |
You saucy minx. | 0:26:18 | 0:26:20 | |
-Joyce. -Oh, don't! | 0:26:20 | 0:26:21 | |
Sewers, you only have half an hour left with your raincoats. | 0:26:23 | 0:26:27 | |
As well as using the original features of the mac... | 0:26:27 | 0:26:30 | |
-Is that black? -..the sewers can add to their alterations | 0:26:30 | 0:26:34 | |
by making use of the haberdashery. | 0:26:34 | 0:26:36 | |
I'm using the binding just to finish the edges of the PVC. | 0:26:36 | 0:26:38 | |
It's just to give a wee bit of a splash of colour. | 0:26:38 | 0:26:41 | |
Trying to make it fitted at the waist. | 0:26:41 | 0:26:43 | |
I just want to make it really clear - | 0:26:43 | 0:26:45 | |
this is not something I would sew for myself. | 0:26:45 | 0:26:47 | |
I'll tell my mum to go out for a cup of tea when this is on. | 0:26:47 | 0:26:50 | |
I've got this tape and the last bit of the buttons making a pocket | 0:26:50 | 0:26:53 | |
and putting it on the front. | 0:26:53 | 0:26:55 | |
Cut out the hole in the middle. Red PVC underneath. | 0:26:55 | 0:26:59 | |
And those are pockets? | 0:26:59 | 0:27:00 | |
-Yeah. -Oh, my gosh, that's adorable. | 0:27:00 | 0:27:03 | |
Keys. Lip salve. | 0:27:03 | 0:27:05 | |
Tissues, lip salve, definitely lip salve. | 0:27:05 | 0:27:07 | |
-You seem relaxed. -I think so. | 0:27:07 | 0:27:09 | |
It's not like I've got to put a zip in, is it? | 0:27:09 | 0:27:12 | |
You'll never do a zip again. | 0:27:12 | 0:27:14 | |
I'm going to put a zip in it. | 0:27:15 | 0:27:16 | |
If I put something technical in a hard fabric they might... | 0:27:16 | 0:27:22 | |
they might like it. | 0:27:22 | 0:27:24 | |
I'm using only the PVC. | 0:27:24 | 0:27:27 | |
I want to show the judges what you can do with just a mac. | 0:27:27 | 0:27:31 | |
Sewers, I have news. | 0:27:34 | 0:27:37 | |
Ten minutes left. | 0:27:37 | 0:27:39 | |
Oh, God. | 0:27:39 | 0:27:41 | |
-Jade, you happy? -Just adding darts. | 0:27:41 | 0:27:44 | |
What? Duh, duh, day! | 0:27:44 | 0:27:47 | |
It's a flower because '60s flower power age. | 0:27:47 | 0:27:50 | |
They might not like that. | 0:27:50 | 0:27:52 | |
Yours is cute...in a PVC kind of way. | 0:27:52 | 0:27:54 | |
That is the most revealing thing I've ever seen in my life. | 0:27:54 | 0:27:57 | |
Lady Gaga could wear this outfit. | 0:27:57 | 0:27:58 | |
I think that works. Sometimes you've just got to stop. | 0:27:58 | 0:28:01 | |
Sewing in some more of my circles. | 0:28:01 | 0:28:03 | |
-Do I get to announce the time? -Yes, you're in charge of the time. | 0:28:03 | 0:28:06 | |
Tell them it's five minutes. | 0:28:06 | 0:28:08 | |
Five minutes, everyone, and I'm not panicking. | 0:28:08 | 0:28:10 | |
-Yes! -Yay! | 0:28:10 | 0:28:13 | |
Unfortunately, I've got a horizontal seam | 0:28:13 | 0:28:15 | |
running across the front of my skirt. | 0:28:15 | 0:28:17 | |
It's fine. We're not looking for perfection. | 0:28:17 | 0:28:21 | |
Sewers, if your outfit isn't on your mannequin, there will be trouble. | 0:28:21 | 0:28:26 | |
-No. -It's all ripped. | 0:28:26 | 0:28:28 | |
-No, don't say that. -I'm just going to trim that up a bit. | 0:28:28 | 0:28:31 | |
Done. | 0:28:33 | 0:28:34 | |
That is time. Well done, everybody. | 0:28:34 | 0:28:37 | |
Well done. | 0:28:37 | 0:28:38 | |
Perfectly decent. Wear that to Sainsbury's. | 0:28:38 | 0:28:41 | |
-Does it really need to be wearable? -Come on, Angeline. | 0:28:41 | 0:28:45 | |
SONG: Je t'aime...mon non plus | 0:28:45 | 0:28:48 | |
Patrick and Esme have no idea whose alteration is whose. | 0:29:01 | 0:29:06 | |
-Impressive. -Yeah. | 0:29:06 | 0:29:07 | |
Yeah. | 0:29:07 | 0:29:09 | |
-This is pretty bold. -Very bold. | 0:29:16 | 0:29:19 | |
Strangely sort of sexy. | 0:29:19 | 0:29:20 | |
This must have taken quite a while. | 0:29:21 | 0:29:23 | |
Grosgrain ribbon behind those cut-outs. | 0:29:23 | 0:29:26 | |
-Yep. -I like how it's been gathered in at the top. | 0:29:26 | 0:29:30 | |
It looks well thought out. | 0:29:30 | 0:29:32 | |
I think it has an impact to it. | 0:29:32 | 0:29:34 | |
So, we've got a top and a skirt here. | 0:29:39 | 0:29:42 | |
The skirt has required quite a bit of re-engineering. | 0:29:42 | 0:29:44 | |
-Open ended zip. -That works very well. | 0:29:44 | 0:29:47 | |
The one thing I like about this, where the darts are, | 0:29:47 | 0:29:50 | |
you get that four layers of the plastic so it emphasises that shape. | 0:29:50 | 0:29:55 | |
But actually it's not madly complicated. | 0:29:55 | 0:29:57 | |
Still got many elements of the mac. | 0:29:57 | 0:29:59 | |
Very obviously '60s. | 0:30:05 | 0:30:08 | |
Yes, with the target. | 0:30:08 | 0:30:09 | |
That target motif was a very big recurring theme | 0:30:09 | 0:30:13 | |
-in the clothes of that era. -Yes. | 0:30:13 | 0:30:15 | |
As was this neckline. | 0:30:15 | 0:30:17 | |
Also a button back. | 0:30:17 | 0:30:19 | |
It definitely shows good understanding | 0:30:19 | 0:30:20 | |
of the clothes of the period. | 0:30:20 | 0:30:22 | |
-Yeah. -You don't sound madly enthusiastic. | 0:30:22 | 0:30:25 | |
I'm not that keen on the shape of it. | 0:30:25 | 0:30:27 | |
I think it should have been slimmer. | 0:30:27 | 0:30:29 | |
This one is almost a sort of '50s vibe. | 0:30:34 | 0:30:38 | |
Yes, it is, yes. | 0:30:38 | 0:30:39 | |
With a '60s vinyl. | 0:30:39 | 0:30:41 | |
You could be on the beach in this, | 0:30:41 | 0:30:42 | |
except you'd probably sweat quite a lot. | 0:30:42 | 0:30:45 | |
A little dart here to make a shape for the bust. | 0:30:45 | 0:30:48 | |
-Yep. -The person has joined two bits together here to get the length. | 0:30:48 | 0:30:53 | |
I guess it was because they didn't have a long enough piece. | 0:30:53 | 0:30:56 | |
I would have liked it if the seam had just... | 0:30:56 | 0:30:58 | |
-Carried on. -..carried on. | 0:30:58 | 0:30:59 | |
-I like this. -I really like it. | 0:31:06 | 0:31:08 | |
It's got a sort of nerdy sailor look to it. | 0:31:08 | 0:31:11 | |
-Yes. -In neon pink. | 0:31:11 | 0:31:13 | |
Have they turned the front into a pocket? | 0:31:13 | 0:31:15 | |
Yeah, I think that's very clever. | 0:31:15 | 0:31:17 | |
They've got... Added a triangle to give it this shape. | 0:31:17 | 0:31:20 | |
More flair. | 0:31:20 | 0:31:21 | |
I don't like this pom-pom flower thing here. | 0:31:21 | 0:31:24 | |
Can we look at the back? | 0:31:24 | 0:31:26 | |
A-ha. They've thought about the binding to match the button. | 0:31:26 | 0:31:29 | |
I really like it. | 0:31:29 | 0:31:31 | |
Blimey. | 0:31:31 | 0:31:32 | |
Is it '60s? | 0:31:38 | 0:31:39 | |
Definitely has a touch of the Barbarella about it. | 0:31:39 | 0:31:42 | |
Yes, yes, it does. | 0:31:42 | 0:31:43 | |
It's just been split and pulled apart and bound. | 0:31:43 | 0:31:47 | |
Actually, on the back, why is it crossing over? | 0:31:47 | 0:31:49 | |
Is that a feature, do you think? | 0:31:49 | 0:31:51 | |
I think it's a mistake. | 0:31:51 | 0:31:53 | |
It is imaginative, | 0:31:53 | 0:31:54 | |
but it's never going to stay on anyone's bosom | 0:31:54 | 0:31:56 | |
unless they are completely flat-chested. | 0:31:56 | 0:31:59 | |
I think you need some toupee tape. | 0:31:59 | 0:32:01 | |
I think you'd need a bit of something. | 0:32:01 | 0:32:03 | |
Patrick and Esme will now rank the alterations, | 0:32:03 | 0:32:06 | |
starting with the least successful. | 0:32:06 | 0:32:09 | |
In sixth place is the white spot. | 0:32:09 | 0:32:13 | |
That's me. | 0:32:13 | 0:32:15 | |
I'm quite worried about what's going to happen here. | 0:32:15 | 0:32:17 | |
Some tit tape. Yeah. | 0:32:17 | 0:32:19 | |
And maybe a vest! | 0:32:19 | 0:32:21 | |
In fifth place it is the black polka-dots on the clear, | 0:32:21 | 0:32:24 | |
the halterneck. | 0:32:24 | 0:32:26 | |
It's very nice. It's very clear what you were setting out to do, | 0:32:26 | 0:32:29 | |
but it was up against tough competition. | 0:32:29 | 0:32:31 | |
In fourth place is the lilac outfit. | 0:32:33 | 0:32:35 | |
I like this a lot, but it's still got many elements of the mac. | 0:32:35 | 0:32:40 | |
In third place, it's the targets. | 0:32:42 | 0:32:44 | |
It's great. It's really fun. | 0:32:45 | 0:32:47 | |
It's got a very distinctly '60s feel to it. | 0:32:47 | 0:32:49 | |
-Well done. -Thank you. | 0:32:49 | 0:32:50 | |
You've got Rumana and Joyce left. | 0:32:54 | 0:32:56 | |
In second place is the red outfit. | 0:33:00 | 0:33:06 | |
We loved this. It's really graphic. | 0:33:06 | 0:33:08 | |
It works really well and very imaginative. | 0:33:08 | 0:33:11 | |
-Very well done. -Thank you very much. | 0:33:11 | 0:33:13 | |
Oh, dear God. | 0:33:13 | 0:33:14 | |
Which means, of course, in first place, | 0:33:14 | 0:33:15 | |
it's Joyce's pink... | 0:33:15 | 0:33:18 | |
It's like a Liquorice Allsort. | 0:33:20 | 0:33:21 | |
It's almost edible. | 0:33:21 | 0:33:23 | |
I don't know what to say. | 0:33:23 | 0:33:24 | |
-Thank you. -Very well done. | 0:33:24 | 0:33:26 | |
Go home. Listen to some '60s music. | 0:33:26 | 0:33:28 | |
We'll see you back here tomorrow for the big made-to-measure. | 0:33:28 | 0:33:31 | |
Night-night. Sleep well. | 0:33:31 | 0:33:33 | |
Just so amazed. | 0:33:34 | 0:33:36 | |
Well done. | 0:33:36 | 0:33:38 | |
Two firsts! Oh! | 0:33:38 | 0:33:39 | |
Oh. I just... Yes, absolutely brilliant. | 0:33:39 | 0:33:43 | |
I am quite disappointed, | 0:33:43 | 0:33:46 | |
but, yeah, the competition's just getting stiffer. | 0:33:46 | 0:33:49 | |
-RUMANA: -I cannot believe I got so close to first place. | 0:33:49 | 0:33:53 | |
So close. | 0:33:53 | 0:33:54 | |
But Joycey again just comes in, and it was brilliant. | 0:33:54 | 0:33:58 | |
I thought hers was fantastic. | 0:33:58 | 0:34:00 | |
I am certainly looking forward to going back | 0:34:00 | 0:34:02 | |
and celebrating. | 0:34:02 | 0:34:03 | |
I got two firsts and I'm going to have two Chardonnays. | 0:34:03 | 0:34:06 | |
It's day two and time for the final '60s challenge, | 0:34:16 | 0:34:19 | |
and with only five places in next week's quarterfinal, | 0:34:19 | 0:34:22 | |
there's everything to sew for. | 0:34:22 | 0:34:25 | |
So far, have you been impressed? | 0:34:25 | 0:34:27 | |
Yes, I have. I've been really impressed. | 0:34:27 | 0:34:29 | |
Joyce came top in both challenges. | 0:34:29 | 0:34:32 | |
She'd have to have a disaster today for anything untoward to happen. | 0:34:32 | 0:34:37 | |
But I think Charlotte as well. | 0:34:37 | 0:34:38 | |
-Yes? -That dress was really very, very well made. | 0:34:38 | 0:34:42 | |
I mean there was very little between the two of them at the top. | 0:34:42 | 0:34:45 | |
So, then, let's talk about those who are in trouble. | 0:34:45 | 0:34:47 | |
Tracey, she came bottom in the colour-block. | 0:34:47 | 0:34:50 | |
She messed up actually. | 0:34:50 | 0:34:52 | |
She did the colour top stitching and the zip was a mess. | 0:34:52 | 0:34:56 | |
Jade's monochrome colour-block dress | 0:34:56 | 0:34:59 | |
just lacked the crispness of some of the others. | 0:34:59 | 0:35:01 | |
And is Angeline in trouble? | 0:35:01 | 0:35:03 | |
We did put her bottom in the alteration challenge. | 0:35:03 | 0:35:05 | |
But in earlier shows, we've seen Angeline do quite badly | 0:35:05 | 0:35:07 | |
in the first two challenges and then get garment of the week. | 0:35:07 | 0:35:10 | |
Yeah, I think that's exactly right. | 0:35:10 | 0:35:13 | |
Yeah, it could. I mean, Angeline's had garment of the week twice. | 0:35:13 | 0:35:16 | |
For the made-to-measure challenge, fit is crucial, | 0:35:18 | 0:35:21 | |
so the mannequins have made way for real models. | 0:35:21 | 0:35:25 | |
Morning, hon? | 0:35:25 | 0:35:26 | |
You all right? | 0:35:26 | 0:35:27 | |
Nice to see you again. | 0:35:27 | 0:35:29 | |
OK, sewers, for your made-to-measure challenge, | 0:35:33 | 0:35:37 | |
the judges would love you to use vintage '60s patterns | 0:35:37 | 0:35:43 | |
to make wonderful jackets. Are you ready? | 0:35:43 | 0:35:46 | |
-Yeah. Woo! -Yes. | 0:35:46 | 0:35:47 | |
-Yeah. -You have six-and-a-half hours. | 0:35:47 | 0:35:50 | |
Your time starts now. | 0:35:50 | 0:35:52 | |
This is the one challenge the sewers have been able to practise at home. | 0:35:52 | 0:35:56 | |
The judges will be looking more and more at the detail. | 0:35:56 | 0:35:59 | |
Time to up my game. | 0:35:59 | 0:36:01 | |
Need a glug of water, some prayers. | 0:36:01 | 0:36:03 | |
I really want to stay, but it's very tough now. | 0:36:03 | 0:36:05 | |
There are a lot of good sewers here. | 0:36:05 | 0:36:07 | |
Oh. | 0:36:07 | 0:36:08 | |
The sewers were allowed to pre-cut their main pattern pieces, | 0:36:09 | 0:36:13 | |
but the fitting and construction must be done now. | 0:36:13 | 0:36:16 | |
Phwoar! Steamy. | 0:36:18 | 0:36:20 | |
It's week five. You've never asked them to make a jacket before. | 0:36:20 | 0:36:23 | |
Why have you waited until now? | 0:36:23 | 0:36:25 | |
We haven't really tested them on their tailoring skills. | 0:36:25 | 0:36:28 | |
It seems an appropriate time now, with it being the '60s, | 0:36:28 | 0:36:31 | |
a decade when the jacket really transformed itself. | 0:36:31 | 0:36:34 | |
Tailoring became, you know, exaggerated and exuberant. | 0:36:34 | 0:36:38 | |
Do you want buttons? Do you want pockets? | 0:36:38 | 0:36:41 | |
Will that all get extra marks? | 0:36:41 | 0:36:44 | |
Well, it depends how it's executed, actually. | 0:36:44 | 0:36:46 | |
Making a jacket is all to do with the finish. | 0:36:46 | 0:36:49 | |
So, when we do the catwalk show, | 0:36:49 | 0:36:50 | |
you want to be transported back to the '60s? | 0:36:50 | 0:36:53 | |
Yes. | 0:36:53 | 0:36:55 | |
Nice. I'm going to go for some music. | 0:36:55 | 0:36:57 | |
That would be good. | 0:36:57 | 0:36:58 | |
MUSIC: Puppet On A String by Sandi Shaw | 0:36:58 | 0:37:02 | |
# I wonder if one day that you'll say that you care | 0:37:02 | 0:37:05 | |
# If you say you love me madly I'll gladly be there | 0:37:05 | 0:37:09 | |
# Like a puppet on a string... # | 0:37:09 | 0:37:11 | |
My jacket is inspired by Jackie Kennedy in the early '60s. | 0:37:11 | 0:37:15 | |
She, sort of, inspired a whole generation of fashion, really. | 0:37:15 | 0:37:20 | |
Away from the nipped-in waist of the '50s. | 0:37:20 | 0:37:23 | |
There's a sort of theory that it was cos she kept having babies. | 0:37:23 | 0:37:26 | |
Charlotte's Jackie Kennedy-inspired single-breasted boxy jacket | 0:37:26 | 0:37:29 | |
will have a flat Peter Pan collar, covered buttons, | 0:37:29 | 0:37:32 | |
and set-in sleeves. | 0:37:32 | 0:37:34 | |
The judges do have very high standards. | 0:37:34 | 0:37:36 | |
Especially with jackets and things. | 0:37:36 | 0:37:38 | |
I always worry cos Patrick, of course, knows his tailoring. | 0:37:38 | 0:37:42 | |
I chose this navy blue, because it's a pea jacket. | 0:37:45 | 0:37:49 | |
Originally, a pea jacket was used by sailors. | 0:37:49 | 0:37:53 | |
Joyce's pea jacket is double-breasted with lapels, | 0:37:53 | 0:37:56 | |
a notched collar, set-in sleeves, | 0:37:56 | 0:37:58 | |
and in-seam pockets. | 0:37:58 | 0:38:01 | |
Now, this is going to make me sound awful, | 0:38:01 | 0:38:03 | |
but Elvis wore a similar jacket | 0:38:03 | 0:38:05 | |
and if Elvis wore it, it's good enough for me. | 0:38:05 | 0:38:08 | |
So I have gone for an Audrey Hepburn-inspired jacket. | 0:38:08 | 0:38:13 | |
She's just a style icon, and when you look back at pictures, | 0:38:13 | 0:38:17 | |
it's unbelievable how glamorous and, still, how fashionable she is. | 0:38:17 | 0:38:21 | |
Rumana's A-line coat has raglan sleeves | 0:38:21 | 0:38:24 | |
for a soft, '60s shoulder, | 0:38:24 | 0:38:26 | |
a flat Peter Pan collar, | 0:38:26 | 0:38:27 | |
covered buttons and welt pockets. | 0:38:27 | 0:38:30 | |
I'm just doing my pockets. | 0:38:30 | 0:38:31 | |
And how are you finding that? | 0:38:31 | 0:38:33 | |
-I did one. -It's not too bad. | 0:38:33 | 0:38:36 | |
I'm hoping this one's a bit better. | 0:38:36 | 0:38:37 | |
Well, don't make it too much better, | 0:38:37 | 0:38:39 | |
-cos then it will make this one look worse. You want them even. -OK. | 0:38:39 | 0:38:43 | |
My jacket is inspired by the later part of the '60s. | 0:38:45 | 0:38:48 | |
The swinging '60s. | 0:38:48 | 0:38:50 | |
It's going to be bright and vibrant. | 0:38:51 | 0:38:54 | |
Angelina's wool-flannel A-line coat | 0:38:54 | 0:38:56 | |
has patch pockets | 0:38:56 | 0:38:58 | |
with contrast Paisley fabric, | 0:38:58 | 0:38:59 | |
A high funnel collar, | 0:38:59 | 0:39:01 | |
and covered buttons with Rouleau loops. | 0:39:01 | 0:39:04 | |
I'm adding some fur. | 0:39:04 | 0:39:07 | |
-Stop it! -Along the bottom. | 0:39:07 | 0:39:09 | |
-No! -Just here. | 0:39:09 | 0:39:11 | |
That with Paisley and bright orange?! | 0:39:11 | 0:39:13 | |
I've got something at the back of my neck. | 0:39:15 | 0:39:17 | |
I'm kidding. It's fantastic. | 0:39:17 | 0:39:19 | |
If that doesn't win, I don't know what will. | 0:39:19 | 0:39:23 | |
I mean, possibly something else. | 0:39:23 | 0:39:24 | |
But, still... | 0:39:24 | 0:39:26 | |
-Let's give it a go. -OK. | 0:39:26 | 0:39:27 | |
Not all the sewers are going for the bells-and-whistles approach | 0:39:27 | 0:39:31 | |
to the jacket. | 0:39:31 | 0:39:32 | |
That's better. | 0:39:34 | 0:39:36 | |
Mine is a little bit less complicated than everyone else's. | 0:39:36 | 0:39:39 | |
It's only, like, five pieces. | 0:39:39 | 0:39:42 | |
But, it's the way that I'm going to sew it together | 0:39:42 | 0:39:44 | |
that's hopefully going to wow the judges. | 0:39:44 | 0:39:46 | |
I think, just the techniques that I'm going to use, | 0:39:46 | 0:39:49 | |
and make sure it is perfectly sewn and matching. | 0:39:49 | 0:39:53 | |
Jade's cropped jacket has a flat Peter Pan collar, | 0:39:53 | 0:39:56 | |
elbow length set-in sleeves, | 0:39:56 | 0:39:57 | |
and is made from a wool and silk-blend | 0:39:57 | 0:39:59 | |
tweed fabric. | 0:39:59 | 0:40:02 | |
You're going to see something amazing. | 0:40:02 | 0:40:04 | |
It's pattern-matched all the way through. | 0:40:04 | 0:40:06 | |
Stop it! It IS pattern-matched. | 0:40:06 | 0:40:09 | |
CLAUDIA GASPS | 0:40:09 | 0:40:10 | |
Can you see a seam at the front anywhere? | 0:40:10 | 0:40:12 | |
-No! -It's right there. -CLAUDIA GASPS | 0:40:12 | 0:40:14 | |
I could not see that! | 0:40:14 | 0:40:15 | |
-Well done. -Thanks. | 0:40:15 | 0:40:17 | |
Let's have a look at this fur? | 0:40:21 | 0:40:23 | |
It's like Rod Hull has stepped into the room. | 0:40:23 | 0:40:26 | |
I don't know Rod Hull is. | 0:40:26 | 0:40:27 | |
Do you not remember? With Emu. | 0:40:27 | 0:40:29 | |
Oh, I remember Emu, yes. | 0:40:29 | 0:40:31 | |
Once I was doing the research, | 0:40:31 | 0:40:32 | |
there was a lot of fur on jackets, | 0:40:32 | 0:40:35 | |
especially in the late '60s. | 0:40:35 | 0:40:37 | |
But, actually, that looks a little bit, sort of, well, fancy dress. | 0:40:37 | 0:40:42 | |
I've chosen a pattern that's based on an original 1960s pattern. | 0:40:42 | 0:40:47 | |
It's got this, what's called a grown-on sleeve. | 0:40:47 | 0:40:50 | |
So, the sleeve and the body are all cut in one. | 0:40:50 | 0:40:53 | |
I've got to make sure this is good today, really, | 0:40:53 | 0:40:55 | |
if I'm going to be staying. | 0:40:55 | 0:40:57 | |
Tracey's tweed cardigan-style jacket | 0:40:57 | 0:41:00 | |
has bracelet length grown-on sleeves | 0:41:00 | 0:41:02 | |
with a side gusset, | 0:41:02 | 0:41:04 | |
welt pockets and a flat collar. | 0:41:04 | 0:41:05 | |
And it is inspired by her mum. | 0:41:05 | 0:41:08 | |
This was an outfit my mum made in 1960, on her honeymoon. | 0:41:08 | 0:41:11 | |
She made it on honeymoon, or she wore it on honeymoon? | 0:41:11 | 0:41:14 | |
No. She made it to wear on honeymoon. | 0:41:14 | 0:41:15 | |
It wasn't a good honeymoon if you were sewing, was it? | 0:41:15 | 0:41:18 | |
Then, just to make you laugh, | 0:41:18 | 0:41:19 | |
she turned that outfit into something for me when I was three. | 0:41:19 | 0:41:23 | |
So, she was a fantastic sewer. | 0:41:23 | 0:41:25 | |
All sorts of things, yeah. Was really good at sewing. | 0:41:25 | 0:41:28 | |
I'm hoping today does her justice, really. | 0:41:28 | 0:41:30 | |
She would have liked doing this. | 0:41:30 | 0:41:31 | |
-All right. I'm really looking forward to this. -Good. | 0:41:31 | 0:41:34 | |
MUSIC: Knock On Wood | 0:41:34 | 0:41:37 | |
You've had one hour 35, boys and girls. | 0:41:40 | 0:41:44 | |
Girls. | 0:41:44 | 0:41:45 | |
The judges aren't sure if the fur is going to work. | 0:41:45 | 0:41:47 | |
So, I'm not going to put it on. | 0:41:47 | 0:41:49 | |
I came last in the alteration challenge, | 0:41:49 | 0:41:52 | |
which wasn't ideal. | 0:41:52 | 0:41:54 | |
So, under pressure. | 0:41:54 | 0:41:57 | |
Armholes, good. | 0:41:57 | 0:42:00 | |
The sewers will have to continually make adjustments | 0:42:00 | 0:42:03 | |
to ensure their jackets are a perfect fit. | 0:42:03 | 0:42:05 | |
I just need to take this in just a tiny bit. | 0:42:08 | 0:42:11 | |
Just to make it fit her better. | 0:42:11 | 0:42:13 | |
Otherwise, it looks like she has got odd boobies. | 0:42:13 | 0:42:16 | |
Fit is very important to me because it's not something I'm usually very good at, | 0:42:16 | 0:42:19 | |
so I really don't want to let myself down with that. | 0:42:19 | 0:42:22 | |
But a good fit isn't all the judges will be looking for. | 0:42:22 | 0:42:25 | |
The sewers have to figure out where and how | 0:42:25 | 0:42:27 | |
to give their jackets structure. | 0:42:27 | 0:42:29 | |
I'm just going to get some more interfacing. | 0:42:29 | 0:42:32 | |
What is interfacing? | 0:42:32 | 0:42:34 | |
Interfacing is a layer, either of canvas or iron-on fabric, | 0:42:34 | 0:42:39 | |
that gives the jacket a structure and a good finish. | 0:42:39 | 0:42:43 | |
Allow the fabric to drape naturally where you need it to drape | 0:42:43 | 0:42:46 | |
and use interfacing where it needs to be crisp. | 0:42:46 | 0:42:49 | |
I've done my interfacing, to give it a bit more steadiness. | 0:42:49 | 0:42:52 | |
I've used interfacing so it doesn't all go misshapen in use, | 0:42:52 | 0:42:56 | |
and when you put the buttonholes in. | 0:42:56 | 0:42:58 | |
Collar needs interfacing which is what I'm working on now. | 0:42:58 | 0:43:02 | |
That's a better fit. | 0:43:02 | 0:43:03 | |
I'm slightly worried Angeline hasn't interfaced that front. | 0:43:03 | 0:43:09 | |
It's quite bouncy fabric | 0:43:09 | 0:43:11 | |
and there still needs to be a crispness to the finish. | 0:43:11 | 0:43:15 | |
I've put interfacing on the front section of my jacket. | 0:43:15 | 0:43:20 | |
How do you think Jade is getting on? | 0:43:20 | 0:43:22 | |
She doesn't have an awful lot to do process-wise. | 0:43:22 | 0:43:25 | |
Given that this is not the most complicated of garments, | 0:43:25 | 0:43:29 | |
she's going to have to make this... | 0:43:29 | 0:43:31 | |
-Beautifully. -..beautifully. | 0:43:31 | 0:43:33 | |
I'm taking my time and making sure that everything's perfect. | 0:43:33 | 0:43:36 | |
Hopefully the judges will be very impressed by it. | 0:43:36 | 0:43:38 | |
Sewers, you're halfway through. | 0:43:41 | 0:43:43 | |
Sewing in sleeves at the moment. | 0:43:43 | 0:43:45 | |
Nearly got the second sleeve sewn in. | 0:43:45 | 0:43:47 | |
I made sure that even the sleeves were pattern-matched. | 0:43:47 | 0:43:50 | |
Oh, yeah! | 0:43:50 | 0:43:51 | |
Five of the six sewers have cut out individual sleeve pieces | 0:43:51 | 0:43:55 | |
and are now attaching them to the shoulders. | 0:43:55 | 0:43:57 | |
You just match the side seam and the shoulder seam with your markings | 0:43:57 | 0:44:02 | |
and then you can just ease the rest in. | 0:44:02 | 0:44:04 | |
Super groovy. | 0:44:04 | 0:44:05 | |
It's a little bit tricky with this grown-on sleeve. | 0:44:07 | 0:44:10 | |
But Tracey's sleeves aren't separate. | 0:44:10 | 0:44:12 | |
They're part of her T-shaped bodice. | 0:44:12 | 0:44:15 | |
Just done the underarm seam, | 0:44:15 | 0:44:18 | |
and then I'm fixing the underarm to the panel | 0:44:18 | 0:44:22 | |
that goes round the side of the body. | 0:44:22 | 0:44:24 | |
This means she has to insert a fiddly gusset where the seams meet. | 0:44:24 | 0:44:28 | |
A little bit of a lump there. That shouldn't happen. | 0:44:28 | 0:44:31 | |
It is a really, kind of, perplexing shape. | 0:44:31 | 0:44:35 | |
It does look OK, but it's just taking her ages. | 0:44:35 | 0:44:38 | |
I might get rid of it with enough steam. | 0:44:38 | 0:44:41 | |
Joyce, you are pressing. | 0:44:42 | 0:44:44 | |
They will be very pleased about that. | 0:44:44 | 0:44:46 | |
Press, press, press, Claudia. | 0:44:46 | 0:44:48 | |
-How are you finding this challenge? -I like it. | 0:44:48 | 0:44:50 | |
I really like tailoring. | 0:44:50 | 0:44:53 | |
This is getting the collar right, it's quite difficult. | 0:44:53 | 0:44:56 | |
-I know. -So, if you could knock another 20 minutes on | 0:44:56 | 0:44:59 | |
-at least at the end? -Leave it with me, Joyce. | 0:44:59 | 0:45:01 | |
-Leave it with me. -Thank you. -SHE MOUTHS | 0:45:01 | 0:45:03 | |
Sewers, you have one hour left. | 0:45:05 | 0:45:07 | |
That seems to have gone very quickly. | 0:45:07 | 0:45:09 | |
I'm pinning my lining jacket, which is now complete, | 0:45:09 | 0:45:15 | |
to my jacket jacket, which is also complete, | 0:45:15 | 0:45:18 | |
and I'm going to sew them together. | 0:45:18 | 0:45:20 | |
To attach their linings, | 0:45:20 | 0:45:21 | |
the sewers are using the bagging-out technique. | 0:45:21 | 0:45:25 | |
Bagging-out is you sew the lining to the body of the coat inside-out | 0:45:25 | 0:45:30 | |
and then pull it the right way round. | 0:45:30 | 0:45:32 | |
At that point, you realise it either works or it doesn't work. | 0:45:32 | 0:45:35 | |
The lining can actually make or break a jacket. | 0:45:35 | 0:45:37 | |
If the lining is too small, it might pull up the jacket from the inside. | 0:45:37 | 0:45:41 | |
So, now I've got a thing that doesn't in any way | 0:45:41 | 0:45:45 | |
look like a jacket. | 0:45:45 | 0:45:46 | |
Turn the whole thing through. It's like giving birth. | 0:45:46 | 0:45:48 | |
It's probably the most exciting bit of jacket-making. | 0:45:48 | 0:45:51 | |
-I'm about to give birth! -I'd like to be your doula. -Would you? -Yeah. | 0:45:51 | 0:45:55 | |
I'm really hoping this goes right. | 0:45:55 | 0:45:57 | |
-We're birthing. -We're birthing! | 0:45:57 | 0:45:59 | |
It's all twisted. | 0:45:59 | 0:46:01 | |
Some weird creature's going to be born. | 0:46:01 | 0:46:03 | |
I can see the collar. | 0:46:03 | 0:46:05 | |
Shall I pretend to be Enya? | 0:46:05 | 0:46:07 | |
Aaaah! | 0:46:07 | 0:46:09 | |
Give it some whale music. | 0:46:09 | 0:46:10 | |
It's like an episode of Countryfile. | 0:46:10 | 0:46:12 | |
Aah! I can't watch. | 0:46:12 | 0:46:14 | |
CLAUDIA GASPS | 0:46:15 | 0:46:17 | |
It's... What are you going to call it?! | 0:46:17 | 0:46:20 | |
-Jacket! -Hello there, Jacket! | 0:46:20 | 0:46:23 | |
That's a coat. | 0:46:25 | 0:46:26 | |
That's the kind of birth I can get my head around. | 0:46:26 | 0:46:28 | |
We make a perfect couple. | 0:46:28 | 0:46:29 | |
We do. We really do. | 0:46:29 | 0:46:31 | |
Oh, God, the lining's too small. | 0:46:33 | 0:46:35 | |
Just one big mistake. | 0:46:35 | 0:46:36 | |
Sewers, you have 20 minutes left to get your coats | 0:46:36 | 0:46:38 | |
on your beautiful models. | 0:46:38 | 0:46:40 | |
We're going to set up a catwalk show. | 0:46:40 | 0:46:42 | |
I can do that in 20 minutes. | 0:46:42 | 0:46:43 | |
-Four buttons. -What are you using for buttons? | 0:46:43 | 0:46:46 | |
Cos that was originally worn by sailors... | 0:46:46 | 0:46:48 | |
-Anchors! -Yes! -An anchor motif. | 0:46:48 | 0:46:51 | |
Cute! | 0:46:51 | 0:46:52 | |
It is important for buttonholes to be neat, definitely. | 0:46:53 | 0:46:57 | |
You don't want wonky buttonholes. | 0:46:57 | 0:46:59 | |
Uneven buttonholes?! | 0:46:59 | 0:47:01 | |
SHE CHUCKLES | 0:47:01 | 0:47:03 | |
They're proving a little bit tough because the fabric's so thick. | 0:47:03 | 0:47:06 | |
Sewers, you have ten minutes left. | 0:47:06 | 0:47:09 | |
Disaster. | 0:47:09 | 0:47:10 | |
I was so looking forward to not rushing at the last minute. | 0:47:10 | 0:47:13 | |
How are you getting on? | 0:47:13 | 0:47:15 | |
-Rushing. -You're rushing? -As per my usual. | 0:47:15 | 0:47:17 | |
There is a black hole in the corner of the room, | 0:47:17 | 0:47:19 | |
it's sucking all the time into it. | 0:47:19 | 0:47:21 | |
There's a black hole in the corner of the room. | 0:47:21 | 0:47:23 | |
I call it Patrick. | 0:47:23 | 0:47:24 | |
Well done, Charlotte. | 0:47:26 | 0:47:29 | |
I need to press this. | 0:47:29 | 0:47:30 | |
Three minutes, everybody. | 0:47:30 | 0:47:31 | |
Three minutes. | 0:47:31 | 0:47:33 | |
Just constantly pressing. | 0:47:33 | 0:47:35 | |
You made this hat? | 0:47:35 | 0:47:36 | |
-Cereal box. -Out of a cereal box? | 0:47:36 | 0:47:39 | |
What's going on with my lining? | 0:47:39 | 0:47:41 | |
Get them off. Quickly. | 0:47:41 | 0:47:42 | |
Done. | 0:47:43 | 0:47:44 | |
I don't know why mine's twisting. | 0:47:44 | 0:47:46 | |
Rumana, you have one minute. Angeline, one minute. | 0:47:46 | 0:47:49 | |
Come towards me. | 0:47:49 | 0:47:50 | |
That's it. Time. | 0:47:53 | 0:47:55 | |
Just want to keep pressing. OK. | 0:47:55 | 0:47:56 | |
I know you want to keep pressing. | 0:47:56 | 0:47:58 | |
Tools down. | 0:47:58 | 0:48:00 | |
Are you still happy? | 0:48:00 | 0:48:01 | |
-No. No. -What? -It's better not to. | 0:48:01 | 0:48:04 | |
I'm OK. | 0:48:04 | 0:48:05 | |
The buttons were completely off. | 0:48:06 | 0:48:08 | |
Honestly. There is so much wrong with mine. | 0:48:08 | 0:48:10 | |
Serious, there's so much wrong. | 0:48:10 | 0:48:11 | |
Look at my hem at the back. | 0:48:11 | 0:48:13 | |
-I think my mum would have really liked this. -Yes. | 0:48:13 | 0:48:16 | |
-VOICE BREAKING: -I think she'd be proud of me. | 0:48:16 | 0:48:20 | |
MUSIC: (There's) Always Something There To Remind Me by Sandi Shaw | 0:48:20 | 0:48:23 | |
Right. Pull yourself together, woman. | 0:48:23 | 0:48:25 | |
# I walk along the city streets you used to walk along with me... # | 0:48:28 | 0:48:33 | |
Six 1960s jackets made in just six-and-a-half hours. | 0:48:35 | 0:48:40 | |
Tracey, you're up first. | 0:48:40 | 0:48:42 | |
Please bring your beautiful jacket to the front. | 0:48:42 | 0:48:45 | |
Right, Tracey. | 0:48:55 | 0:48:56 | |
I'm really pleased that you've done the sleeve you've done. | 0:48:56 | 0:49:00 | |
Because, for me, that's very '60s. | 0:49:00 | 0:49:02 | |
It was very difficult. I don't know if I'd do it again. | 0:49:02 | 0:49:05 | |
-I would have liked this a little narrower. -Right. | 0:49:05 | 0:49:08 | |
And, also, you can see exactly where the sewn line is here. | 0:49:08 | 0:49:11 | |
That needs to disappear for me. | 0:49:11 | 0:49:13 | |
It needs to be much better pressed out. | 0:49:13 | 0:49:15 | |
I've just got a little bit of lining... | 0:49:15 | 0:49:17 | |
-Yes, showing there. -..showing here. | 0:49:17 | 0:49:19 | |
It's a shame about the lining. | 0:49:19 | 0:49:21 | |
-Are you pleased? -I am pleased. | 0:49:21 | 0:49:23 | |
I think it's a very good-looking jacket | 0:49:23 | 0:49:26 | |
that you could very, very happily wear. | 0:49:26 | 0:49:28 | |
MUSIC: Please Mr Postman by The Marvelettes | 0:49:28 | 0:49:32 | |
I saw it sitting on the mannequin, | 0:49:38 | 0:49:40 | |
and, I've got to say, I didn't love it on there. | 0:49:40 | 0:49:42 | |
But on the body, it really comes alive. | 0:49:42 | 0:49:45 | |
I like the wide neckline. | 0:49:45 | 0:49:47 | |
It looks really, really '60s. | 0:49:47 | 0:49:50 | |
Your buttonholes are very even. | 0:49:50 | 0:49:52 | |
That front edge is nice and crisp. | 0:49:52 | 0:49:54 | |
But, one of my problems, I have to point this out, | 0:49:54 | 0:49:57 | |
is this front is longer than that front. | 0:49:57 | 0:50:00 | |
-(It's not really.) -Well... | 0:50:00 | 0:50:01 | |
Don't argue with Esme. | 0:50:01 | 0:50:03 | |
Look, look, look. | 0:50:03 | 0:50:04 | |
-Let go. -No. | 0:50:04 | 0:50:05 | |
-It is. -LAUGHTER | 0:50:05 | 0:50:07 | |
I love this fabric. | 0:50:16 | 0:50:18 | |
That soft shoulder is really '60s. | 0:50:18 | 0:50:21 | |
Your welt pockets are actually really well done and... | 0:50:21 | 0:50:26 | |
pretty even. | 0:50:26 | 0:50:28 | |
There are two things that leap out. Are you seeing the same two? | 0:50:28 | 0:50:31 | |
-Well, the hem. -The hem. | 0:50:31 | 0:50:33 | |
The lining is pulling the coat. | 0:50:33 | 0:50:35 | |
-Yes. -What I would do is, when you sew it, it falls over like that. | 0:50:35 | 0:50:40 | |
Then there is no way the lining can pull. | 0:50:40 | 0:50:44 | |
Such a shame because from here up, | 0:50:44 | 0:50:47 | |
it looks terrific. | 0:50:47 | 0:50:49 | |
Apart from the one other thing, | 0:50:49 | 0:50:51 | |
which are that your buttons are in the wrong place. | 0:50:51 | 0:50:53 | |
-Yes. -It's a great piece of sewing apart from those two bits. -Yes. | 0:50:53 | 0:50:58 | |
MUSIC: Blueberry Hill by Elvis Presley | 0:50:58 | 0:51:00 | |
Right, Joyce, well, this looks pretty nicely made. | 0:51:06 | 0:51:09 | |
I think it is first-rate. | 0:51:09 | 0:51:10 | |
My great issue is, I don't get '60s from this. | 0:51:10 | 0:51:14 | |
This, to me, feels '80s. | 0:51:14 | 0:51:16 | |
Sorry, Patrick, I have to disagree with you. | 0:51:16 | 0:51:18 | |
Well, I know it's a '60s pattern. We saw it was a '60s pattern. | 0:51:18 | 0:51:21 | |
I think, if you'd made it in a different fabric, | 0:51:21 | 0:51:23 | |
it might have been. | 0:51:23 | 0:51:24 | |
If you'd have chosen different buttons, it might have been. | 0:51:24 | 0:51:27 | |
This feels of a different era. | 0:51:27 | 0:51:29 | |
The only thing, for me, is here... | 0:51:29 | 0:51:31 | |
Yes. | 0:51:31 | 0:51:32 | |
..where it's not lying flat against the neck. | 0:51:32 | 0:51:36 | |
Yes. OK. Well, I'll agree with you on that. | 0:51:36 | 0:51:38 | |
-Oh, you will? OK. -I will. | 0:51:38 | 0:51:40 | |
MUSIC: It's Not Unusual by Tom Jones | 0:51:41 | 0:51:45 | |
It's certainly eye-catching. | 0:51:53 | 0:51:55 | |
I think, of all of them, | 0:51:55 | 0:51:56 | |
it's the boldest in terms of the fabric choices. | 0:51:56 | 0:51:59 | |
Love the orange. | 0:51:59 | 0:52:00 | |
I love the Paisley. | 0:52:00 | 0:52:02 | |
It has an impact. | 0:52:02 | 0:52:04 | |
I think, fit-wise, it just looks soft and a little bit lumpy | 0:52:04 | 0:52:09 | |
and it needs crispness and rigidity to give it the impact | 0:52:09 | 0:52:12 | |
that it really needs. | 0:52:12 | 0:52:14 | |
Did you interface the whole front? | 0:52:14 | 0:52:15 | |
-No. -You didn't. | 0:52:15 | 0:52:16 | |
It's quite a soft fabric and it's just, sort of, collapsing. | 0:52:16 | 0:52:21 | |
And the hem is a mess. | 0:52:21 | 0:52:23 | |
The lining's short inside | 0:52:23 | 0:52:24 | |
and you can see where it's just dragging the coat up. | 0:52:24 | 0:52:27 | |
You did originally plan to give us a fur trim. | 0:52:27 | 0:52:29 | |
I'm glad you haven't | 0:52:29 | 0:52:31 | |
because I think that would have really overloaded it. | 0:52:31 | 0:52:33 | |
It would have hidden the hem, actually. | 0:52:33 | 0:52:35 | |
-Well, I was going to say, yes. -Yes. | 0:52:35 | 0:52:37 | |
Right, Jade. I love this. | 0:52:46 | 0:52:48 | |
It looks very '60s. | 0:52:48 | 0:52:51 | |
I love the fabric. | 0:52:51 | 0:52:53 | |
-Thank you. -I love the style. | 0:52:53 | 0:52:55 | |
Sounds like there's a but coming. | 0:52:55 | 0:52:58 | |
-No. -I don't think there's a but. | 0:52:58 | 0:52:59 | |
I think it's really spot-on. | 0:52:59 | 0:53:02 | |
It absolutely epitomises the era we were looking for. | 0:53:02 | 0:53:06 | |
-It fits really well. -It fits really well. | 0:53:06 | 0:53:09 | |
Just look how beautifully she's matched it | 0:53:09 | 0:53:11 | |
right through the top of the sleeve, | 0:53:11 | 0:53:14 | |
right across the chest. | 0:53:14 | 0:53:16 | |
-Esme, look. -Yep. | 0:53:16 | 0:53:17 | |
Oh, she's matched the buttons. | 0:53:17 | 0:53:19 | |
Matched the stripe going right through the top of that button. | 0:53:19 | 0:53:22 | |
You know, this is quite a simple jacket. | 0:53:22 | 0:53:24 | |
If you're doing something simple, it has to be absolutely perfect. | 0:53:24 | 0:53:28 | |
And it really is. | 0:53:28 | 0:53:29 | |
It's exceptional. | 0:53:29 | 0:53:31 | |
I really love it. | 0:53:31 | 0:53:32 | |
Well done to everyone. | 0:53:36 | 0:53:37 | |
There are flapjack mountains waiting for you. | 0:53:37 | 0:53:40 | |
So, go, relax. | 0:53:40 | 0:53:42 | |
When you come back in, the judges will announce | 0:53:42 | 0:53:44 | |
the garment of the week | 0:53:44 | 0:53:45 | |
and will announce the person who's leaving the sewing room. | 0:53:45 | 0:53:49 | |
That challenge went absolutely amazing. | 0:53:58 | 0:54:01 | |
I'm so over the moon with how that went. | 0:54:01 | 0:54:04 | |
We're all aiming for perfection and being really hard on ourselves, | 0:54:04 | 0:54:07 | |
and I think I definitely fell victim to that today. | 0:54:07 | 0:54:10 | |
I didn't have a great week. | 0:54:10 | 0:54:12 | |
And it's all about how you performed that week. | 0:54:13 | 0:54:16 | |
It would be absolutely wonderful... | 0:54:18 | 0:54:20 | |
..if my mother's jacket saved me from going home. | 0:54:22 | 0:54:24 | |
She'd be really proud. | 0:54:24 | 0:54:26 | |
I've done that jacket in tribute to her. | 0:54:26 | 0:54:29 | |
Am I ready to go home? | 0:54:29 | 0:54:31 | |
So, this morning, judges, the people who were in trouble | 0:54:43 | 0:54:47 | |
were Jade, Tracey, and Angeline. | 0:54:47 | 0:54:50 | |
Does it still stand? | 0:54:50 | 0:54:51 | |
No. With respect to Jade, | 0:54:51 | 0:54:53 | |
she's pulled herself out of any mire at all. | 0:54:53 | 0:54:55 | |
In fact, this jacket, for me, is a contender for garment of the week. | 0:54:55 | 0:54:58 | |
So, what is that up against? | 0:54:58 | 0:55:00 | |
It's up against Joyce's colour-block dress. | 0:55:00 | 0:55:03 | |
The near faultless rendition of that pattern challenge. | 0:55:03 | 0:55:06 | |
So that means Jade is now safe. | 0:55:06 | 0:55:10 | |
That leaves Tracey and Angeline. | 0:55:10 | 0:55:12 | |
How will you choose? | 0:55:12 | 0:55:14 | |
The alterations were all reasonably even. | 0:55:14 | 0:55:17 | |
Tracey shaded that one. | 0:55:17 | 0:55:19 | |
I think what we have to do is have a look at, firstly, | 0:55:19 | 0:55:22 | |
the two colour-blocked dresses. | 0:55:22 | 0:55:25 | |
Tracey has done all this colour top stitching | 0:55:25 | 0:55:29 | |
that doesn't actually work. | 0:55:29 | 0:55:30 | |
And the zip isn't sewn in correctly. | 0:55:30 | 0:55:33 | |
Whereas, Angeline's colour-block dress is a pretty good rendition. | 0:55:33 | 0:55:36 | |
But, today, that was reversed. | 0:55:36 | 0:55:39 | |
Tracey's jacket was good and Angeline's coat was a mess. | 0:55:39 | 0:55:46 | |
It's a tough one. | 0:55:46 | 0:55:48 | |
Huge congratulations to all of you for '60s week. | 0:55:50 | 0:55:55 | |
The first bit is the good news. | 0:55:55 | 0:55:57 | |
The garment of the week. Patrick, what is it? | 0:55:57 | 0:56:00 | |
Our favourite garment of this week is... | 0:56:00 | 0:56:04 | |
-..this one. -CHEERING AND APPLAUSE | 0:56:05 | 0:56:07 | |
Oh, God! | 0:56:09 | 0:56:11 | |
It just looked perfect. | 0:56:11 | 0:56:13 | |
I'm so happy. | 0:56:13 | 0:56:15 | |
Now the bit that is a bit painful. | 0:56:15 | 0:56:16 | |
The person leaving the Sewing Bee is... | 0:56:16 | 0:56:20 | |
I'm so sorry. It's Angeline. | 0:56:29 | 0:56:31 | |
-Yes. -Sorry. | 0:56:31 | 0:56:32 | |
Don't worry, darling. | 0:56:34 | 0:56:36 | |
-No, don't. Give me a hug. -Too late. Too late. | 0:56:36 | 0:56:38 | |
Devastated to be leaving the Sewing Bee. | 0:56:40 | 0:56:43 | |
But being here has taught me that I can... | 0:56:45 | 0:56:48 | |
..achieve more than what I first thought. | 0:56:50 | 0:56:51 | |
I'm sad to send Angeline home. | 0:56:53 | 0:56:55 | |
She hasn't the experience in tailored clothes, | 0:56:55 | 0:56:59 | |
and that's ultimately what's let her down. | 0:56:59 | 0:57:01 | |
It's really, really hard to send people home. | 0:57:01 | 0:57:04 | |
Absolutely is. | 0:57:04 | 0:57:06 | |
They're such a little community. | 0:57:06 | 0:57:08 | |
I could feel my pulse racing and my butterflies going. | 0:57:08 | 0:57:13 | |
And I thought, "It's me, it's me, it's me." | 0:57:13 | 0:57:15 | |
When it's somebody else, you're, kind of like, | 0:57:15 | 0:57:17 | |
"Thank God it's not me", | 0:57:17 | 0:57:18 | |
but then you're upset because it's somebody that, you know, | 0:57:18 | 0:57:21 | |
you've really grown to love over the last couple of weeks. | 0:57:21 | 0:57:23 | |
Five weeks of sewing with these amazing sewers. | 0:57:23 | 0:57:28 | |
Yeah, I'm incredibly proud. | 0:57:28 | 0:57:30 | |
My family will be so proud. | 0:57:30 | 0:57:33 | |
-PHONE DIALS -'Hello.' | 0:57:35 | 0:57:37 | |
I only went and got garment of the week. | 0:57:37 | 0:57:40 | |
'Oh! My! God! | 0:57:40 | 0:57:44 | |
'Smashed it! | 0:57:44 | 0:57:46 | |
'Get in there!' | 0:57:46 | 0:57:48 | |
Oh, come on. | 0:57:48 | 0:57:50 | |
Next time, the sewers take to their marks with activewear. | 0:57:50 | 0:57:54 | |
What are you doing this weekend? I'm just going cycling. | 0:57:54 | 0:57:57 | |
As they wrestle with the stretchiest... | 0:57:57 | 0:57:59 | |
Oh, my God! | 0:57:59 | 0:58:00 | |
..most technical... | 0:58:00 | 0:58:02 | |
Just a total nightmare! | 0:58:02 | 0:58:03 | |
..and figure-hugging garments yet. | 0:58:03 | 0:58:06 | |
They fit! | 0:58:06 | 0:58:07 | |
For a place... | 0:58:07 | 0:58:09 | |
I think it's an exceptional fit. | 0:58:09 | 0:58:11 | |
..in the semifinal. | 0:58:11 | 0:58:13 | |
I had to go to the dentist yesterday and have a tooth filled. | 0:58:13 | 0:58:15 | |
I think I'd rather go back there than do this again! | 0:58:15 | 0:58:18 |