0:00:02 > 0:00:05For the country's super wealthy, there's only one man
0:00:05 > 0:00:09to turn to when it comes to good taste.
0:00:09 > 0:00:11I think I've got what the antique trade
0:00:11 > 0:00:13and the dealers call "the eye".
0:00:13 > 0:00:16There's no question - I've got to buy all three.
0:00:16 > 0:00:22I've got a very defined and, some would say, refined sense of taste.
0:00:22 > 0:00:26What's extraordinary is how beautiful it is in this room.
0:00:26 > 0:00:29Gordon Watson is one of the world's leading authorities
0:00:29 > 0:00:31on 20th century design.
0:00:31 > 0:00:34- 17,500 and we are friends. - OK, thank you very much.- OK.
0:00:34 > 0:00:39Turning his passion for collecting into a multi-million pound business.
0:00:39 > 0:00:42At 4,250,000, sold!
0:00:42 > 0:00:44It's a mania.
0:00:44 > 0:00:48It's not natural how much I buy, and how much I need...I need to buy.
0:00:48 > 0:00:49Oh, my God, this is so exciting.
0:00:49 > 0:00:53Always on the hunt for the most desirable pieces to buy...
0:00:53 > 0:00:54It's been a long time.
0:00:54 > 0:00:57..he's charming his way into the grandest of homes,
0:00:57 > 0:01:00gambling he'll make the deal of a lifetime.
0:01:00 > 0:01:02Very nice to see you.
0:01:02 > 0:01:04I've a feeling it's going to be an easy sell,
0:01:04 > 0:01:06and I'll make a lot of money.
0:01:06 > 0:01:07I'm hoping.
0:01:16 > 0:01:19One of London's most cutting edge galleries
0:01:19 > 0:01:22is celebrating its 20th anniversary,
0:01:22 > 0:01:26and Gordon's on his way to meet the founder, Anita Zabludowicz.
0:01:26 > 0:01:31The prolific collector is a close friend of Gordon's...
0:01:31 > 0:01:36but there's one thing about their friendship that frustrates him.
0:01:36 > 0:01:38She thinks outside the box,
0:01:38 > 0:01:41she really is an unusual character in the art world.
0:01:41 > 0:01:47But I have never, ever managed to sell her, Anita, anything -
0:01:47 > 0:01:51and I'm going to try and rectify that.
0:01:51 > 0:01:54I'm not sure how, but I'm going to really try.
0:01:54 > 0:01:56For the last two decades,
0:01:56 > 0:01:59Anita and her billionaire husband have been collecting
0:01:59 > 0:02:02and supporting the world's most experimental artists,
0:02:02 > 0:02:05building a collection that is now world-famous
0:02:05 > 0:02:10with a gallery in London, plus spaces in Finland and New York.
0:02:10 > 0:02:16Anita Zabludowicz is our foremost collector of young unknown artists.
0:02:16 > 0:02:19She's, I would say, on the pulse of art.
0:02:19 > 0:02:21We are definitely the avant-garde.
0:02:21 > 0:02:25We are doing things that no-one else is looking at.
0:02:25 > 0:02:29Usually no-one else wants to acquire it, it's not marketable -
0:02:29 > 0:02:34but it is becoming the next movement in the world.
0:02:34 > 0:02:37- Hello.- Hi, it's Gordon, for Anita.
0:02:37 > 0:02:38OK.
0:02:40 > 0:02:41I'm quite excited.
0:02:41 > 0:02:44There's a bit of buzz in town about this show
0:02:44 > 0:02:47and I literally don't know what to expect.
0:02:51 > 0:02:55The exhibition features some of the collection's 3,000 pieces
0:02:55 > 0:02:59by 500 artists, including valuable early works
0:02:59 > 0:03:02by Damien Hirst, Tracey Emin, and Sarah Lucas.
0:03:04 > 0:03:08When we started collecting, it was a love, but we didn't know
0:03:08 > 0:03:10that we were going to be creating this collection -
0:03:10 > 0:03:12we were just art addicts, basically.
0:03:14 > 0:03:18Then, one day, about 10, 11 years ago, I woke up and decided
0:03:18 > 0:03:23that we need a place to show this platform, and we founded this space.
0:03:24 > 0:03:28Because of her passionate support of emerging artists,
0:03:28 > 0:03:31Anita has had two rooms at the Tate Modern named after her,
0:03:31 > 0:03:35and has even received an OBE for services to art.
0:03:37 > 0:03:39- Anita?- Hello.
0:03:39 > 0:03:40God, I couldn't wait.
0:03:40 > 0:03:43They were all looking for you, I thought I'd find you. You know me.
0:03:45 > 0:03:49So, Anita... I haven't been back for about a year, and it's...
0:03:49 > 0:03:51totally different.
0:03:51 > 0:03:54I met Gordon about 20 years ago, and immediately we clicked,
0:03:54 > 0:03:56and we became pals.
0:03:56 > 0:04:00Here we are, we have a lost paid of trainers,
0:04:00 > 0:04:03and this is by an artist called Pamela Rosenkranz,
0:04:03 > 0:04:06and she is looking at the human body.
0:04:06 > 0:04:09Can I be really rude, and ask you how much you paid for that?
0:04:09 > 0:04:12Not too much, maybe 2,000, 3,000 at the time.
0:04:12 > 0:04:15- Well, I think people would be horrified!- Yeah!
0:04:15 > 0:04:20- Is it specific how far you put them apart?- Let's be cheeky, shall we?
0:04:20 > 0:04:24- GORDON GASPS - Anita Zabludowicz! No!- Whoa!
0:04:24 > 0:04:26There's even a black cross where it's meant to be.
0:04:26 > 0:04:29- Do you think they'll notice? - God, that's... Can I do that?
0:04:29 > 0:04:31Go on, then.
0:04:32 > 0:04:35SHE LAUGHS
0:04:35 > 0:04:37Oh, and I see the silicon inside.
0:04:37 > 0:04:39Yes, so you couldn't actually put your feet in them.
0:04:39 > 0:04:40- No, definitely not.- No. No, OK.
0:04:40 > 0:04:43And you weren't meant to touch it, either.
0:04:43 > 0:04:44You'll get told off.
0:04:45 > 0:04:49Surrounded by innovative and challenging contemporary art,
0:04:49 > 0:04:51Gordon will have to come up with something bold
0:04:51 > 0:04:55if he's to stand a chance of selling something to Anita...
0:04:58 > 0:05:01..but with 35 years of art and furniture experience,
0:05:01 > 0:05:05he thinks he's finally spotted his opportunity...
0:05:05 > 0:05:07in the gallery's cafe.
0:05:08 > 0:05:11This...is a horror.
0:05:12 > 0:05:14The lights...
0:05:14 > 0:05:16Well, actually I don't mind the lights,
0:05:16 > 0:05:18it's the tables and the chairs.
0:05:18 > 0:05:20I've got to sell something to Anita,
0:05:20 > 0:05:25and I think she really needs to smarten up the reception area.
0:05:25 > 0:05:28I think she should give some of that energy,
0:05:28 > 0:05:31and a little bit of that budget that she's on,
0:05:31 > 0:05:35to giving furniture designers a break.
0:05:37 > 0:05:41Anita's focus... she's only interested
0:05:41 > 0:05:44in the most innovative, cutting-edge art,
0:05:44 > 0:05:48and I want her to see that a chair can be as good
0:05:48 > 0:05:50as one of her video artists.
0:05:51 > 0:05:53- There you go.- Yeah.
0:05:54 > 0:05:57- Just for you. - LAUGHTER
0:05:57 > 0:06:02Anita, all the cakes in the world aren't going to sweeten me up,
0:06:02 > 0:06:05- because I want to have a chat with you. OK?- Oh, I'm scared.
0:06:05 > 0:06:07There's no other way of saying it, because it is rude.
0:06:07 > 0:06:11I think this...the common parts, the cafe, the reception area...
0:06:11 > 0:06:13I think you're letting yourself down.
0:06:13 > 0:06:16- And I think you're letting the building down.- Why?
0:06:16 > 0:06:19This has to be brought up to the same level
0:06:19 > 0:06:21as the Zabludowicz Collection,
0:06:21 > 0:06:24- and I think there's such exciting things out there...- Yeah.
0:06:24 > 0:06:27..that I want, when people come in here, they feel joyful.
0:06:27 > 0:06:30This should be an installation as much as you have installations.
0:06:30 > 0:06:33- Don't you feel joyful when you walk in?- No.
0:06:33 > 0:06:35I want you to have something unique,
0:06:35 > 0:06:39and I want you to have something that just made for you.
0:06:39 > 0:06:40OK.
0:06:42 > 0:06:45I think I was a little bit under pressure there.
0:06:45 > 0:06:49I really don't want to be sacrificing artwork
0:06:49 > 0:06:53because I spent all my money on the front of house.
0:06:53 > 0:06:56It's like the old scenario, all fur and no knickers,
0:06:56 > 0:06:58you know what I'm saying?
0:06:58 > 0:07:01I think, when people come in here, they should...
0:07:01 > 0:07:03Immediately they should understand,
0:07:03 > 0:07:05we are somewhere that's on the cutting edge.
0:07:05 > 0:07:08I think it'll be fantastic, and I think you'll love it,
0:07:08 > 0:07:10and I'll love it, and please God, I'll make a few bob. Oh, no!
0:07:10 > 0:07:13- I mean, it's not about money, I'm really excited.- All right.
0:07:13 > 0:07:16- I'm happy to look. I'm really happy to look.- OK.- Yeah.
0:07:16 > 0:07:19She hasn't said no, which I expected her to say.
0:07:19 > 0:07:21She's fully capable of saying "No, are you insane?
0:07:21 > 0:07:24"I don't have the money, and I like this."
0:07:24 > 0:07:25She hasn't said that.
0:07:25 > 0:07:28What she has said, she's given various caveats, in the sense...
0:07:28 > 0:07:30"Yes, I'm up for it, if you can show me something fantastic,
0:07:30 > 0:07:33"if it comes in on budget, if it's all those things,"
0:07:33 > 0:07:34and then at the end,
0:07:34 > 0:07:36"But I've got to like it, you know how fussy I am."
0:07:36 > 0:07:39I know how fussy she is, she doesn't have to tell me.
0:07:39 > 0:07:42But that's... It's not going to be a walk in the park.
0:07:42 > 0:07:45If Gordon can find contemporary furniture
0:07:45 > 0:07:47to rival Anita's art collection.
0:07:47 > 0:07:52he could finally, after 20 years, make his first ever sale.
0:07:54 > 0:07:57In keeping with Anita's radical style of art,
0:07:57 > 0:08:02Gordon will need to introduce her to cutting-edge furniture designers.
0:08:02 > 0:08:05And he knows just where to find them -
0:08:05 > 0:08:06Amsterdam.
0:08:07 > 0:08:11Holland has become the epicentre of modern design,
0:08:11 > 0:08:17it really has become a Mecca, an epicentre of good taste.
0:08:20 > 0:08:23His first destination is Studio Job.
0:08:25 > 0:08:30Founded in 2000, it's pushing the boundaries of experimental design.
0:08:32 > 0:08:35Its work is highly prized by collectors,
0:08:35 > 0:08:39and features in over 40 museums around the world.
0:08:39 > 0:08:42I don't know where to start, I'm speechless.
0:08:42 > 0:08:46They combine traditional craftwork with modern techniques,
0:08:46 > 0:08:51like 3D printing, and call their award-winning style "New Gothic".
0:08:52 > 0:08:54It's stunning.
0:08:54 > 0:08:55I really love that.
0:08:56 > 0:09:00Gordon already owns a table by designer Job Smeets.
0:09:00 > 0:09:04- I bought a few pieces from you.- Yes. - What was it called, that series?
0:09:04 > 0:09:07- Industry.- Industry, yes. - Black-and-white, mark three.
0:09:07 > 0:09:10- I bought a table. And I bought a stand.- Yes. I know.
0:09:10 > 0:09:13- And the stand was fabulous, and I sold the stand.- Very good.
0:09:13 > 0:09:16- And it went somewhere really great, it went to Mick Jagger.- Oh, OK.
0:09:16 > 0:09:19- Cool.- He just loved it, and I said, "Oh, anyway..."
0:09:19 > 0:09:21I had to do the deal.
0:09:21 > 0:09:24Gordon's hoping to find chairs for Anita,
0:09:24 > 0:09:26but he's spotted something else -
0:09:26 > 0:09:29one of the studio's most talked-about pieces,
0:09:29 > 0:09:31and it's not seating.
0:09:32 > 0:09:35There's something that's really taken my fancy upstairs.
0:09:35 > 0:09:37And it's Mr Pussycat.
0:09:37 > 0:09:41Recently shown at the prestigious Miami Basel Art Fair,
0:09:41 > 0:09:44the bronze sculpture is, in fact, a lamp -
0:09:44 > 0:09:46with rather unusual features.
0:09:46 > 0:09:52- The idea is the cord will get out of his little poop-hole.- All right.
0:09:52 > 0:09:55And these are little testicles that go here.
0:09:55 > 0:09:59And if you push them, the lights in the eyes will go on.
0:09:59 > 0:10:00God, it's fabulous.
0:10:00 > 0:10:03These are the eye lenses, and then when the light is hit,
0:10:03 > 0:10:07- when you touch the balls.- Yep. - the light will hit.
0:10:07 > 0:10:12- This is part of an edition?- Yes, an edition of, I believe, 11, total.
0:10:12 > 0:10:16- And this is the last one I have. - OK. And how much would that...?
0:10:16 > 0:10:20- I was not really planning on selling this one.- Oh, really?- To be honest.
0:10:20 > 0:10:24- Yeah, but there's a big difference between planning and doing.- I know.
0:10:24 > 0:10:27I could buy a half share, then you could come and visit it in my house.
0:10:27 > 0:10:30Well, that's a possibility. Let's do that.
0:10:30 > 0:10:32Tell me, what would you like to give for it, then?
0:10:32 > 0:10:35- I'd like to give 15 for it. - Sorry, I can't do that.
0:10:35 > 0:10:38Sorry, I don't want to be mean. 17,000.
0:10:38 > 0:10:42- 17,500 and we are friends. - Thank you very much.- OK.
0:10:42 > 0:10:43- Love that. So excited.- See you soon.
0:10:48 > 0:10:54After a £13,000 impulse buy, but no chairs for Anita's gallery cafe,
0:10:54 > 0:10:57Gordon is heading to the Dutch countryside.
0:11:00 > 0:11:06I'm going to visit a studio of a designer I really admire,
0:11:06 > 0:11:07Maarten Baas.
0:11:07 > 0:11:11He is one of the most revered and one of the most respected
0:11:11 > 0:11:14of all the contemporary designers in the world today.
0:11:15 > 0:11:19Maarten Baas has sold his unique handmade pieces
0:11:19 > 0:11:22to the likes of Brad Pitt and Kanye West,
0:11:22 > 0:11:25while featuring in New York's Museum of Modern Art
0:11:25 > 0:11:26and London's V&A.
0:11:27 > 0:11:30When I was, like, 14 or 15 or so,
0:11:30 > 0:11:33I kind of discovered the idea of being a designer.
0:11:33 > 0:11:37I thought, "Oh, wow, that feels like my cup of tea."
0:11:37 > 0:11:40I'm very happy with the work.
0:11:40 > 0:11:42It's exactly what I believe in.
0:11:42 > 0:11:44If that is appreciated, then, yeah, well,
0:11:44 > 0:11:46what else can you wish for? It's great.
0:11:47 > 0:11:50- Gordon.- Hi, how are you? - Good to see you.
0:11:50 > 0:11:53- Gordon Watson.- Come in.
0:11:53 > 0:11:55Maarten, I cant believe I'm here.
0:11:55 > 0:11:58I've been following your career for years and years and years.
0:11:58 > 0:12:00It's such an honour, thank you very much for...
0:12:00 > 0:12:02Thank you, thank you for coming here, it's nice.
0:12:02 > 0:12:05And could you show us some... Could you show me something...?
0:12:05 > 0:12:07Yeah, yeah, sure.
0:12:07 > 0:12:09This is the grandfather clock.
0:12:09 > 0:12:12Baas's unusual clocks show an actor filmed
0:12:12 > 0:12:16drawing the time, minute by minute, for 12 hours.
0:12:16 > 0:12:20These famous pieces are on display in museums around the world.
0:12:20 > 0:12:24Every minute is being wiped away, and he puts in new ones,
0:12:24 > 0:12:27and it goes on for the whole day.
0:12:27 > 0:12:30I'm actually working also, now, on a self-portrait clock,
0:12:30 > 0:12:33in which I am the actor, so there are various editions.
0:12:33 > 0:12:35Well, if you need anyone else,
0:12:35 > 0:12:36- I'd do it for you. - HE LAUGHS
0:12:36 > 0:12:39I wouldn't charge a lot, honestly. That is genius.
0:12:39 > 0:12:40Absolutely love it.
0:12:40 > 0:12:43Gordon is especially keen to see chairs
0:12:43 > 0:12:44from Maarten's clay collection.
0:12:44 > 0:12:49The brightly coloured designs, metal frames covered in synthetic clay,
0:12:49 > 0:12:51are where art meets design,
0:12:51 > 0:12:53and Gordon's hoping Anita will agree.
0:12:53 > 0:12:58We're going to have a look here at the attic...
0:12:58 > 0:13:04where... These are mostly clay furniture pieces that are in stock.
0:13:04 > 0:13:07I wanted to design a chair in the naivety of a child, actually.
0:13:07 > 0:13:09That's why the bright colours.
0:13:09 > 0:13:11And they're always a little bit different,
0:13:11 > 0:13:14because they are literally clayed by hand, so...
0:13:14 > 0:13:15The clay is actually inside...
0:13:15 > 0:13:19- The colour comes by the paint that we put over that...- Yeah.
0:13:19 > 0:13:20..in the end, yeah.
0:13:20 > 0:13:22And how much are these?
0:13:22 > 0:13:27The price of this... I don't know exactly, but it's around...
0:13:27 > 0:13:29£2,500.
0:13:29 > 0:13:32At over £2,000 each, furnishing an entire cafe
0:13:32 > 0:13:35will be an expensive option for the billionaire,
0:13:35 > 0:13:37who would rather spend money on art.
0:13:37 > 0:13:40- So, I just want to thank you. - Yeah, thank you very much.
0:13:40 > 0:13:44You've been so hospitable. It's been such an honour, I've loved it.
0:13:44 > 0:13:49Will Maarten's chairs help Gordon convince Anita that furniture
0:13:49 > 0:13:51can be viewed as art rather than design?
0:13:59 > 0:14:02Back in London, the Institute of Contemporary Art
0:14:02 > 0:14:06is hosting a party for the movers and shakers of the city.
0:14:06 > 0:14:10A new book, showcasing 200 of the capital's creative elite,
0:14:10 > 0:14:11is being launched.
0:14:11 > 0:14:17It's going to be quite a smart gathering of the great and the good.
0:14:17 > 0:14:21It's a book that I'm in, and it's called London Burning,
0:14:21 > 0:14:24and it's about the creative force of London.
0:14:24 > 0:14:27So, it's people from the art world, from the theatre, from ballet,
0:14:27 > 0:14:29from music, from writing.
0:14:29 > 0:14:34It's about the people that make London really hum, make it alive.
0:14:34 > 0:14:36And apparently I'm one of those people.
0:14:36 > 0:14:39I'm very flattered, but honestly, I can't say any more.
0:14:43 > 0:14:47I think one of the defining and unique things about the city
0:14:47 > 0:14:51is the wealth of creativity that we have here,
0:14:51 > 0:14:55and in many ways it's something that isn't celebrated often enough.
0:14:57 > 0:15:00Well, I look like a beached whale sitting in the window of my shop.
0:15:00 > 0:15:02How did they get me to do that?
0:15:05 > 0:15:09Also here is Sir Nicholas Serota, Director of the Tate,
0:15:09 > 0:15:13and a leading figure in the contemporary art world -
0:15:13 > 0:15:16and Gordon's keen to say hello.
0:15:16 > 0:15:19- That's a lovely photo. - Pretty good, eh?- Yep.
0:15:19 > 0:15:22Not as good as mine. Do you want to see my one?
0:15:25 > 0:15:28Look at this. I have no recollection.
0:15:28 > 0:15:30- How did they get me sitting in the..?!- Giving a photograph.
0:15:31 > 0:15:33That's a frightening thing.
0:15:33 > 0:15:35Bye.
0:15:35 > 0:15:37A little chat with Nick Serota
0:15:37 > 0:15:40is like I'd been given manna from the gods.
0:15:40 > 0:15:41I've come out in a sweat.
0:15:46 > 0:15:49With the cream of the contemporary art scene on the guest list...
0:15:49 > 0:15:51Portraits from a creative city.
0:15:51 > 0:15:55- Absolutely.- I mean, it really... - What more creative city than London?
0:15:55 > 0:15:58..it's the perfect opportunity to catch up with old friends
0:15:58 > 0:16:01and scope out rising stars.
0:16:01 > 0:16:04- Come on - Lobster Philip! - How you doing?- Very well.
0:16:04 > 0:16:07Philip is an artist who has an amazing design company which,
0:16:07 > 0:16:10which, at the moment, has this popcorn pop-up shop
0:16:10 > 0:16:11at the Tate pop art show.
0:16:11 > 0:16:14Oh, right, I've heard of you. I didn't know you were so handsome.
0:16:14 > 0:16:17- Oh, no, come on.- That's a fabulous suit. Did you make that?
0:16:17 > 0:16:21I did, yeah. This is my Lobster Pac-Man.
0:16:21 > 0:16:25- What else do you do? Could I buy anything?- I do artwork, sculpture...
0:16:25 > 0:16:28Well, painting, sculpture, clothing, furniture...
0:16:28 > 0:16:29and branded stuff.
0:16:29 > 0:16:33With Anita's chairs as his top priority, Gordon,
0:16:33 > 0:16:36the ever masterful dealer, sees an opening to do business
0:16:36 > 0:16:40with emerging furniture designer Philip Colbert.
0:16:40 > 0:16:43Can I come and visit you in your mad world?
0:16:43 > 0:16:45- Gordon, I would be delighted.- OK.
0:16:45 > 0:16:47- I'll put a pot of Earl Grey tea on. - I'll pop myself in a cab.
0:16:47 > 0:16:51- Because, for you, I'd crawl, tomorrow.- Let's do it, yeah.- Yep.
0:16:51 > 0:16:52Buy.
0:16:52 > 0:16:54Thank you, Philip.
0:16:54 > 0:16:58I've heard about this guy, I've never met him.
0:16:58 > 0:17:00And I think he might...
0:17:00 > 0:17:02He looks as though he's got some really fun pieces.
0:17:07 > 0:17:09Tonight was a great evening.
0:17:09 > 0:17:13Free book and a contact. It was good.
0:17:13 > 0:17:15And I've had fun.
0:17:25 > 0:17:29Featured in Vogue Magazine for his fashion creations,
0:17:29 > 0:17:33Philip's recently branched into furniture design.
0:17:33 > 0:17:35I just want to double check you're getting together
0:17:35 > 0:17:37all of the additional tables we had.
0:17:37 > 0:17:40I want to show Gordon all my different designs for those.
0:17:40 > 0:17:43Known for his outlandish designs,
0:17:43 > 0:17:47his work is inspired by the pop art movement of the 1960s.
0:17:47 > 0:17:51That's a sort of pop seaside experience, there.
0:17:51 > 0:17:54This is more of a DIY table.
0:17:54 > 0:17:57That's me just working on a cheese table,
0:17:57 > 0:17:59I haven't filled the...a Swiss cheese.
0:17:59 > 0:18:01I haven't made the colour right yet.
0:18:01 > 0:18:04I was thinking it could be quite fun
0:18:04 > 0:18:09to have a croissant-shaped small breakfast table.
0:18:11 > 0:18:13You know, shaped like a croissant.
0:18:13 > 0:18:16Could be quite fun to eat a croissant on a croissant.
0:18:20 > 0:18:22I see, it's a submarine, isn't it?
0:18:22 > 0:18:23It's very clever.
0:18:25 > 0:18:28How are you? God... Is it Col-behr or Colbert?
0:18:28 > 0:18:29Whatever you fancy. I mean, if you...
0:18:29 > 0:18:32I find myself calling you Philippe Col-behr in the French...
0:18:32 > 0:18:34It does send better, doesn't it?
0:18:34 > 0:18:36Because I grew up in Scotland so there's no way, pal,
0:18:36 > 0:18:38- you're going to be saying Col-behr. - Where, Glasgow?
0:18:38 > 0:18:40- No, Perth.- Oh, right.
0:18:40 > 0:18:42The thing, actually, is my wife is French,
0:18:42 > 0:18:43so for her it's a no-brainer.
0:18:43 > 0:18:46OK, well I'll continue calling you... Col-behr.
0:18:46 > 0:18:50So, these are the chairs you told me about at the book launch?
0:18:50 > 0:18:51Indeed, yep.
0:18:51 > 0:18:55His latest range of furniture is a playful set of chairs,
0:18:55 > 0:18:59that Gordon thinks could be right for Anita's cafe.
0:18:59 > 0:19:03So, let's get down to the nitty-gritty. How much are they?
0:19:03 > 0:19:05They are 950 squid each.
0:19:05 > 0:19:08Because I've got to make some money out of this as well.
0:19:08 > 0:19:11Say multiples of ten, how many would ten cost?
0:19:11 > 0:19:14You really want me to confirm a price here?
0:19:14 > 0:19:17With it just... I mean, would it be 30% discount on each one?
0:19:17 > 0:19:19I could, probably, for you,
0:19:19 > 0:19:25as a fellow Scot, I could probably do a sweet sort of 15-20%.
0:19:25 > 0:19:28Yeah. OK. Good. Well, we're in the ballpark. Perfect.
0:19:28 > 0:19:31- I'll get my studio to send you the images today.- Great.
0:19:31 > 0:19:34Gordon's managed to wangle a cheeky 20% discount
0:19:34 > 0:19:40off a £950 price tag, in the hope of selling a number of chairs to Anita.
0:19:42 > 0:19:45- Speak you soon.- Splendid.- Thank you.
0:19:47 > 0:19:48The chairs are wonderful.
0:19:48 > 0:19:50They're funny, they make me laugh,
0:19:50 > 0:19:52they're sturdy, they're the right price.
0:19:52 > 0:19:55It's very clever. I think Anita will go for them.
0:19:55 > 0:19:58I'd be surprised if she didn't find them fun and amusing.
0:19:58 > 0:20:00They're not serious.
0:20:00 > 0:20:02It's not her trying to make a great design statement,
0:20:02 > 0:20:05they're just what they are - fun.
0:20:10 > 0:20:12It's delivery day at Gordon's.
0:20:12 > 0:20:16His £13,000 lamp - with special features -
0:20:16 > 0:20:18has arrived from Amsterdam.
0:20:19 > 0:20:23This is the part I love. This is why I'm an antique dealer.
0:20:23 > 0:20:25- The unwrapping.- Christmas every day.
0:20:25 > 0:20:26Christmas every day.
0:20:28 > 0:20:30Only I'm paying for it, so, it's slightly...
0:20:30 > 0:20:32And there aren't many surprises.
0:20:32 > 0:20:34Here, kitty cat.
0:20:35 > 0:20:37Right, put it on there.
0:20:37 > 0:20:40And put it that way round, so I can get, cos the plug's over there.
0:20:40 > 0:20:41Great.
0:20:42 > 0:20:44Oh, my God. How fabulous.
0:20:45 > 0:20:48My giddy aunt Fanny. Isn't that unbelievable?
0:20:50 > 0:20:52CLICK
0:20:52 > 0:20:54Oh, a caress does it, as well.
0:20:54 > 0:20:56So, you can tap it or you can caress it.
0:20:56 > 0:20:58CLICKS ON AND OFF
0:21:00 > 0:21:03It's fun and I completely adore it. It's one of my...
0:21:03 > 0:21:05The best things I've bought recently.
0:21:05 > 0:21:06Well, I always say that, don't I?
0:21:06 > 0:21:10But, this is truly something that might stay
0:21:10 > 0:21:12in the Gordon Watson collection.
0:21:12 > 0:21:13At least for a week.
0:21:13 > 0:21:14Or two.
0:21:23 > 0:21:27At the gallery, Anita's chairs have also arrived.
0:21:27 > 0:21:28I love that sign.
0:21:28 > 0:21:30Isn't that great?
0:21:31 > 0:21:33That's the best thing in here.
0:21:33 > 0:21:37Gordon's chances of a deal rest on whether he can convince Anita
0:21:37 > 0:21:40that furniture designers can be considered as artists.
0:21:40 > 0:21:42I'm quite nervous, actually.
0:21:42 > 0:21:44Well, I hope I haven't built it up too much.
0:21:44 > 0:21:46I mean, I'm not showing her, you know,
0:21:46 > 0:21:51Rennie Mackintosh or Josef Hoffmann or Giacometti furniture.
0:21:51 > 0:21:54You know, it is the lovely Philip Colbert.
0:21:54 > 0:21:57Da, da, da!
0:21:57 > 0:21:58There you go.
0:21:58 > 0:22:00And, actually, I just want to see what they look like.
0:22:00 > 0:22:04You know, it's all very well seeing something in Colbert's studio
0:22:04 > 0:22:08and the lovely chairs that I saw in the Netherlands
0:22:08 > 0:22:10at Maarten Baas's workshop.
0:22:10 > 0:22:12But, actually seeing them physically...
0:22:12 > 0:22:16You know, I haven't seen them since then, so, erm... Oh, dear.
0:22:16 > 0:22:18There you go. It looks more like a moose.
0:22:18 > 0:22:20Well, yeah, I know.
0:22:20 > 0:22:21But, I have been told it's a lobster.
0:22:21 > 0:22:24What starts off as a great idea in my mind -
0:22:24 > 0:22:26and this is the realisation -
0:22:26 > 0:22:28maybe it's not such a great idea. That often happens to me!
0:22:30 > 0:22:31Oh, I'm all uncovered.
0:22:32 > 0:22:33I'm all exposed.
0:22:35 > 0:22:40- Hi, James. Oh, my God, both of you. So, can you put that one there?- Yes.
0:22:40 > 0:22:43Four. And let's that put that one right at the end, please.
0:22:47 > 0:22:49So, we're nearly there.
0:22:51 > 0:22:54- They are super fragile, these, aren't they?- Very light, James.
0:22:54 > 0:22:58Billionaire collector Anita is waiting nervously in the wings.
0:22:58 > 0:23:02I think it is a good idea that we do change the furniture.
0:23:02 > 0:23:04I'm very worried about the budget,
0:23:04 > 0:23:07but, if it is a young designer
0:23:07 > 0:23:10and it's helping that designer move on in his career,
0:23:10 > 0:23:15then I'm open to another discussion with Gordon.
0:23:15 > 0:23:17James, go to your right.
0:23:17 > 0:23:19Yeah, hide them in there.
0:23:19 > 0:23:20Thank you.
0:23:21 > 0:23:23Small, aren't they?
0:23:24 > 0:23:26God. Now I am getting nervous.
0:23:28 > 0:23:30With the reveal now imminent,
0:23:30 > 0:23:33Anita isn't the only one who's feeling apprehensive.
0:23:33 > 0:23:35Anita!
0:23:35 > 0:23:37Don't look so anxious!
0:23:37 > 0:23:40I've never seen you look scared before.
0:23:40 > 0:23:41You're never scared.
0:23:42 > 0:23:44What have you been doing?
0:23:45 > 0:23:48First, Gordon wants to show Anita Philip Colbert's range.
0:23:49 > 0:23:52I went to the book launch of London Burning
0:23:52 > 0:23:55and I met this incredible bundle of Scottish energy,
0:23:55 > 0:23:59like a Haggis on acid, and he's come up with a range of chairs
0:24:01 > 0:24:03Egg.
0:24:04 > 0:24:05I love the fish.
0:24:05 > 0:24:07OK.
0:24:07 > 0:24:10And the fish is rare, because it's finished at the back.
0:24:10 > 0:24:12- Aww! - They're fabulous, aren't they?
0:24:13 > 0:24:15She was genuinely surprised.
0:24:15 > 0:24:19That's what I loved. She was really shocked.
0:24:19 > 0:24:22- Oh, and then...- Whoo!
0:24:22 > 0:24:24- And the lobster.- Oh, my God.
0:24:24 > 0:24:26Come, my darling, sit.
0:24:26 > 0:24:29Sit on a lobster, why don't you?
0:24:29 > 0:24:30Or a crayfish.
0:24:30 > 0:24:32Yeah, or a crayfish or an egg, yes.
0:24:33 > 0:24:36It's not plastic. It's not industrial.
0:24:36 > 0:24:37It's art.
0:24:37 > 0:24:39Because he's a sculptor. He's an artist.
0:24:39 > 0:24:42I think it could be a lot of fun, no?
0:24:42 > 0:24:43So, do you want to know the prices?
0:24:43 > 0:24:44Yes, please.
0:24:44 > 0:24:46How much do you think?
0:24:46 > 0:24:49I would say it would be a bit more expensive
0:24:49 > 0:24:52- than you would be buying normally, so...- Yeah. Yeah.
0:24:52 > 0:24:56They probably should be about £200 and he's probably selling them
0:24:56 > 0:24:59- for about 400, 500. - No, you couldn't, no, no...
0:24:59 > 0:25:02- These are actually 950 and I think you can bargain a bit.- Right.
0:25:02 > 0:25:03I thought that was quite cheap.
0:25:03 > 0:25:07So, I would be paying, if I wanted four chairs and a table,
0:25:07 > 0:25:09I'd be paying something like £6,000.
0:25:09 > 0:25:12£6,000 and you'd have to think about a little commission for me,
0:25:12 > 0:25:14- but I could bargain for you on the other side.- Yeah, so...
0:25:14 > 0:25:17But, it's around that. It's not terrible, is it?
0:25:18 > 0:25:22- Erm, I think these are a little bit too much fun...- Yeah.
0:25:22 > 0:25:27..and I think it's a lot of money just to kind of show
0:25:27 > 0:25:29a young, up-and-coming artist.
0:25:29 > 0:25:31With the playful chairs not grabbing Anita,
0:25:31 > 0:25:35Gordon's keen to move on to the clay series.
0:25:35 > 0:25:40So, this is one end of the spectrum of design and furniture and fun,
0:25:40 > 0:25:45and now I'm going to take somebody serious and deeply intellectual.
0:25:45 > 0:25:47- Come with me, OK.- OK, thank you.
0:25:47 > 0:25:48Off we go.
0:25:50 > 0:25:51So.
0:25:51 > 0:25:53Oh, this...
0:25:55 > 0:25:57Absolutely extraordinary.
0:25:57 > 0:25:59They are the real deal. Wow.
0:25:59 > 0:26:02It's the most extraordinary... he's called Maarten Baas.
0:26:02 > 0:26:04Oh, yeah, I love his work.
0:26:04 > 0:26:07And this is from his thing he designed in 2006
0:26:07 > 0:26:10and it's called the Clay series and I think they're just extraordinary.
0:26:10 > 0:26:13- No, they are works of art. They are... That's art.- Yeah.
0:26:13 > 0:26:17- That's beautiful. - I mean, that's real design.
0:26:17 > 0:26:19That's beautiful. I love it.
0:26:19 > 0:26:21When she saw the Maarten Baas,
0:26:21 > 0:26:23she couldn't wait to touch it.
0:26:23 > 0:26:24When people go to touch,
0:26:24 > 0:26:27be it a jewel or a piece of furniture, that means they love it.
0:26:27 > 0:26:29They want it.
0:26:29 > 0:26:31It's already theirs.
0:26:31 > 0:26:33Anita's impressed with the chairs.
0:26:33 > 0:26:35Let's get them in this light.
0:26:35 > 0:26:39But is it enough to get her to part with her cash?
0:26:39 > 0:26:42- And look. I'm a big boy and they're comfortable.- Comfortable.
0:26:42 > 0:26:45- Yeah, they're comfortable. - They're good, aren't they?- Yeah.
0:26:45 > 0:26:46How much do you think these are?
0:26:46 > 0:26:49- So, it's production from Italy. - If it's production...
0:26:49 > 0:26:52- Very limited.- ..that'd be about one and half grand, two grand.
0:26:53 > 0:26:55- You're a genius.- Yeah. - That's what they are.
0:26:55 > 0:26:58This is a different story for me. These are works of art.
0:26:58 > 0:27:01This is furniture worshipping, as in art worshipping.
0:27:01 > 0:27:02It's the same thing.
0:27:02 > 0:27:04I mean, you could have that in your house, couldn't you?
0:27:04 > 0:27:05- Definitely.- They're available.
0:27:05 > 0:27:08- They're beautiful. - I love the black and I love the red.
0:27:08 > 0:27:10- I'd definitely take the black one. - OK. That's great.
0:27:10 > 0:27:12Cos, you know what? I'm going to buy the red one.
0:27:12 > 0:27:15- I think that's fabulous. - Well done. They are beautiful.
0:27:15 > 0:27:19- So, I've sold you something. - Yeah! We did it!- I did!
0:27:19 > 0:27:23Gordon may not have convinced Anita chairs for the whole gallery,
0:27:23 > 0:27:25but, after 20 years,
0:27:25 > 0:27:28he's finally made that all-important sale.
0:27:28 > 0:27:31I know exactly where I'm going to put it
0:27:31 > 0:27:34and I'm going to really enjoy that furniture.
0:27:34 > 0:27:37I'm going to walk past it and look at it every day and appreciate it.
0:27:40 > 0:27:44I'm so proud, because she's so difficult to sell furniture to.
0:27:44 > 0:27:46She's legendary.
0:27:46 > 0:27:47And then there was one.
0:27:48 > 0:27:50And that's going to Anita's house.
0:27:50 > 0:27:51Deal done.
0:27:52 > 0:27:54After 20 years, I've sold her something.
0:27:54 > 0:27:57And I'm really proud. I don't know why it seems...
0:27:57 > 0:27:58So bizarre. I've made no money.
0:27:58 > 0:28:01Cost probably more to get here and back in the taxi.