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It's the most famous shopping street in the world, in the heart | 0:00:02 | 0:00:04 | |
of Britain's capital city. | 0:00:04 | 0:00:07 | |
A mile and a half long, | 0:00:07 | 0:00:08 | |
with 30 million visitors each year. | 0:00:08 | 0:00:11 | |
With some of the world's most famous shops, | 0:00:11 | 0:00:14 | |
-biggest stars... -Kate Moss! | 0:00:14 | 0:00:16 | |
CHEERING | 0:00:16 | 0:00:18 | |
-..and busiest stations. -Sorry, guys, stand back for me. | 0:00:18 | 0:00:21 | |
..what does it take to keep it running 24 hours a day... | 0:00:21 | 0:00:24 | |
It's the busiest street in the world so it needs constant attention. | 0:00:24 | 0:00:27 | |
-..seven days a week? -Oi, clear off! -Welcome to Oxford Street. | 0:00:27 | 0:00:31 | |
Welcome to the pickpocket team. | 0:00:31 | 0:00:33 | |
Are you ready, London?! | 0:00:33 | 0:00:36 | |
A street that never sleeps. | 0:00:36 | 0:00:38 | |
This sort of thing wouldn't happen anywhere else. | 0:00:38 | 0:00:41 | |
Today on Oxford Street... | 0:00:46 | 0:00:48 | |
-Documents. -..there's a homelessness problem at a key | 0:00:48 | 0:00:51 | |
-London landmark. -I don't care where your madame is. No Marble Arch. | 0:00:51 | 0:00:55 | |
Oxford Street police get new powers to move them on, | 0:00:55 | 0:00:58 | |
but will they go quietly? | 0:00:58 | 0:01:00 | |
SHE SHOUTS | 0:01:00 | 0:01:01 | |
There's a major new launch for a landmark Oxford Street store. | 0:01:01 | 0:01:05 | |
It's glamorous, it's girlie, it's sexy. | 0:01:05 | 0:01:07 | |
APPLAUSE | 0:01:07 | 0:01:09 | |
And the black cabs of Oxford Street do their bit for UK tourism. | 0:01:09 | 0:01:13 | |
I might say the old "au revoir". They like that. | 0:01:13 | 0:01:16 | |
SHE LAUGHS | 0:01:16 | 0:01:17 | |
International visitors are a major part of what Oxford Street is | 0:01:23 | 0:01:26 | |
all about. 20 million visit London every year. | 0:01:26 | 0:01:30 | |
But occasionally it can lead to an unexpected clash of cultures. | 0:01:30 | 0:01:34 | |
At the west end of Oxford Street is London landmark Marble Arch, and it's | 0:01:35 | 0:01:39 | |
also a drop-off point for coaches travelling from the continent. | 0:01:39 | 0:01:44 | |
Oxford Street officer Andy Pescott patrols the area, | 0:01:44 | 0:01:47 | |
and has noticed a growing problem. | 0:01:47 | 0:01:50 | |
Some groups from Eastern Europe are getting off the coaches | 0:01:50 | 0:01:53 | |
at Marble Arch and, with no accommodation or jobs arranged, | 0:01:53 | 0:01:57 | |
they are setting up makeshift homes around this famous London landmark. | 0:01:57 | 0:02:01 | |
Police believe these rough sleepers are from Romania. | 0:02:03 | 0:02:07 | |
Pardon? | 0:02:07 | 0:02:09 | |
No, I do not have any food. | 0:02:09 | 0:02:11 | |
There have been ongoing complaints of antisocial behaviour, such as | 0:02:11 | 0:02:15 | |
blocking of doorways to shops, urinating in public and littering. | 0:02:15 | 0:02:19 | |
For a street which prides itself on being one of the glitziest | 0:02:21 | 0:02:24 | |
shopping experiences in the world, having this kind of rough living | 0:02:24 | 0:02:28 | |
on their doorsteps is a no-no for business. | 0:02:28 | 0:02:31 | |
Local shops have asked Andy and his team to move them on, | 0:02:31 | 0:02:33 | |
and it's not just the major stores. | 0:02:33 | 0:02:36 | |
We've had complaints from the newsagent | 0:02:36 | 0:02:38 | |
and the hairdressers here, where their business has been | 0:02:38 | 0:02:41 | |
directly affected, where they are taking a loss of earnings. | 0:02:41 | 0:02:44 | |
-Are you taking a loss of earnings? -In summertime we lost lots of business. | 0:02:44 | 0:02:48 | |
And the worst aspect of the antisocial | 0:02:50 | 0:02:53 | |
behaviour takes place in the park. | 0:02:53 | 0:02:55 | |
If you would like to follow me. | 0:02:55 | 0:02:57 | |
If you'd like to look through there, | 0:02:58 | 0:03:01 | |
there are piles of human excrement and tissue paper covered in faeces. | 0:03:01 | 0:03:05 | |
It doesn't smell good. | 0:03:05 | 0:03:07 | |
Today, Andy has come once again to move the rough sleepers | 0:03:07 | 0:03:10 | |
on with the help of an interpreter. | 0:03:10 | 0:03:13 | |
The problem is, he's moved them on before, | 0:03:13 | 0:03:15 | |
only to find they only go as far as the park above the underpass, | 0:03:15 | 0:03:19 | |
and the antisocial behaviour continues. | 0:03:19 | 0:03:22 | |
The law governing antisocial behaviour has recently changed, | 0:03:22 | 0:03:25 | |
giving the police major new powers if they fear | 0:03:25 | 0:03:28 | |
individuals are harming an area. | 0:03:28 | 0:03:31 | |
They can issue a dispersal order, | 0:03:31 | 0:03:33 | |
banning people wholesale from an area for 48 hours. | 0:03:33 | 0:03:37 | |
If the rough sleepers only move as far as the park today, | 0:03:37 | 0:03:40 | |
Andy will put the new powers into action. | 0:03:40 | 0:03:43 | |
Buna! Documents. | 0:03:43 | 0:03:45 | |
Documents, thank you. | 0:03:45 | 0:03:48 | |
If you can please start to get up and clean up. | 0:03:49 | 0:03:53 | |
You are in the middle of central London. | 0:03:53 | 0:03:55 | |
It's not acceptable that we are, on a daily basis, getting repeated | 0:03:55 | 0:03:59 | |
complaints of the level of antisocial behaviour that is being | 0:03:59 | 0:04:04 | |
caused by these | 0:04:04 | 0:04:06 | |
Roma gypsies, in particular. | 0:04:06 | 0:04:08 | |
We have many homeless people that are not causing antisocial behaviour. | 0:04:08 | 0:04:13 | |
The rough sleepers appear to be moving. | 0:04:14 | 0:04:17 | |
Start clearing and moving on. | 0:04:17 | 0:04:19 | |
-But Andy fears they won't actually disperse from the area. -Thank you. | 0:04:19 | 0:04:23 | |
And, although he's leaving for now, he plans to come back in a few | 0:04:23 | 0:04:26 | |
hours to see if the rough sleepers have gone. | 0:04:26 | 0:04:29 | |
If they haven't, he'll use his new powers and get them moving. | 0:04:29 | 0:04:33 | |
Behind this unassuming door on a side street, just yards | 0:04:42 | 0:04:45 | |
from Oxford Street, lies Chinawhite, | 0:04:45 | 0:04:48 | |
one of London's most famous nightclubs. | 0:04:48 | 0:04:50 | |
It's the venue of choice for legions of high rollers, celebrities | 0:04:51 | 0:04:55 | |
and today, Bobby Fitzpatrick and his team of upholsterers. | 0:04:55 | 0:04:59 | |
All right, Bob, how are you feeling? | 0:05:01 | 0:05:03 | |
Oh, dear! | 0:05:03 | 0:05:04 | |
The club is overhauling the seating around its main dance floor, and | 0:05:07 | 0:05:11 | |
Bobby and his team of specialists have been | 0:05:11 | 0:05:13 | |
brought in from Warrington to do the job. | 0:05:13 | 0:05:16 | |
The main work concerns the banquette sofas. | 0:05:16 | 0:05:19 | |
Since the club reopened off Oxford Street in 2009, | 0:05:19 | 0:05:23 | |
they've seen some serious usage. | 0:05:23 | 0:05:26 | |
The punters dance on the seats and have a good time. | 0:05:27 | 0:05:31 | |
They are just like proper stiletto holes, | 0:05:32 | 0:05:35 | |
so they've gone for a stronger, hard-wearing fabric. | 0:05:35 | 0:05:39 | |
Which is where Bobby and his purple nappa fabric come in. | 0:05:39 | 0:05:43 | |
Today, Bobby's team will finish stripping the old upholstery and | 0:05:43 | 0:05:47 | |
cut, stitch, tack, foam and fit the new ones, | 0:05:47 | 0:05:50 | |
all 80 metres of them. | 0:05:50 | 0:05:52 | |
Nothing is easy in this job. | 0:05:55 | 0:05:57 | |
Nothing's easy. | 0:05:57 | 0:05:59 | |
The problem is, against his better judgment, Bobby agreed to try | 0:05:59 | 0:06:03 | |
and get the job, which should take four days, done in three. | 0:06:03 | 0:06:07 | |
They've already been at it for two days, | 0:06:07 | 0:06:09 | |
and Bobby has promised to have it all done by six o'clock tonight. | 0:06:09 | 0:06:13 | |
It is eight o'clock in the morning. | 0:06:13 | 0:06:15 | |
Will we get it done? I hope so. | 0:06:17 | 0:06:20 | |
Nervous, yes, worried, yes, but at the same time, confident | 0:06:20 | 0:06:24 | |
because this is what we do, this is the industry we work in. | 0:06:24 | 0:06:28 | |
The production line's going now, they are done. | 0:06:29 | 0:06:32 | |
Paul is fitting, Mick is tacking. | 0:06:32 | 0:06:35 | |
So we're fairly confident most of these will be finished by later on. | 0:06:36 | 0:06:39 | |
There's an awful lot to do, | 0:06:42 | 0:06:44 | |
so the team put their heads down and get cracking. | 0:06:44 | 0:06:47 | |
We leave the team to it. | 0:06:47 | 0:06:49 | |
But as 5pm comes around, despite their ceaseless toil, there's | 0:06:55 | 0:06:59 | |
still 40 metres of banquettes that need fitting. | 0:06:59 | 0:07:03 | |
Deadlines are slipping. | 0:07:03 | 0:07:05 | |
Well, it's 5:15 now. We said we would be finished by six. | 0:07:05 | 0:07:07 | |
It's looking like it is going to run over by an hour. | 0:07:07 | 0:07:10 | |
-Is it accurate, Paul, an hour? -It'll have to be. | 0:07:10 | 0:07:12 | |
So, well, we've got two hours left, 7:15. | 0:07:12 | 0:07:16 | |
It gives them nearly three hours to clean up. | 0:07:16 | 0:07:18 | |
We did 40 metres, we've got 40 metres left | 0:07:20 | 0:07:23 | |
and we've got these bits now to do in two hours. | 0:07:23 | 0:07:27 | |
We always hit a deadline. | 0:07:28 | 0:07:30 | |
Famous last words. | 0:07:30 | 0:07:32 | |
They've done 40 metres in nine hours. | 0:07:32 | 0:07:35 | |
They've got two hours left to do 40 metres more. | 0:07:35 | 0:07:39 | |
Can they achieve the impossible? | 0:07:39 | 0:07:40 | |
I'm hoping they will get there, otherwise it is a disaster. | 0:07:40 | 0:07:44 | |
We'll find out later in the programme. | 0:07:44 | 0:07:46 | |
Oxford Street-based police officer Andy Pescott has been | 0:07:56 | 0:07:59 | |
dealing with a large number of complaints about rough sleepers | 0:07:59 | 0:08:02 | |
at the famous Marble Arch monument. | 0:08:02 | 0:08:05 | |
He's given a group of them instructions to leave the area. | 0:08:07 | 0:08:11 | |
After a few hours patrolling elsewhere, | 0:08:11 | 0:08:13 | |
he's back at the western end of the street to see if they've stayed away. | 0:08:13 | 0:08:17 | |
Ladies, can you come here? | 0:08:18 | 0:08:20 | |
Straight away, Andy spots that the rough sleepers he moved | 0:08:20 | 0:08:23 | |
away from the underpass have only gone as far as the park above it. | 0:08:23 | 0:08:27 | |
But a recent change in the Antisocial Behaviour, Crime and Policing Act | 0:08:27 | 0:08:31 | |
gives police the power to ban | 0:08:31 | 0:08:33 | |
people from entering whole areas, | 0:08:33 | 0:08:36 | |
and that's what Andy plans to do here at Marble Arch. | 0:08:36 | 0:08:39 | |
It's going to be news to the rough sleepers, | 0:08:39 | 0:08:42 | |
-so Andy has brought an interpreter. -Listen. OK. | 0:08:42 | 0:08:46 | |
If you explain to them that they are going to be dispersed | 0:08:46 | 0:08:50 | |
because of ongoing daily incidents of antisocial behaviour. | 0:08:50 | 0:08:55 | |
SHE INTERPRETS | 0:08:55 | 0:08:58 | |
Defecation in the bushes.... | 0:09:00 | 0:09:02 | |
SHE INTERPRETS | 0:09:02 | 0:09:03 | |
..urination... SHE INTERPRETS | 0:09:03 | 0:09:05 | |
..littering... SHE INTERPRETS | 0:09:05 | 0:09:08 | |
..begging. SHE INTERPRETS | 0:09:08 | 0:09:10 | |
We have had repeated complaints, on a daily basis, through | 0:09:10 | 0:09:14 | |
the Metropolitan Police and Westminster City Council, | 0:09:14 | 0:09:17 | |
by local businesses, local residents... | 0:09:17 | 0:09:20 | |
..and members of the public. | 0:09:20 | 0:09:22 | |
-SHE INTERPRETS: -We chased all over like dogs, where can we live? | 0:09:22 | 0:09:26 | |
We have failed to work in partnership with you to stop | 0:09:26 | 0:09:30 | |
all issues of antisocial behaviour. | 0:09:30 | 0:09:32 | |
SHE SPEAKS HER OWN LANGUAGE | 0:09:32 | 0:09:34 | |
-INTERPRETER: -Please, bring some witnesses who will say we harassed them. | 0:09:34 | 0:09:38 | |
I have many statements. | 0:09:40 | 0:09:42 | |
I have many statements | 0:09:42 | 0:09:44 | |
you, as a group, are causing antisocial behaviour. | 0:09:44 | 0:09:47 | |
The rough sleepers don't want to go, but Andy feels the evidence | 0:09:48 | 0:09:52 | |
of problems is strewn all around them in this famous landmark. | 0:09:52 | 0:09:55 | |
Look behind you, at the litter. | 0:09:55 | 0:09:57 | |
That is caused by you. | 0:09:57 | 0:10:00 | |
You are being dispersed for a period of 48 hours. | 0:10:00 | 0:10:03 | |
Where you go, that is up to you. | 0:10:03 | 0:10:05 | |
You will not return to Marble Arch or Park Lane. | 0:10:05 | 0:10:08 | |
The rough sleepers aren't pleased, and so far | 0:10:10 | 0:10:12 | |
they aren't moving either, so Andy gives them a time limit to go. | 0:10:12 | 0:10:16 | |
You have 30 minutes, OK, | 0:10:16 | 0:10:19 | |
from me issuing this to dispersing. | 0:10:19 | 0:10:22 | |
SHE INTERPRETS | 0:10:22 | 0:10:25 | |
Andy is making sure everyone in the area gets the message. | 0:10:25 | 0:10:29 | |
This is your dispersal notice, OK? | 0:10:29 | 0:10:32 | |
You have 30 minutes in which you must leave. | 0:10:33 | 0:10:36 | |
SHE SPEAKS IN HER OWN LANGUAGE | 0:10:36 | 0:10:39 | |
-SHE INTERPRETS: -What will I do? | 0:10:39 | 0:10:41 | |
London is a very big place. She is free to go where she likes. | 0:10:41 | 0:10:44 | |
OK. If some of this is your possessions, | 0:10:46 | 0:10:49 | |
take it with you. | 0:10:49 | 0:10:51 | |
After much arguing, the rough sleepers head off for pastures new. | 0:10:51 | 0:10:55 | |
They've now dispersed and gone on their way, but as you can see... | 0:10:55 | 0:10:59 | |
left behind is, well, all this. | 0:10:59 | 0:11:03 | |
This is what we are dealing with on a daily basis. | 0:11:03 | 0:11:06 | |
It is just unacceptable. | 0:11:06 | 0:11:08 | |
There was a certain level of aggression and hostility, | 0:11:08 | 0:11:11 | |
they were not happy about being moved on. | 0:11:11 | 0:11:14 | |
The council will have to clear the rubbish. | 0:11:14 | 0:11:16 | |
But, just as Andy and his team are leaving, | 0:11:17 | 0:11:20 | |
they spot another couple of rough sleepers. | 0:11:20 | 0:11:23 | |
I am issuing you with a 48-hour dispersal notice. | 0:11:23 | 0:11:27 | |
As individuals, I know that you were part of the group | 0:11:27 | 0:11:31 | |
because you were sleeping in the subway this morning. | 0:11:31 | 0:11:34 | |
This man and his partner are both given a dispersal notice, | 0:11:34 | 0:11:37 | |
and they leave for now. | 0:11:37 | 0:11:39 | |
Throughout the day, Andy issues more dispersal notices, and only time | 0:11:39 | 0:11:43 | |
will tell if his tough stance will make the area a nicer place to be. | 0:11:43 | 0:11:47 | |
That won't be them gone for good, that will be them gone | 0:11:47 | 0:11:50 | |
during the working hours, or the daylight hours, | 0:11:50 | 0:11:53 | |
and then they will be returning again later today. | 0:11:53 | 0:11:56 | |
Later, Andy is back at Marble Arch, | 0:11:56 | 0:11:58 | |
and unfortunately he's not the only one. | 0:11:58 | 0:12:01 | |
No Marble Arch. You Marble arch, | 0:12:01 | 0:12:03 | |
you get arrested. End of. | 0:12:03 | 0:12:05 | |
Not many people can say they are responsible for the clothes | 0:12:13 | 0:12:16 | |
you're wearing. But this is one woman who just might. | 0:12:16 | 0:12:19 | |
OK, should we start at the front? | 0:12:19 | 0:12:21 | |
Yasmin Yusuf is the creative director of Miss Selfridge. | 0:12:21 | 0:12:25 | |
She oversees the multi-million pound chain's designs, | 0:12:25 | 0:12:28 | |
and their success or failure is on her shoulders. | 0:12:28 | 0:12:31 | |
Today she is just at the start of the design process for a major | 0:12:33 | 0:12:37 | |
new range, the premium collection. | 0:12:37 | 0:12:39 | |
I'm loving this one as well. | 0:12:39 | 0:12:41 | |
I think this is really modern, really modern. | 0:12:41 | 0:12:43 | |
She's gathered her team to decide on the look that will govern | 0:12:43 | 0:12:46 | |
this year's collection of party dresses, | 0:12:46 | 0:12:49 | |
aimed at the younger end of the market. | 0:12:49 | 0:12:51 | |
If the colour palette is black and all the pewters and silvers, | 0:12:51 | 0:12:53 | |
I think that will be really strong. | 0:12:53 | 0:12:55 | |
In a few months' time, the range will be unveiled | 0:12:55 | 0:12:58 | |
with an exclusive launch event at its flagship Oxford Street store. | 0:12:58 | 0:13:02 | |
It is the most important | 0:13:02 | 0:13:04 | |
street in the whole of the United Kingdom for shopping. | 0:13:04 | 0:13:07 | |
The footfall you've got going through this store | 0:13:07 | 0:13:10 | |
daily is astonishing. | 0:13:10 | 0:13:13 | |
This collection represents a massive investment for the company | 0:13:13 | 0:13:16 | |
and has to reach its sales targets. | 0:13:16 | 0:13:18 | |
This season, Yasmin's concentrating on two things, | 0:13:20 | 0:13:23 | |
vintage and embellished fabrics. | 0:13:23 | 0:13:26 | |
Over the last couple of years, Lisa | 0:13:26 | 0:13:28 | |
and I have been focused on these amazing beaded dresses. | 0:13:28 | 0:13:32 | |
Let's actually make this ours, let's own this. | 0:13:32 | 0:13:36 | |
Fashions from the early part of the 20th century are a major | 0:13:36 | 0:13:39 | |
inspiration, and Yasmin has referenced this | 0:13:39 | 0:13:42 | |
theme from the unique clothing archive owned by the company. | 0:13:42 | 0:13:46 | |
As we know, we need to modernise it, contemporise it, take it, | 0:13:46 | 0:13:50 | |
all the key elements and make it work for our target customer. | 0:13:50 | 0:13:54 | |
An original 1920s flapper dress has caught the designer's eye. | 0:13:54 | 0:13:58 | |
-Cos actually, the shape's really lovely on that. -Yeah. | 0:13:58 | 0:14:02 | |
-But again, it just needs to be made a little more modern. -Make it more fluid. | 0:14:02 | 0:14:06 | |
And a second vintage piece has also been influential. | 0:14:06 | 0:14:09 | |
The intricate beading from a Victorian-era dress has | 0:14:09 | 0:14:12 | |
provided inspiration for a specially created sample. | 0:14:12 | 0:14:15 | |
Should we have a look at it, because it does look beyond... | 0:14:15 | 0:14:18 | |
Yasmin asks a member of her team to do the honours and model it. | 0:14:20 | 0:14:23 | |
-It is just a little bit of drama. -Yeah. It look really good on. | 0:14:25 | 0:14:29 | |
Imagine walking in, a bit of a showstopper there. | 0:14:29 | 0:14:32 | |
Briefing over, Yasmin's vintage vision is now | 0:14:32 | 0:14:34 | |
in the hands of her designers. | 0:14:34 | 0:14:36 | |
What I'd like to do is plant the seeds in your head, then you | 0:14:36 | 0:14:39 | |
take it away and bring it back even better than I thought it was. | 0:14:39 | 0:14:42 | |
Thank you, ladies. Perfect. | 0:14:42 | 0:14:44 | |
Later in the programme... | 0:14:46 | 0:14:47 | |
-Yasmin's collection is ready. -Whoo, glamour city! | 0:14:47 | 0:14:51 | |
Now for the Oxford Street launch. | 0:14:51 | 0:14:53 | |
It's glamorous, it's girlie, it's sexy. | 0:14:53 | 0:14:55 | |
APPLAUSE | 0:14:55 | 0:14:57 | |
The majority of people that come to Oxford Street might | 0:15:06 | 0:15:09 | |
arrive by Tube or bus, but almost as important to keeping | 0:15:09 | 0:15:12 | |
the street moving is London's famous fleet of 20,000 black cabs. | 0:15:12 | 0:15:17 | |
Their importance to Oxford Street goes beyond their use as transport. | 0:15:19 | 0:15:23 | |
They're a big draw for foreign shoppers | 0:15:23 | 0:15:25 | |
wanting the full London experience. | 0:15:25 | 0:15:28 | |
Their reputation goes far and wide. | 0:15:28 | 0:15:30 | |
Cabbie Grant Davis has been driving customers down Oxford Street | 0:15:33 | 0:15:36 | |
for 26 years. | 0:15:36 | 0:15:39 | |
-Are you all right, fellas? -Yes. -You're good, yeah? | 0:15:39 | 0:15:41 | |
He knows the importance of the street as a thoroughfare. | 0:15:41 | 0:15:44 | |
For cabbies, being able to cross the centre of town from east to west | 0:15:44 | 0:15:48 | |
via Oxford Street is essential for business. | 0:15:48 | 0:15:51 | |
If you have a good run at it, it is a really good road. | 0:15:51 | 0:15:54 | |
If you can just go, you can really go from, like, | 0:15:54 | 0:15:57 | |
one end of London right down | 0:15:57 | 0:15:59 | |
to Marble Arch in real double good time. | 0:15:59 | 0:16:03 | |
Grant, like all his fellow cabbies, has done the Knowledge, | 0:16:04 | 0:16:08 | |
the most rigorous taxi training course in the world. | 0:16:08 | 0:16:11 | |
It took me about three-and-a-half years to do the Knowledge. | 0:16:11 | 0:16:15 | |
What you do is, you have to go and learn all these runs, 300-odd runs. | 0:16:15 | 0:16:20 | |
A run is a journey. | 0:16:20 | 0:16:21 | |
Then you have to learn all the points, so that's hospitals, | 0:16:21 | 0:16:25 | |
theatres, police stations, | 0:16:25 | 0:16:28 | |
points of interest, restaurants, cafes, bars. | 0:16:28 | 0:16:31 | |
You know, you name it. | 0:16:31 | 0:16:33 | |
You go to bed at night and all you can see is maps and one-way systems. | 0:16:33 | 0:16:38 | |
For qualified cabbies like Grant, the attraction of Oxford Street | 0:16:38 | 0:16:41 | |
is its legion of foreign tourists, | 0:16:41 | 0:16:43 | |
many of whom would rather take a cab than public transport. | 0:16:43 | 0:16:47 | |
Grant's been picking them up for years and knows how to handle them. | 0:16:47 | 0:16:51 | |
You do get your foreigners. | 0:16:51 | 0:16:54 | |
I mean, if I have French people in and they get out, | 0:16:54 | 0:16:56 | |
I might say the old "au revoir". | 0:16:56 | 0:16:59 | |
And they give you, you know, "bonjour" and all that. They like that. | 0:16:59 | 0:17:02 | |
And hoping to bag himself a few bonjours, guten tags and | 0:17:04 | 0:17:08 | |
buenos diases today, Grant parks up on Oxford Street. | 0:17:08 | 0:17:12 | |
Here we go. Hello, gents. | 0:17:12 | 0:17:14 | |
-Where are you from, fellas? -Toronto, Canada. | 0:17:16 | 0:17:19 | |
Oh, wow. | 0:17:19 | 0:17:21 | |
Gents, what brings you to Oxford Street today, shopping? | 0:17:21 | 0:17:23 | |
Why have you got the suitcase, are you going to do a big old shop and fill the suitcase? | 0:17:23 | 0:17:27 | |
He likes Marks & Spencer's so he's getting a suitcase from Marks & Spencer. | 0:17:27 | 0:17:30 | |
He looks like a Marks & Spencer. | 0:17:30 | 0:17:32 | |
-I bet he buys his underwear from Marks & Spencer. -I swear. -THEY LAUGH | 0:17:32 | 0:17:36 | |
-Are you from Norway, yes? -Yes. | 0:17:38 | 0:17:41 | |
What is it you like about, when you come to London? | 0:17:41 | 0:17:43 | |
-Shopping and the pubs. -And the pubs. | 0:17:43 | 0:17:46 | |
THEY LAUGH | 0:17:46 | 0:17:47 | |
-Hi. -Hello, sir. | 0:17:47 | 0:17:48 | |
Grant's last fare of the day decides to give him a Knowledge test. | 0:17:48 | 0:17:53 | |
I know about the Knowledge. Where is Cambridge Street? | 0:17:53 | 0:17:56 | |
In Pimlico. Yes? | 0:17:56 | 0:17:58 | |
-Where is Oxford Road? -Up by Ladbroke Grove. -That's right. | 0:17:58 | 0:18:03 | |
Where is Lanark Road? | 0:18:03 | 0:18:05 | |
-That's off of Maida Vale. -Well done. -Near the rec. -Thank you. | 0:18:05 | 0:18:09 | |
-Thanks very much. -Good talking to you. | 0:18:10 | 0:18:13 | |
I started sweating a bit there. I thought, "How was I going to do?" | 0:18:13 | 0:18:17 | |
I didn't think I done too badly, actually. | 0:18:17 | 0:18:20 | |
Like Oxford Street, Grant's cab has been | 0:18:20 | 0:18:22 | |
something of a United Nations today, but as long as they are willing | 0:18:22 | 0:18:26 | |
to pay for the privilege, Grant is certainly not complaining. | 0:18:26 | 0:18:29 | |
At Chinawhite nightclub, Bobby and his team of upholsters | 0:18:39 | 0:18:42 | |
are recovering the club's entire seating set-up. | 0:18:42 | 0:18:46 | |
Bobby promised to have the job done by 6pm. | 0:18:46 | 0:18:49 | |
It's now gone seven, and they are still a long way short. | 0:18:49 | 0:18:53 | |
The team are working frantically, but there's a lot to do. | 0:18:53 | 0:18:57 | |
While they cut, fit and tack, | 0:18:57 | 0:18:59 | |
freelance interior designer Jack Daniels arrives. | 0:18:59 | 0:19:03 | |
He's been brought in by the club to oversee the new layout. | 0:19:03 | 0:19:06 | |
The success of the project is on his shoulders. | 0:19:06 | 0:19:10 | |
So it is 7:20. I thought I would drop in | 0:19:10 | 0:19:13 | |
just briefly, just to see how things are progressing. | 0:19:13 | 0:19:16 | |
By the looks of things, there still appears to be quite a lot to do. | 0:19:16 | 0:19:20 | |
There's still 20 metres of banquettes to cover. | 0:19:20 | 0:19:23 | |
The team's final cut-off time for finishing the work has been | 0:19:23 | 0:19:27 | |
moved back to 10pm, when the club opens. | 0:19:27 | 0:19:30 | |
Bobby's earned himself some more time, | 0:19:30 | 0:19:33 | |
but he's getting increasingly frustrated by the lack | 0:19:33 | 0:19:35 | |
-of progress. -It's looked exactly the same since this morning. | 0:19:35 | 0:19:39 | |
There's only four seats to sort out. | 0:19:39 | 0:19:42 | |
But, mate, four seats. | 0:19:42 | 0:19:44 | |
That's, like, midnight. | 0:19:44 | 0:19:45 | |
With the impending opening and no time left to lose, the club's | 0:19:49 | 0:19:52 | |
staff have no choice but to begin setting up around the upholstery work. | 0:19:52 | 0:19:57 | |
45 minutes, they reckon, they're going to be done. | 0:19:58 | 0:20:01 | |
People are arriving at 10pm, who are coming down to spend a lot of money. | 0:20:03 | 0:20:07 | |
They want to walk straight in, they don't want to hang around outside | 0:20:07 | 0:20:10 | |
and they certainly don't want to walk into a building site. So... | 0:20:10 | 0:20:13 | |
-Oh. -MUSIC STARTS | 0:20:13 | 0:20:15 | |
And so the night begins. | 0:20:15 | 0:20:16 | |
Before he opens the club doors to the public, | 0:20:18 | 0:20:21 | |
boss James Spallone arrives for what was meant to be the final | 0:20:21 | 0:20:25 | |
sign off on the job, but there is clearly still a long way to go. | 0:20:25 | 0:20:29 | |
I would say in 40 minutes we'll have to open half an hour late. | 0:20:30 | 0:20:33 | |
I'm hoping they'll get there, otherwise it is a disaster. | 0:20:33 | 0:20:37 | |
The deadline is back by another half an hour. | 0:20:37 | 0:20:39 | |
They've got to be finished by 7:30 at the absolute latest. | 0:20:39 | 0:20:42 | |
10:30 is when the promoters have promised the crowd | 0:20:42 | 0:20:45 | |
they can come in, so 10:30 is the... | 0:20:45 | 0:20:48 | |
no-more-time zone. | 0:20:50 | 0:20:52 | |
The team put the extra 40 minutes they've been given to good use, | 0:20:52 | 0:20:56 | |
working furiously. But when 10:30 comes along... | 0:20:56 | 0:21:00 | |
It's like a time warp. | 0:21:00 | 0:21:01 | |
It's like you are in a time machine that's broken. | 0:21:02 | 0:21:06 | |
And it is just not going anywhere. | 0:21:06 | 0:21:08 | |
The club has to open its doors anyway. | 0:21:08 | 0:21:11 | |
The first people to arrive are kept in a holding area while the | 0:21:11 | 0:21:14 | |
team fit the final few banquettes. | 0:21:14 | 0:21:17 | |
Bobby's already cleaning up around them. | 0:21:17 | 0:21:19 | |
Because of the embarrassment caused, | 0:21:19 | 0:21:21 | |
they are now making us use the | 0:21:21 | 0:21:23 | |
nerds' exit at the back. | 0:21:23 | 0:21:25 | |
Because they don't want to face us going outside and seeing everybody. | 0:21:25 | 0:21:30 | |
It is like the walk of shame. | 0:21:30 | 0:21:33 | |
The team give it one last push. | 0:21:33 | 0:21:35 | |
The final banquette is fitted, | 0:21:35 | 0:21:37 | |
put in place and at 11pm the job is declared complete...ish. | 0:21:37 | 0:21:42 | |
Pardon? Done! | 0:21:43 | 0:21:46 | |
Done. That's where the promoters sit. | 0:21:48 | 0:21:50 | |
That's done. | 0:21:50 | 0:21:52 | |
I think we could finally be ready. I can't believe it. | 0:21:53 | 0:21:57 | |
I just want to see someone walk through the door now, | 0:21:57 | 0:21:59 | |
dance and sit down. Then I can go home to bed. | 0:21:59 | 0:22:02 | |
Even boss James seems pleased. | 0:22:02 | 0:22:05 | |
Or is it just relief? | 0:22:05 | 0:22:07 | |
You've been so understanding at 11pm, | 0:22:07 | 0:22:09 | |
we should have been out of here five hours ago. | 0:22:09 | 0:22:12 | |
And finally the paying public are let loose on Bobby's banquettes. | 0:22:18 | 0:22:22 | |
HE LAUGHS | 0:22:24 | 0:22:26 | |
Oh, my God! | 0:22:27 | 0:22:29 | |
All done, fellas. | 0:22:32 | 0:22:33 | |
THEY CHEER | 0:22:33 | 0:22:35 | |
Enjoy that? | 0:22:35 | 0:22:36 | |
Whoever's seen so many broken men in one street late at night? | 0:22:36 | 0:22:41 | |
Who's broke? | 0:22:41 | 0:22:43 | |
In truth, the team have pulled off a minor miracle getting | 0:22:43 | 0:22:46 | |
a four-day job done in three. | 0:22:46 | 0:22:49 | |
It might have been a close shave near the end, | 0:22:49 | 0:22:51 | |
but with the job done, they can head off for a well-earned sleep. | 0:22:51 | 0:22:55 | |
With a little present from Westminster Council to | 0:22:55 | 0:22:57 | |
help them on their way. | 0:22:57 | 0:22:59 | |
Thank you. | 0:22:59 | 0:23:00 | |
Yesterday, Oxford Street officer Andy Pescott issued dispersal | 0:23:11 | 0:23:14 | |
notices to rough sleepers causing antisocial | 0:23:14 | 0:23:17 | |
behaviour at Marble Arch, | 0:23:17 | 0:23:19 | |
which meant they couldn't return for 48 hours. | 0:23:19 | 0:23:22 | |
Today he's back to check who's in the park. | 0:23:22 | 0:23:25 | |
The good news is that almost all the rough sleepers he warned | 0:23:25 | 0:23:29 | |
have gone, but there's one familiar face. | 0:23:29 | 0:23:32 | |
One of the dispersed people has decided to ignore the ban | 0:23:32 | 0:23:35 | |
and pitch up in the park. | 0:23:35 | 0:23:37 | |
Marble Arch, 13:50, | 0:23:37 | 0:23:39 | |
and the duration was 40 hours. | 0:23:39 | 0:23:41 | |
He is one of those who was dispersed. | 0:23:41 | 0:23:43 | |
The man says he lost touch with his partner and came to see | 0:23:43 | 0:23:47 | |
if she was here. Andy is not swayed. | 0:23:47 | 0:23:50 | |
It's not my problem, my friend. | 0:23:50 | 0:23:52 | |
It was clearly explained, no Marble Arch. | 0:23:52 | 0:23:55 | |
You're at Marble Arch. | 0:23:55 | 0:23:57 | |
Tough, no excuses. I don't care where your madame is. | 0:23:57 | 0:24:00 | |
No Marble Arch. | 0:24:00 | 0:24:02 | |
You Marble Arch, you get arrested. End of. | 0:24:02 | 0:24:05 | |
Other rough sleepers are here | 0:24:05 | 0:24:07 | |
but not the ones banned yesterday like this man. | 0:24:07 | 0:24:10 | |
He will be arrested for breaching the dispersal order. | 0:24:10 | 0:24:14 | |
The dispersal order marks a big change in policing | 0:24:14 | 0:24:16 | |
the homelessness problem at Marble Arch. | 0:24:16 | 0:24:19 | |
With local businesses having had enough, | 0:24:19 | 0:24:21 | |
the police intend to get tough. | 0:24:21 | 0:24:23 | |
They can't have so many people making a home for themselves in this way, | 0:24:23 | 0:24:27 | |
at one of the street's key landmarks. | 0:24:27 | 0:24:29 | |
In the last 24 hours, that's 24 dispersal notices with only | 0:24:29 | 0:24:33 | |
one breach, so I would say it is win-win, really. | 0:24:33 | 0:24:36 | |
Positive. | 0:24:36 | 0:24:38 | |
Happy days. | 0:24:38 | 0:24:40 | |
Although not for him. This man failed to turn up | 0:24:41 | 0:24:43 | |
for his hearing, and a warrant was issued for his arrest. | 0:24:43 | 0:24:47 | |
He was eventually found, arrested | 0:24:47 | 0:24:49 | |
and given two weeks' imprisonment for breaching his dispersal order. | 0:24:49 | 0:24:54 | |
In the meantime, Andy Pescott has continued to use his powers | 0:24:54 | 0:24:57 | |
to disperse anyone who shouldn't be at Marble Arch. | 0:24:57 | 0:25:00 | |
After months of hard work, Miss Selfridge's creative director | 0:25:08 | 0:25:12 | |
Yasmin Yusuf's collection of party dresses is finally ready. | 0:25:12 | 0:25:16 | |
She's delighted with the results. | 0:25:16 | 0:25:18 | |
You know what, when they deliver it better than you actually | 0:25:18 | 0:25:21 | |
conceptualised it in the first place, you can't really ask for more, | 0:25:21 | 0:25:24 | |
so I'm excited to see the | 0:25:24 | 0:25:27 | |
actual launch now. | 0:25:27 | 0:25:29 | |
Tomorrow, the collection will be in store for the first time, with | 0:25:29 | 0:25:33 | |
-Yasmin giving a briefing. -This'll be in all three windows. | 0:25:33 | 0:25:36 | |
But before that happens, | 0:25:36 | 0:25:38 | |
the team concentrate on making sure the collection looks right. | 0:25:38 | 0:25:41 | |
It's the night before the launch, and the window display is being fitted. | 0:25:46 | 0:25:50 | |
With so much competition on Oxford Street, getting it right is crucial. | 0:25:50 | 0:25:54 | |
At 7am, Yasmin arrives to give her verdict. | 0:25:56 | 0:25:59 | |
OK, let's talk through this window. | 0:25:59 | 0:26:01 | |
She has famously high standards, | 0:26:01 | 0:26:03 | |
and the window needs to match expectations. | 0:26:03 | 0:26:06 | |
What I would probably do is have a | 0:26:06 | 0:26:09 | |
-look of taking this "premium" decal to black. -Yeah. | 0:26:09 | 0:26:14 | |
Bringing it down here so the impact of seeing all that isn't a problem. | 0:26:14 | 0:26:18 | |
But I think it is really, really strong. | 0:26:18 | 0:26:22 | |
Not bad for 7am in the morning. | 0:26:22 | 0:26:24 | |
Well done. | 0:26:24 | 0:26:26 | |
Yasmin is rarely off duty, | 0:26:26 | 0:26:28 | |
but today she has started especially early with a walk up Oxford Street. | 0:26:28 | 0:26:32 | |
What I normally do is, I come from Marble Arch to see all | 0:26:32 | 0:26:36 | |
the different stores at that moment in time before I get to our one. | 0:26:36 | 0:26:40 | |
Today, when I came through, I was really happy. | 0:26:40 | 0:26:43 | |
It's an encouraging start, but luring the customer in with | 0:26:44 | 0:26:48 | |
an impressive window display is just the beginning. | 0:26:48 | 0:26:51 | |
The interior of the store has to deliver too. | 0:26:51 | 0:26:54 | |
OK, Mandy, so we've pulled them from the window, | 0:26:54 | 0:26:57 | |
through to the runway | 0:26:57 | 0:26:59 | |
and then back to, whoo, glamour city! | 0:26:59 | 0:27:03 | |
Producing a strong collection is one thing, | 0:27:03 | 0:27:05 | |
but sales are what really count. | 0:27:05 | 0:27:07 | |
General store manager Natasha knows what appeals to customers. | 0:27:07 | 0:27:11 | |
I think the whole beauty of this range, and obviously it is vintage inspired, is that | 0:27:12 | 0:27:17 | |
you can do what you want. | 0:27:17 | 0:27:18 | |
Wear it in the day, like I am. | 0:27:18 | 0:27:21 | |
You know, wear it to get the milk in. | 0:27:21 | 0:27:23 | |
SHE LAUGHS | 0:27:23 | 0:27:24 | |
It has taken months of hard work to get to the moment | 0:27:24 | 0:27:27 | |
when the collection goes live. | 0:27:27 | 0:27:29 | |
But first, fashion industry insiders are given a sneaky peek. | 0:27:29 | 0:27:33 | |
We are here at Oxford Circus to launch the premium collection. | 0:27:33 | 0:27:37 | |
It's glamorous, it's girlie, it's sexy. | 0:27:37 | 0:27:40 | |
It is brought from our vintage archives, | 0:27:40 | 0:27:42 | |
for those that are into vintage. | 0:27:42 | 0:27:44 | |
APPLAUSE | 0:27:44 | 0:27:46 | |
Do have a look at it. | 0:27:46 | 0:27:48 | |
Preview over, the collection finally goes on sale. | 0:27:48 | 0:27:51 | |
Ultimately, the success of the range will be judged on how well | 0:27:51 | 0:27:54 | |
it sells. | 0:27:54 | 0:27:56 | |
One month after launch, Natasha reflects on how it has gone. | 0:27:58 | 0:28:02 | |
This category alone is up 166%, | 0:28:02 | 0:28:06 | |
up like for like sales. To me, that says, you know, that speaks volumes. | 0:28:06 | 0:28:10 | |
But, as always in the world of fashion, | 0:28:10 | 0:28:12 | |
it's the next big idea that counts, so Yasmin | 0:28:12 | 0:28:15 | |
and her team are already working on the new collection. | 0:28:15 | 0:28:18 |