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It's the most famous shopping street in the world, | 0:00:02 | 0:00:04 | |
in the heart of Britain's capital city - | 0:00:04 | 0:00:07 | |
a mile and a half long, with 30 million visitors each year, | 0:00:07 | 0:00:12 | |
with some of the world's most famous shops, | 0:00:12 | 0:00:14 | |
-biggest stars... -Kate Moss. -CHEERING | 0:00:14 | 0:00:17 | |
-..and busiest stations. -Sorry, guys, stand back for me! | 0:00:17 | 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 needs constant attention. | 0:00:24 | 0:00:27 | |
-..seven days a week? -Oi! Clear off! | 0:00:27 | 0:00:30 | |
You're going to be arrested on suspicion of attempted theft. | 0:00:30 | 0:00:33 | |
Are you ready, London? | 0:00:33 | 0:00:35 | |
A street that never sleeps. | 0:00:35 | 0:00:38 | |
This sort of thing wouldn't happen anywhere else. | 0:00:38 | 0:00:41 | |
Oxford Street. | 0:00:42 | 0:00:44 | |
Coming up, plain-clothes police on patrol | 0:00:45 | 0:00:49 | |
uncover a suspected phone scam. | 0:00:49 | 0:00:52 | |
An underwear designer gets her knickers in a twist | 0:00:56 | 0:00:59 | |
-getting her new collection ready. -It's a complete nightmare. -Yeah. | 0:00:59 | 0:01:04 | |
The high-end food coming to a table near you. | 0:01:04 | 0:01:08 | |
A charity shop's on the hunt for fancy fashion items. | 0:01:08 | 0:01:12 | |
Huh! That's paid off, ain't it? | 0:01:12 | 0:01:15 | |
And last orders, please. | 0:01:15 | 0:01:17 | |
The police licensing team crack down on unruly pubs and clubs. | 0:01:17 | 0:01:22 | |
It's now five to one in the morning, there are people outside drinking, | 0:01:22 | 0:01:26 | |
so we need to see a copy of the licence, please. | 0:01:26 | 0:01:28 | |
Keeping Oxford Street and the surrounding West End of London safe | 0:01:31 | 0:01:36 | |
is a police team dedicated to making sure | 0:01:36 | 0:01:38 | |
the visitor and tourist hot spots are free from trouble. | 0:01:38 | 0:01:41 | |
And one of their most experienced plain-clothes operatives | 0:01:43 | 0:01:47 | |
is Acting Sergeant Darren Bond. | 0:01:47 | 0:01:49 | |
He and his team run regular undercover patrols. | 0:01:49 | 0:01:52 | |
The main thing they're on the lookout for today is pickpocketing. | 0:01:52 | 0:01:56 | |
If they suspect someone, they'll stop and question them. | 0:01:56 | 0:02:00 | |
What they've learnt over the years is they never know what they might find. | 0:02:00 | 0:02:04 | |
So, it's a Friday evening. Everybody's filed out of work. | 0:02:04 | 0:02:08 | |
They're going home for the weekend. | 0:02:08 | 0:02:10 | |
Unfortunately, that means a lot of them are going to take home | 0:02:10 | 0:02:13 | |
their laptops, do a bit of work over the weekend. | 0:02:13 | 0:02:16 | |
That's gold dust for the thieves. | 0:02:16 | 0:02:19 | |
And on their way from Oxford Street to Covent Garden, | 0:02:19 | 0:02:22 | |
Darren gets a call from two of his team. | 0:02:22 | 0:02:26 | |
They've seen a man acting suspiciously | 0:02:26 | 0:02:28 | |
in and around some local pubs. | 0:02:28 | 0:02:30 | |
He won't tell them much, professing to speak little English. | 0:02:30 | 0:02:34 | |
All he has said is he's Afghan, 17 years old | 0:02:34 | 0:02:37 | |
and that he can't remember his date of birth. | 0:02:37 | 0:02:40 | |
He's been in the country 14 years but he doesn't speak English. | 0:02:40 | 0:02:43 | |
His date of birth is crucial to identify who he is | 0:02:43 | 0:02:46 | |
and whether he's in the country legitimately. | 0:02:46 | 0:02:48 | |
When did you come England? | 0:02:48 | 0:02:50 | |
-When? Which year? -You're smiling. You think this is funny, don't you? | 0:02:51 | 0:02:56 | |
No answers from you, definitely cuffs, police station. | 0:02:56 | 0:03:00 | |
If I can get details from you, maybe you walk. | 0:03:00 | 0:03:05 | |
But Darren's communication skills aren't working. | 0:03:05 | 0:03:08 | |
With so many foreign nationals to deal with in London, | 0:03:08 | 0:03:11 | |
the police use a commercial telephone translation service, | 0:03:11 | 0:03:15 | |
which PC Pace puts into practice. | 0:03:15 | 0:03:17 | |
Can you ask this man, does he have a visa? | 0:03:19 | 0:03:21 | |
Even with an interpreter, the man doesn't want to say much. | 0:03:22 | 0:03:25 | |
Tell him, I don't care why he's here, what is his date of birth? | 0:03:25 | 0:03:29 | |
You know your date of birth, don't you? | 0:03:31 | 0:03:33 | |
I think your English is better than you're telling me | 0:03:33 | 0:03:36 | |
and your English is better than my Pashtun. | 0:03:36 | 0:03:38 | |
But we have an interpreter now and you're still being difficult. | 0:03:38 | 0:03:41 | |
So, if you know how old you are, how do you not know your date of birth? | 0:03:41 | 0:03:46 | |
So now I'm making inquiries on the scant details | 0:03:46 | 0:03:49 | |
we've got out of the gentleman | 0:03:49 | 0:03:51 | |
with immigration services, to see if he's known to them. | 0:03:51 | 0:03:54 | |
The team are increasingly convinced the man's evasiveness | 0:03:54 | 0:03:58 | |
is because he shouldn't be in the UK at all. | 0:03:58 | 0:04:01 | |
You're here illegally, aren't you? | 0:04:01 | 0:04:02 | |
Can you ask him, please, what's your date of birth? | 0:04:02 | 0:04:05 | |
TRANSLATOR SPEAKS IN PASHTUN | 0:04:06 | 0:04:09 | |
MAN REPLIES IN PASHTUN | 0:04:09 | 0:04:11 | |
-TRANSLATOR ON PHONE: -'September 6th, 1998.' | 0:04:11 | 0:04:14 | |
6th September, 1998, his date of birth. | 0:04:14 | 0:04:16 | |
'Can you repeat that, please?' | 0:04:16 | 0:04:18 | |
Did you come here on the back of a lorry? | 0:04:18 | 0:04:21 | |
With the man continuing to be difficult | 0:04:21 | 0:04:23 | |
and his immigration status dubious, they decide to make the arrest. | 0:04:23 | 0:04:27 | |
Can you explain to this man, | 0:04:27 | 0:04:29 | |
you're under arrest for being an illegal immigrant | 0:04:29 | 0:04:31 | |
in this country and you're coming back with us | 0:04:31 | 0:04:33 | |
to the police station for some questions. | 0:04:33 | 0:04:35 | |
And immigration offences aren't his only contravention. | 0:04:35 | 0:04:40 | |
I'm also arresting you for suspicion of possession of a class B drug. | 0:04:40 | 0:04:44 | |
The gentleman has been given ample opportunity | 0:04:44 | 0:04:47 | |
to provide his details | 0:04:47 | 0:04:49 | |
or substantiate if he's legally in the country. | 0:04:49 | 0:04:51 | |
He's not been able to do that. | 0:04:51 | 0:04:53 | |
I'm fairly certain he's here illegally. Good spot by the guys. | 0:04:53 | 0:04:57 | |
Not the offence we're looking for, but ways and means. | 0:04:57 | 0:05:01 | |
They take the man back to the station where Darren books him in. | 0:05:01 | 0:05:05 | |
He'll be later passed on to Immigration Services. | 0:05:05 | 0:05:09 | |
It's more testimony to the team's skills | 0:05:09 | 0:05:11 | |
in spotting suspicious behaviour. | 0:05:11 | 0:05:15 | |
And a few days later, two of the team, | 0:05:15 | 0:05:17 | |
PCs James Drummond and Brad Pace, are out again, | 0:05:17 | 0:05:20 | |
looking for people acting suspiciously, | 0:05:20 | 0:05:23 | |
and they know just what they're looking for. | 0:05:23 | 0:05:26 | |
Not the clothing, not the nationality, | 0:05:26 | 0:05:28 | |
it's rather the out-of-character behaviour. | 0:05:28 | 0:05:31 | |
Bumping into people, walking, following people should stick out. | 0:05:31 | 0:05:36 | |
But they're hard to pick out. They are getting incredibly savvy | 0:05:36 | 0:05:40 | |
about their own antisurveillance techniques. | 0:05:40 | 0:05:43 | |
But perhaps not savvy enough. | 0:05:43 | 0:05:45 | |
James spots a couple of men across the street | 0:05:45 | 0:05:48 | |
-and thinks immediately something's not right. -Where am I looking? | 0:05:48 | 0:05:52 | |
Right-hand side, straight ahead, beyond, | 0:05:52 | 0:05:54 | |
literally walking through the scaffolding now. | 0:05:54 | 0:05:57 | |
One of them is consistently looking into the cafes, | 0:06:00 | 0:06:03 | |
looked into the sandwich bar. | 0:06:03 | 0:06:06 | |
We'll follow them to see what their behaviour is like. | 0:06:06 | 0:06:09 | |
PC Pace suspects the men might be thieves. | 0:06:09 | 0:06:13 | |
They're looking for opportunities, | 0:06:13 | 0:06:15 | |
so bags on the floor, | 0:06:15 | 0:06:18 | |
phones on the tables. | 0:06:18 | 0:06:20 | |
They might be able to go in in ones or twos, distract someone. | 0:06:20 | 0:06:22 | |
That's when an offence is likely to take place, | 0:06:22 | 0:06:25 | |
so we'll just try and watch what happens. | 0:06:25 | 0:06:28 | |
They start to follow. | 0:06:28 | 0:06:30 | |
The suspects have yet to actually make a move | 0:06:30 | 0:06:33 | |
and the longer the officers follow them, | 0:06:33 | 0:06:35 | |
the bigger the risk they'll be spotted. | 0:06:35 | 0:06:37 | |
I saw them there, split off and one was on either side of the road, | 0:06:37 | 0:06:42 | |
trying to increase their chances. | 0:06:42 | 0:06:45 | |
If they split, I'll take blue and you take black. | 0:06:45 | 0:06:47 | |
The suspects are joined by a third man. | 0:06:47 | 0:06:50 | |
Just as James and Brad are debating stopping them, | 0:06:50 | 0:06:54 | |
the suspects talk to another man on the street. | 0:06:54 | 0:06:57 | |
James has a word with the man they spoke to. | 0:06:57 | 0:07:00 | |
Thank you. | 0:07:10 | 0:07:12 | |
If the men are selling phones in this way, | 0:07:22 | 0:07:25 | |
James suspects they'll be stolen ones. | 0:07:25 | 0:07:27 | |
It's enough to warrant a stop and search. | 0:07:27 | 0:07:30 | |
PC Pace catches up with the third man. | 0:07:30 | 0:07:33 | |
-English? -No. | 0:07:33 | 0:07:36 | |
MAN SPEAKS IN INDISTINGUSHABLE ENGLISH | 0:07:38 | 0:07:40 | |
I've seen you talking with these people. | 0:07:40 | 0:07:42 | |
Stand up against the wall for me. | 0:07:42 | 0:07:45 | |
-Stand up against the wall. Have you got ID, passport? -ID? -Passport? | 0:07:45 | 0:07:50 | |
-Yes, you do. ID. -Later, the team search the men. | 0:07:50 | 0:07:54 | |
Stay there, otherwise I'll put you in handcuffs. Stay there. | 0:07:54 | 0:07:58 | |
And what they find surprises even them. | 0:07:58 | 0:08:01 | |
These two have got the same IMEI written on the back. | 0:08:01 | 0:08:03 | |
Oxford Street might have a lot of stores, | 0:08:10 | 0:08:13 | |
but very few of them are charity shops. | 0:08:13 | 0:08:16 | |
In fact, there's only one in the area - the Salvation Army shop. | 0:08:16 | 0:08:21 | |
It's run by manager Natalie. | 0:08:21 | 0:08:24 | |
£80 altogether. Thank you very much. | 0:08:24 | 0:08:28 | |
Have a lovely day. Bye. | 0:08:28 | 0:08:30 | |
She's worked here for 16 years | 0:08:30 | 0:08:33 | |
and, over that time, has made a big effort | 0:08:33 | 0:08:35 | |
to make the store meet the demands of the location. | 0:08:35 | 0:08:38 | |
I've tried very hard to build up a special boutique shop | 0:08:38 | 0:08:41 | |
and to build up something that is really quite good now. | 0:08:41 | 0:08:45 | |
Lots of vintage stuff, lots of designer stuff. | 0:08:45 | 0:08:48 | |
Being based in such a prestigious shopping area, | 0:08:48 | 0:08:51 | |
she relies on offering big labels and high-quality garments. | 0:08:51 | 0:08:55 | |
Designer stuff sells the best. | 0:08:55 | 0:08:57 | |
Look at that - Louboutin. | 0:08:57 | 0:08:59 | |
This is American Apparel, still got the labels on. | 0:08:59 | 0:09:02 | |
Beautiful party dress, can't go wrong with that. Lovely. | 0:09:02 | 0:09:07 | |
This wonderful, wonderful dress. Hasn't been worn. | 0:09:07 | 0:09:10 | |
It retails at £1,500. £150 we've priced it for. | 0:09:10 | 0:09:15 | |
It's still here. Doesn't want to get married. | 0:09:15 | 0:09:18 | |
But unlike the other stores on the street, | 0:09:20 | 0:09:24 | |
she's reliant on donations and recently, | 0:09:24 | 0:09:27 | |
the upmarket garments she craves have been few and far between. | 0:09:27 | 0:09:32 | |
She aims to make £600 a day. | 0:09:32 | 0:09:35 | |
We have achieved £364.90... | 0:09:35 | 0:09:39 | |
..which is OK but, hmm, not good enough. | 0:09:41 | 0:09:45 | |
However, Natalie's come up with a plan to improve her takings. | 0:09:45 | 0:09:48 | |
She's going to trial a new bag-drop scheme | 0:09:48 | 0:09:51 | |
to encourage the affluent residents around Oxford Street | 0:09:51 | 0:09:55 | |
to donate their unwanted high-class clothing. | 0:09:55 | 0:09:58 | |
And the first day of the scheme is today. | 0:09:58 | 0:10:02 | |
I am so excited. | 0:10:02 | 0:10:03 | |
I am absolutely bursting with joy just to see what happens. | 0:10:03 | 0:10:07 | |
Hopefully, our fortunes will change | 0:10:07 | 0:10:09 | |
because we're going to see what we get. | 0:10:09 | 0:10:11 | |
The success of her plan now rests with collectors Tony and Dale, | 0:10:11 | 0:10:15 | |
who've come all the way from Northampton to help with the trial. | 0:10:15 | 0:10:18 | |
-Natalie. -Hi, Tony, hi. How are you? -We spoke on the phone. | 0:10:18 | 0:10:22 | |
Good, good, good. How many bags are you going to put out? | 0:10:22 | 0:10:24 | |
-We've got a target of 500 bags. -Wow. -We'll collect on Friday. | 0:10:24 | 0:10:29 | |
-On Friday and then we can see what we're going to get from that. -Yes. | 0:10:29 | 0:10:32 | |
They get to work, dropping off 500 bags | 0:10:32 | 0:10:35 | |
in the surrounding residential areas. | 0:10:35 | 0:10:38 | |
There we go - Oxford Street, eh. | 0:10:38 | 0:10:40 | |
Hello, is it possible to leave some bags with you? I wasn't sure. | 0:10:44 | 0:10:46 | |
We've walked just over four miles. | 0:10:59 | 0:11:01 | |
This is bag number 500, the last one, | 0:11:01 | 0:11:04 | |
and this is the letterbox that that will be going through, | 0:11:04 | 0:11:07 | |
so let's wish it luck. | 0:11:07 | 0:11:09 | |
I'm hoping for quality rather than quantity. | 0:11:13 | 0:11:16 | |
I'm going home to soak my feet. | 0:11:16 | 0:11:17 | |
Hopefully, fingers crossed, | 0:11:17 | 0:11:19 | |
that will work and we'll see what happens. | 0:11:19 | 0:11:22 | |
It's been two days since the bags were dropped. | 0:11:24 | 0:11:27 | |
This morning Tony and Dale are back to trawl the streets, | 0:11:27 | 0:11:30 | |
trying to spot their trademark white and red bags. | 0:11:30 | 0:11:34 | |
Big day for us today. We're not sure what we'll pick up. | 0:11:34 | 0:11:38 | |
I'm pretty excited. | 0:11:38 | 0:11:40 | |
It's just like Christmas, wait and see what we can get. | 0:11:40 | 0:11:43 | |
At first, business is slow. | 0:11:44 | 0:11:47 | |
This is our possible worst nightmare. | 0:11:48 | 0:11:50 | |
We're driving round and we can't really find any bags at the moment. | 0:11:50 | 0:11:54 | |
I'm not sure, I think, down there, there was a bag. | 0:11:56 | 0:12:00 | |
Yeah, there is, there is. There's bags down there. | 0:12:00 | 0:12:04 | |
You can't get a vehicle in. Dale, it's going to be a little walk. | 0:12:04 | 0:12:08 | |
-You're not getting the first bag! -Yeah. -No, no. -Yeah. | 0:12:10 | 0:12:14 | |
The first one's mine! | 0:12:14 | 0:12:17 | |
-Oh! -I got it. -I let him have it! | 0:12:17 | 0:12:20 | |
Soon, the bags are coming thick and fast. | 0:12:20 | 0:12:23 | |
There's two more. When you start picking the bags up | 0:12:23 | 0:12:25 | |
and you see the first few, it lifts you. | 0:12:25 | 0:12:27 | |
You start getting excited with it and expecting more bags, | 0:12:27 | 0:12:30 | |
-which we'll get, won't we? -Yeah. | 0:12:30 | 0:12:33 | |
-There's something heavy in that one. -It's rubbish. | 0:12:35 | 0:12:38 | |
There's two or three down there. Got that. That's a big one. | 0:12:40 | 0:12:44 | |
What started off as being a little bit slow has more than picked up. | 0:12:44 | 0:12:48 | |
That's great. Thank you very much for that. Much appreciated. | 0:12:49 | 0:12:53 | |
Right, that was good. | 0:12:54 | 0:12:56 | |
And with that, Tony and Dale's bag collection is complete. | 0:12:56 | 0:13:00 | |
They head back to the shop. | 0:13:00 | 0:13:02 | |
I'm quite impressed with how generous it is around here. | 0:13:02 | 0:13:05 | |
It's been quite surprising. | 0:13:05 | 0:13:07 | |
-Tony, Dale, fantastic! -Bags, bags. -Woo-hoo! | 0:13:07 | 0:13:11 | |
Time to see what treasure they've managed to unearth. | 0:13:11 | 0:13:14 | |
Nice coat there. That is a nice one. | 0:13:14 | 0:13:16 | |
-Oh, my gosh - Burberrys! How cool is that? -And that was the first bag. | 0:13:16 | 0:13:21 | |
Oh, it was the first one? Oh! | 0:13:21 | 0:13:23 | |
-Exciting! -Ben Sherman. -Ben Sherman, J Crew... | 0:13:23 | 0:13:27 | |
-Huh, that's paid off, ain't it? -Yeah. Did we do well? | 0:13:27 | 0:13:32 | |
You did very well. It's like Christmas time. | 0:13:32 | 0:13:35 | |
You open the bag and think, "Oh, what am I going to get?" | 0:13:35 | 0:13:39 | |
Wow, that's brill. Hugo Boss. Really good, expensive ties. | 0:13:39 | 0:13:44 | |
Another Burberry - woo-hoo! Got to get it out as soon as possible. | 0:13:44 | 0:13:49 | |
I'll get £75 for that. Yeah, I will. Thank you very, very much. | 0:13:49 | 0:13:55 | |
For Natalie, her idea for the trial has paid off handsomely. | 0:13:55 | 0:14:00 | |
'Today has been an amazing day. The only downside,' | 0:14:00 | 0:14:03 | |
the wedding dress is still here, but it's off the wall | 0:14:03 | 0:14:06 | |
and, hopefully, we can get her out of the door. | 0:14:06 | 0:14:09 | |
And since we filmed, the bag scheme was extended. | 0:14:09 | 0:14:14 | |
-Takings at the store have nearly trebled. -Home, James! | 0:14:14 | 0:14:17 | |
That dress, however, is still waiting to be sold. | 0:14:17 | 0:14:22 | |
Oxford Street is far more than just a mile-and-a-half stretch of shops. | 0:14:28 | 0:14:33 | |
The 30 million visitors it attracts each year | 0:14:35 | 0:14:37 | |
and £5 billion of turnover means it's responsible for thousands of jobs | 0:14:37 | 0:14:43 | |
and millions of pounds of orders all over the UK. | 0:14:43 | 0:14:47 | |
It's a delicate spider's web of industry and creativity, | 0:14:48 | 0:14:52 | |
as Naomi De Haan knows all too well. | 0:14:52 | 0:14:55 | |
She runs a boutique lingerie business, designing bras and knickers | 0:14:55 | 0:14:59 | |
embellished with jewellery, which sell for upwards of £100 a piece. | 0:14:59 | 0:15:04 | |
For her business to succeed, | 0:15:04 | 0:15:06 | |
she's reliant on her own team coming up with innovative designs | 0:15:06 | 0:15:10 | |
and a factory in Wales to make them, | 0:15:10 | 0:15:12 | |
and both parties could be on the verge of a huge breakthrough. | 0:15:12 | 0:15:17 | |
Naomi's been offered a meeting | 0:15:17 | 0:15:19 | |
with buyers for a major Oxford Street store, | 0:15:19 | 0:15:22 | |
interested in collaboration with her brand. | 0:15:22 | 0:15:25 | |
Our dream would be to be on Oxford Street. | 0:15:25 | 0:15:28 | |
That would be the best thing ever. | 0:15:28 | 0:15:30 | |
This collaboration with the well-known chain | 0:15:30 | 0:15:33 | |
has the potential to catapult Naomi into the big leagues, | 0:15:33 | 0:15:36 | |
with a possible collection at their flagship Oxford Street store. | 0:15:36 | 0:15:40 | |
Um... | 0:15:40 | 0:15:42 | |
But to make an impact on the buyers, | 0:15:42 | 0:15:44 | |
she needs to impress them with samples of her best new designs, | 0:15:44 | 0:15:49 | |
so today, she and her design team are on their way to Wales | 0:15:49 | 0:15:53 | |
to have samples of her new collection made up for the first time. | 0:15:53 | 0:15:57 | |
James Mellor runs the textiles factory in Tredegar, south Wales, | 0:15:59 | 0:16:04 | |
that will make the samples. | 0:16:04 | 0:16:06 | |
He knows just how tough the industry can be. | 0:16:06 | 0:16:09 | |
I would say out of ten start-ups, | 0:16:09 | 0:16:12 | |
maybe one goes through, to go on to another season, | 0:16:12 | 0:16:16 | |
so it's quite a high mortality rate for these people, really, | 0:16:16 | 0:16:20 | |
that want to start designer brands. | 0:16:20 | 0:16:23 | |
You get lots of companies that come there. | 0:16:23 | 0:16:25 | |
You do one season with them, | 0:16:25 | 0:16:27 | |
everybody thinks you're automatically going to become | 0:16:27 | 0:16:30 | |
rich overnight and don't realise the struggles that are involved with it. | 0:16:30 | 0:16:34 | |
This is the only sampling time we have with James, | 0:16:34 | 0:16:36 | |
so we really need to get these done today, otherwise we're in trouble. | 0:16:36 | 0:16:39 | |
They arrive at the factory and get straight to work. | 0:16:43 | 0:16:46 | |
James doesn't make much from sampling, | 0:16:46 | 0:16:50 | |
but an Oxford Street store collection for Naomi | 0:16:50 | 0:16:53 | |
could mean a big order for him and his factory, | 0:16:53 | 0:16:55 | |
the last of its type in the Welsh Valleys. | 0:16:55 | 0:16:58 | |
The sampling process is probably the most important stage, really, | 0:16:58 | 0:17:02 | |
because until you actually cut the material | 0:17:02 | 0:17:04 | |
and start putting it together, | 0:17:04 | 0:17:06 | |
you don't know whether these things are going to work. | 0:17:06 | 0:17:08 | |
They've all got to be hand-marked in, hand-cut, so it does take time. | 0:17:08 | 0:17:13 | |
Naomi and her design team have brought tech packs - | 0:17:13 | 0:17:16 | |
patterns and templates that explain | 0:17:16 | 0:17:19 | |
how each of their garments is to be made. But... | 0:17:19 | 0:17:22 | |
Right, ladies, can we have your attention for five minutes | 0:17:23 | 0:17:27 | |
cos I think there's an issue with the packs. | 0:17:27 | 0:17:30 | |
-..James has found a problem. -With what? -Tech packs. | 0:17:30 | 0:17:33 | |
-Oh, no. The ones we literally just gave...? -Yeah. | 0:17:33 | 0:17:37 | |
Naomi needs to sample ten tech packs | 0:17:43 | 0:17:45 | |
but she's not remembered to bring them all. | 0:17:45 | 0:17:48 | |
We have forgotten the Louisa thong patterns | 0:17:48 | 0:17:53 | |
and the Louisa thong sample and the Louisa high-waist brief patterns. | 0:17:53 | 0:17:58 | |
It's frustrating but James has seen it before. | 0:17:59 | 0:18:03 | |
Because these are new brands, you've got to try and train | 0:18:03 | 0:18:06 | |
and educate the designers into how WE work. | 0:18:06 | 0:18:10 | |
This should have all been done by them | 0:18:10 | 0:18:12 | |
and presented to us before coming to the factory. | 0:18:12 | 0:18:15 | |
And it's not long before other problems start to emerge. | 0:18:17 | 0:18:21 | |
We're just about to put the rings on. | 0:18:21 | 0:18:23 | |
-Is this the first one that's been done? -Yeah. | 0:18:23 | 0:18:26 | |
It's supposed to be sewn here and here. | 0:18:26 | 0:18:28 | |
The pattern is asymmetrical. | 0:18:40 | 0:18:42 | |
It looks like the cup seam on one side is longer than on the other. | 0:18:42 | 0:18:46 | |
-Frustration is growing. -There's a 3.4cm difference. | 0:18:46 | 0:18:50 | |
One of them is wrong. | 0:18:50 | 0:18:52 | |
A previous generation of this suspender belt was made here, | 0:18:54 | 0:18:57 | |
but it's since been updated | 0:18:57 | 0:18:59 | |
and there's now confusion over which version is which. | 0:18:59 | 0:19:03 | |
-That's zigzag, that's coverstitch. -Yeah, we stopped using this. | 0:19:03 | 0:19:06 | |
The other sample that you think is correct is not because you've got... | 0:19:06 | 0:19:11 | |
-The wrong elastic. -Yeah. | 0:19:11 | 0:19:13 | |
Naomi's spec has changed but the information wasn't passed on. | 0:19:13 | 0:19:17 | |
You should just send one sample that's correct | 0:19:17 | 0:19:20 | |
-and that should be it. -And now she's lost another piece. | 0:19:20 | 0:19:24 | |
They're both different, both incorrect in different ways. | 0:19:24 | 0:19:27 | |
It's a complete nightmare. | 0:19:27 | 0:19:29 | |
Naomi's day is rapidly unravelling. | 0:19:30 | 0:19:33 | |
We needed to sample eight garments today | 0:19:33 | 0:19:36 | |
and it's 2.30, we've only done half of one. | 0:19:36 | 0:19:39 | |
With four of ten items now dead in the water, | 0:19:39 | 0:19:43 | |
Naomi's quickly losing control of the situation. | 0:19:43 | 0:19:46 | |
Later, can Naomi salvage her samples | 0:19:48 | 0:19:51 | |
in time to impress the Oxford Street buyers? | 0:19:51 | 0:19:54 | |
We need to fix everything, otherwise we're in trouble. | 0:19:54 | 0:19:59 | |
PC Drummond and PC Pace have stopped three men, | 0:20:05 | 0:20:09 | |
who they spotted acting suspiciously. | 0:20:09 | 0:20:12 | |
As the officers followed the suspects, they saw one of them | 0:20:12 | 0:20:16 | |
offering to sell a phone to a stranger on the street. | 0:20:16 | 0:20:19 | |
-Thank you. -James's first thought | 0:20:23 | 0:20:25 | |
is that they might be trying to sell stolen phones. | 0:20:25 | 0:20:28 | |
Stay there, otherwise I'll put you in handcuffs. Stay there! | 0:20:28 | 0:20:32 | |
The men have some explaining to do. | 0:20:32 | 0:20:34 | |
The men are Romanian and say they don't speak much English. | 0:20:42 | 0:20:46 | |
We're going to get a translator on the phone so we can talk properly. | 0:20:46 | 0:20:50 | |
-Listen. Listen. -Hello? | 0:20:50 | 0:20:52 | |
Between them, the men have a series of high-end phones. | 0:20:52 | 0:20:56 | |
Now confident that something isn't right, PC Pace calls in backup. | 0:20:58 | 0:21:03 | |
We've stopped three guys and there's about five phones at the moment. | 0:21:03 | 0:21:06 | |
If you can get here sharpish, that would be awesome. | 0:21:06 | 0:21:09 | |
We have a great deal of high-value phones - | 0:21:09 | 0:21:11 | |
Samsung S5's, an iPhone, possible 5. | 0:21:11 | 0:21:16 | |
Until we can determine whether they're stolen or not, | 0:21:16 | 0:21:19 | |
we have to treat it as suspicious. | 0:21:19 | 0:21:21 | |
PC Drummond gets back in touch with the telephone translator service. | 0:21:21 | 0:21:25 | |
The gentleman has, through LanguageLine, informed us | 0:21:25 | 0:21:29 | |
that the phones are all his, he's got the chargers for them | 0:21:29 | 0:21:31 | |
and he's trying to generate money to get his way back to his own country. | 0:21:31 | 0:21:35 | |
It sounds a plausible explanation but James isn't convinced. | 0:21:35 | 0:21:39 | |
If you can explain to him that we find it suspicious | 0:21:39 | 0:21:43 | |
that he would try to sell to somebody | 0:21:43 | 0:21:45 | |
just walking down the street, | 0:21:45 | 0:21:47 | |
so we are searching him, his friends and the phones | 0:21:47 | 0:21:51 | |
to find out whether he has any stolen property | 0:21:51 | 0:21:54 | |
or the phones are stolen. Cam you explain that for me? | 0:21:54 | 0:21:57 | |
The backup has arrived. | 0:21:57 | 0:21:59 | |
The men are searched and chargers that match the phones are discovered. | 0:21:59 | 0:22:03 | |
As they investigate further, things get murkier. | 0:22:03 | 0:22:06 | |
-These two have got the same IMEI written on the back. -Really? | 0:22:06 | 0:22:09 | |
The IMEI number for the phone should be like a numberplate for a car, | 0:22:09 | 0:22:13 | |
so should be different for every single phone. | 0:22:13 | 0:22:15 | |
However, on getting into the phone, we've then conducted the IMEI check | 0:22:15 | 0:22:18 | |
and they're all different from what they say on the back of the phone, | 0:22:18 | 0:22:22 | |
which leads us to believe that they are clone phones. | 0:22:22 | 0:22:24 | |
It's not possible for legitimately manufactured phones | 0:22:24 | 0:22:28 | |
to share IMEI numbers and the numbers on the case | 0:22:28 | 0:22:31 | |
ought to match the ones that come up onscreen, but they don't. | 0:22:31 | 0:22:35 | |
THEY SPEAK IN NATIVE TONGUE | 0:22:35 | 0:22:38 | |
So, you paying £80 for it or £70 for it, | 0:22:38 | 0:22:41 | |
there's got to be something fishy. | 0:22:41 | 0:22:43 | |
I've dealt with these before and this is a fake phone. | 0:22:43 | 0:22:47 | |
They're not real phones. | 0:22:47 | 0:22:48 | |
They work the same as phones, the cameraphone works, | 0:22:48 | 0:22:51 | |
but it's a fake phone. | 0:22:51 | 0:22:53 | |
My colleague saw you trying to sell it to people. | 0:22:53 | 0:22:56 | |
-No. -James and Brad think they might have uncovered a hi-tech scam. | 0:22:58 | 0:23:03 | |
The phones are cloned fakes and the officers think | 0:23:04 | 0:23:07 | |
they've been presented as the genuine article and offered for cash. | 0:23:07 | 0:23:11 | |
You're all under arrest. You're going to a local police station | 0:23:11 | 0:23:15 | |
for possession of articles used to commit fraud, all right. | 0:23:15 | 0:23:20 | |
-Original. -No. You know! Look at your face. You know. -Original. | 0:23:21 | 0:23:26 | |
Yeah, of course. They won't even work. I can tell by this button. | 0:23:26 | 0:23:30 | |
Look at that button and look at that button. | 0:23:30 | 0:23:33 | |
-Is iPhone cinco, no? -No. -Si. Original. | 0:23:33 | 0:23:38 | |
While they wait for transport to the police station, | 0:23:38 | 0:23:41 | |
James reflects on a surprising outcome. | 0:23:41 | 0:23:43 | |
It wasn't, necessarily, what we were looking for. | 0:23:43 | 0:23:46 | |
It was a gut instinct thing, I have to admit. | 0:23:46 | 0:23:48 | |
The men are all put in the back of the police van | 0:23:48 | 0:23:52 | |
and taken to the station, where they're booked in. | 0:23:52 | 0:23:55 | |
It was a very good spot by James. | 0:23:56 | 0:23:58 | |
He spotted the two individuals a long way off | 0:23:58 | 0:24:00 | |
and we've seen the two males on opposite sides of the street, | 0:24:00 | 0:24:02 | |
ticking all the right boxes. It's the behaviour which stands out. | 0:24:02 | 0:24:05 | |
Turns out they had three Samsung Galaxys | 0:24:05 | 0:24:08 | |
and one iPhone 6, all of which were fake. | 0:24:08 | 0:24:11 | |
Later, the ORB team are back on patrol, | 0:24:16 | 0:24:19 | |
on the trail, this time, of unruly pubs and clubs. | 0:24:19 | 0:24:23 | |
I think there's sufficient here for a section 19, | 0:24:23 | 0:24:26 | |
just to bring it up to speed. | 0:24:26 | 0:24:28 | |
Within 1km of Oxford Street, | 0:24:35 | 0:24:38 | |
there's estimated to be up to 3,000 restaurants. | 0:24:38 | 0:24:41 | |
The trade is fuelled by the millions of visitors the street generates. | 0:24:41 | 0:24:45 | |
It's a competitive market. | 0:24:45 | 0:24:48 | |
27% of independent restaurants close within a year of opening | 0:24:48 | 0:24:52 | |
and 62% within four years. | 0:24:52 | 0:24:55 | |
Let's go! | 0:24:55 | 0:24:57 | |
But just what does it take for the luxury restaurants | 0:24:57 | 0:25:00 | |
in the Oxford Street area to ensure they maintain a competitive edge? | 0:25:00 | 0:25:04 | |
According to butcher Peter Allen, | 0:25:06 | 0:25:08 | |
much of it is down to the quality of the produce they use. | 0:25:08 | 0:25:12 | |
This is the centre of London | 0:25:12 | 0:25:14 | |
and it attracts the richest people in the world | 0:25:14 | 0:25:17 | |
and it's absolutely essential that they've got the best product | 0:25:17 | 0:25:20 | |
because it's a fiercely competitive market. | 0:25:20 | 0:25:22 | |
Peter supplies many of the leading Michelin-starred chefs in the area | 0:25:25 | 0:25:29 | |
and today, he's come to try and sell one of his regular clients | 0:25:29 | 0:25:33 | |
some of the most valuable meat in the world - Wagyu beef. | 0:25:33 | 0:25:38 | |
COWS MOO | 0:25:39 | 0:25:42 | |
Wagyu is a Japanese breed of cow revered for its flavour. | 0:25:42 | 0:25:47 | |
It costs around twice the price of other high-end meats. Why? | 0:25:47 | 0:25:51 | |
Well, the answer lies 100 miles away at Earl Stonham Farm in Suffolk. | 0:25:51 | 0:25:55 | |
Hello, my darlings. Off you go. | 0:25:57 | 0:25:59 | |
Andrew Deacon has one of the few herds of Wagyu cattle in the UK. | 0:25:59 | 0:26:03 | |
The point about Wagyu is that they mature much more slowly | 0:26:03 | 0:26:08 | |
than average cattle. | 0:26:08 | 0:26:10 | |
There was a natural propensity of the Wagyu | 0:26:10 | 0:26:12 | |
to store fat in its muscle | 0:26:12 | 0:26:15 | |
and the taste in beef is very much in the fat | 0:26:15 | 0:26:20 | |
and this produces this wonderful taste when it is cooked. | 0:26:20 | 0:26:27 | |
To make sure they reach the perfect balance of fat, | 0:26:27 | 0:26:30 | |
their feed is carefully monitored. | 0:26:30 | 0:26:32 | |
We have a specialist nutritionist who formulates the food recipes. | 0:26:32 | 0:26:37 | |
We feed them a very rich energy diet | 0:26:37 | 0:26:40 | |
just to make sure they're full of energy | 0:26:40 | 0:26:42 | |
and they're producing the quality | 0:26:42 | 0:26:45 | |
and the taste that we want in that end product in the restaurants, | 0:26:45 | 0:26:49 | |
so the recipe's... It's not highly guarded, | 0:26:49 | 0:26:51 | |
but it's one that we don't want to let out. | 0:26:51 | 0:26:55 | |
The special quality of the meat becomes apparent | 0:26:59 | 0:27:02 | |
once on the butcher's table. | 0:27:02 | 0:27:05 | |
So this is marbling. That's the flavour. | 0:27:05 | 0:27:08 | |
That's what everyone loves. Everyone's mad for the marbling. | 0:27:08 | 0:27:11 | |
It's just a little thin piece of fat | 0:27:11 | 0:27:13 | |
but it goes all the way through the meat | 0:27:13 | 0:27:15 | |
and gives it the juice, the flavour. | 0:27:15 | 0:27:17 | |
Once cut up, the meat's ready for Peter to take to Oxford Street. | 0:27:18 | 0:27:22 | |
But it's not just bespoke meat that's in demand for the area's top chefs. | 0:27:25 | 0:27:29 | |
In the Thames estuary, another luxury food product, | 0:27:31 | 0:27:34 | |
that will end up on Oxford Street shoppers' plates, is being prepared. | 0:27:34 | 0:27:38 | |
Mersea Island in Essex is home | 0:27:38 | 0:27:40 | |
to some of the most prized remaining British oysters | 0:27:40 | 0:27:43 | |
and Graham Larkin is busy dredging for them. | 0:27:43 | 0:27:47 | |
The oysters are cultivated in lanes on the seabed | 0:27:47 | 0:27:50 | |
and dredged up in these cages. | 0:27:50 | 0:27:53 | |
Each load is sorted by hand, | 0:27:54 | 0:27:57 | |
the mature oysters separated and everything else thrown back in. | 0:27:57 | 0:28:01 | |
Here's a lovely little oyster. | 0:28:01 | 0:28:02 | |
Nice deep cup on it so it will have plenty of meat in it. | 0:28:02 | 0:28:05 | |
Ideal for the London restaurants. | 0:28:05 | 0:28:07 | |
Back onshore, the mud and silt are washed off. | 0:28:10 | 0:28:13 | |
Once clean, they're sorted by size | 0:28:15 | 0:28:17 | |
and any that haven't survived can be removed. | 0:28:17 | 0:28:20 | |
The way to tell if they're dead is to give them a tap | 0:28:20 | 0:28:23 | |
and if they're hollow, you know they're dead. | 0:28:23 | 0:28:25 | |
You wouldn't want that in your mouth, would you? | 0:28:25 | 0:28:28 | |
The boxed and sorted oysters spend 42 hours | 0:28:28 | 0:28:31 | |
in constantly filtered water to remove any impurities. | 0:28:31 | 0:28:35 | |
Although oysters make up the bulk of their business, the company supply | 0:28:35 | 0:28:40 | |
all sorts of other luxury seafood to Oxford Street. | 0:28:40 | 0:28:43 | |
Here we go. That's a nice healthy one, male. | 0:28:43 | 0:28:47 | |
They're looking for the best quality for their customers | 0:28:47 | 0:28:49 | |
cos they're paying premium price, so they want them nice and fresh, firm, | 0:28:49 | 0:28:52 | |
plenty of meat on them. | 0:28:52 | 0:28:54 | |
If we don't meet that standard, we don't get their business. | 0:28:54 | 0:28:57 | |
Oysters that have been filtered for two days are now ready for packaging. | 0:28:59 | 0:29:04 | |
By 5am, delivery driver Dave is loading them into his van, | 0:29:06 | 0:29:11 | |
ready to hit the streets of the West End. | 0:29:11 | 0:29:13 | |
We've got everything from the oysters, | 0:29:13 | 0:29:16 | |
you've got live lobsters, live crabs, you've got dressed crabs. | 0:29:16 | 0:29:20 | |
I think if it comes out the sea, we supply it. | 0:29:20 | 0:29:23 | |
Shellfish doesn't keep, so the best restaurants need daily supplies. | 0:29:23 | 0:29:27 | |
One box of crabs. | 0:29:30 | 0:29:32 | |
That's the first one done. | 0:29:34 | 0:29:36 | |
The next one's just up here. It's Quaglino's. | 0:29:36 | 0:29:39 | |
One box of Canadian lobsters, live. | 0:29:39 | 0:29:43 | |
Morning, Henry, got your lobsters for you. | 0:29:43 | 0:29:46 | |
I've got a box of cockles for you at the back door. Done. | 0:29:47 | 0:29:51 | |
Morning, sir. Scallops for you. | 0:29:52 | 0:29:55 | |
Tiger prawns and dressed crab. | 0:29:55 | 0:29:58 | |
That's my favourite delivery of the day - the last delivery. | 0:29:58 | 0:30:01 | |
-There you go. See you later. Cheers. -Thank you very much. | 0:30:04 | 0:30:07 | |
The seafood's arrived | 0:30:08 | 0:30:10 | |
and the bespoke Japanese-style beef is in the hands of the chef. | 0:30:10 | 0:30:13 | |
-Later... -Let's taste. | 0:30:13 | 0:30:17 | |
..we'll see if he likes it enough to put it on his menu. | 0:30:17 | 0:30:20 | |
It's 9pm. | 0:30:27 | 0:30:29 | |
At Oxford Circus, Sergeant Richard Bunch is out on patrol | 0:30:29 | 0:30:33 | |
with a plains-clothes colleague. | 0:30:33 | 0:30:35 | |
But, unlike most police working Oxford Street, | 0:30:35 | 0:30:38 | |
they aren't out hunting criminals. | 0:30:38 | 0:30:41 | |
They're officers with Westminster Police's Licensing Team | 0:30:41 | 0:30:45 | |
and tonight, they're looking to ensure the pubs and clubs | 0:30:45 | 0:30:48 | |
entertaining people in the area are sticking to the rules. | 0:30:48 | 0:30:51 | |
It's crucial work, | 0:30:51 | 0:30:53 | |
ensuring any trouble or antisocial behaviour is kept to a minimum. | 0:30:53 | 0:30:58 | |
What we're going to do is see how they run their security, | 0:30:58 | 0:31:00 | |
see how their CCTV is operated | 0:31:00 | 0:31:02 | |
and see what prevention they're undertaking themselves. | 0:31:02 | 0:31:06 | |
Each venue has different terms to its licence, | 0:31:06 | 0:31:09 | |
which may address issues from capacity and opening hours | 0:31:09 | 0:31:13 | |
to the provision of CCTV and noise levels. | 0:31:13 | 0:31:16 | |
First up, they head into a bar which has recently been refurbished. | 0:31:18 | 0:31:23 | |
-Are you the DPS now? -Yeah. -Excellent. | 0:31:23 | 0:31:25 | |
-Can we go in and check your licence and stuff? -Yeah. | 0:31:25 | 0:31:27 | |
It's a condition of their licence to have functioning CCTV | 0:31:27 | 0:31:32 | |
and Richard wants to check the refurbishment hasn't affected | 0:31:32 | 0:31:35 | |
-the areas the cameras cover. -Take camera one, for instance. | 0:31:35 | 0:31:40 | |
You've got a great shot of the light and nothing else. | 0:31:40 | 0:31:43 | |
Yeah, it's been recently moved. | 0:31:43 | 0:31:45 | |
-This one here, see where the lights are reflecting from outside? -Yeah. | 0:31:45 | 0:31:48 | |
What we're going to see is absolutely nothing. | 0:31:48 | 0:31:51 | |
I think there's sufficient here for a section 19, | 0:31:51 | 0:31:53 | |
just to bring it up to speed. | 0:31:53 | 0:31:54 | |
A section 19 can end in a bar's closure, | 0:31:54 | 0:31:57 | |
although the bar will have a period of time to put things right first. | 0:31:57 | 0:32:01 | |
Richard is being thorough for a reason. | 0:32:01 | 0:32:04 | |
If the police had relied on these cameras, | 0:32:04 | 0:32:06 | |
-they'd have been let down. -So we don't have to close? -No, no, no. | 0:32:06 | 0:32:09 | |
It's a notice giving you notice to try and bring your CCTV up-to-date. | 0:32:09 | 0:32:14 | |
The officers will return in a couple of weeks to make sure | 0:32:14 | 0:32:18 | |
the upgrade is carried out. It's come as a bit of a shock to the manager. | 0:32:18 | 0:32:22 | |
Yeah, it's taken me back a bit. | 0:32:22 | 0:32:24 | |
It's obviously important. | 0:32:24 | 0:32:26 | |
I didn't think that I'd get a section 19 for it. | 0:32:26 | 0:32:31 | |
The team move on. One of the biggest complaints | 0:32:31 | 0:32:34 | |
from businesses and residents on the street | 0:32:34 | 0:32:36 | |
is noise and broken glass caused by drinking outside. | 0:32:36 | 0:32:40 | |
And at a pub down the road, | 0:32:43 | 0:32:45 | |
they're not happy about customers spilling onto the street. | 0:32:45 | 0:32:49 | |
The manager promises he's sticking to the terms of the licence. | 0:32:50 | 0:32:54 | |
At 12 o'clock, they all come in. | 0:32:54 | 0:32:56 | |
Do they? We just want to identify a couple of bits. | 0:32:56 | 0:33:01 | |
The team give him a warning and move on | 0:33:04 | 0:33:07 | |
but decide they'll come back and recheck a bit later. | 0:33:07 | 0:33:10 | |
As the night draws in, | 0:33:13 | 0:33:15 | |
they turn their attention to the area's nightclubs. | 0:33:15 | 0:33:18 | |
They might be on the guest list for every club, | 0:33:18 | 0:33:21 | |
but things have definitely moved on since their own glory days. | 0:33:21 | 0:33:25 | |
I don't get it, personally, really don't get it. | 0:33:25 | 0:33:28 | |
The music's definitely changed and it's definitely louder. | 0:33:28 | 0:33:30 | |
It's a different world, a different world. | 0:33:30 | 0:33:32 | |
Tonight, they'll have to put up with the noise long enough | 0:33:32 | 0:33:35 | |
to make sure the clubbers are safe | 0:33:35 | 0:33:37 | |
and the surrounding area isn't too badly affected. | 0:33:37 | 0:33:40 | |
The Bonbonniere Club is one of a number locally | 0:33:42 | 0:33:44 | |
that can no longer legally serve drinks in glassware. | 0:33:44 | 0:33:48 | |
A review of the club's operations leaves Richard happy. | 0:34:04 | 0:34:08 | |
The officers have visited a dozen premises over the evening. | 0:34:08 | 0:34:12 | |
They make their way back to the station | 0:34:12 | 0:34:14 | |
via the pub they warned earlier about drinking outside, | 0:34:14 | 0:34:17 | |
but at nearly 1am, when they get there, | 0:34:17 | 0:34:20 | |
people are still drinking on the street from glasses. | 0:34:20 | 0:34:24 | |
It needs dealing with now. He assured us at midnight | 0:34:24 | 0:34:27 | |
that he would stop everyone drinking outside. | 0:34:27 | 0:34:30 | |
They were due to go inside. It's now five to one in the morning | 0:34:30 | 0:34:33 | |
and they're clearly still drinking outside. | 0:34:33 | 0:34:36 | |
The manager isn't happy with their attention. | 0:34:36 | 0:34:39 | |
He's just walked out and I've just walked in. | 0:34:39 | 0:34:41 | |
It's now five to one in the morning, | 0:34:41 | 0:34:43 | |
there's still people outside drinking. | 0:34:43 | 0:34:46 | |
So we need to see a copy of the licence, please. | 0:34:46 | 0:34:48 | |
The manager says the boss has the licence | 0:34:48 | 0:34:51 | |
and he's upstairs asleep because he's taking part | 0:34:51 | 0:34:54 | |
in the London to Brighton bike ride in the morning. | 0:34:54 | 0:34:56 | |
They send the manager upstairs anyway to wake him. | 0:34:56 | 0:35:00 | |
We don't want to stop anybody running their business | 0:35:00 | 0:35:03 | |
and making money. That's not what we're about. | 0:35:03 | 0:35:05 | |
But we have to take in all the factors | 0:35:05 | 0:35:07 | |
and the risk around that at the same time. | 0:35:07 | 0:35:10 | |
-Hello, my friend, sorry. -Sorry. -That's all right. | 0:35:10 | 0:35:13 | |
They show him the part of his licence which states that after midnight, | 0:35:13 | 0:35:17 | |
no-one should be allowed to take their drinks outside with them. | 0:35:17 | 0:35:21 | |
He, too, is given a section 19 notice, | 0:35:21 | 0:35:24 | |
with a strict warning that if it happens again, | 0:35:24 | 0:35:27 | |
there could be some serious sanctions taken against him. | 0:35:27 | 0:35:30 | |
-Good luck tomorrow. -Cheers. | 0:35:33 | 0:35:35 | |
It's very fair. They've got a job to do. | 0:35:35 | 0:35:37 | |
We're here where we are and it needs monitoring. | 0:35:37 | 0:35:40 | |
The police do a job but we've got a job to do as well. | 0:35:40 | 0:35:42 | |
This time, we didn't get it quite right. | 0:35:42 | 0:35:44 | |
Just a couple of minor infractions tonight | 0:35:44 | 0:35:47 | |
shows how the area has improved in recent years. | 0:35:47 | 0:35:50 | |
All in all, the work we're continually doing | 0:35:50 | 0:35:52 | |
is clearly having a positive impact on all the licensed premises | 0:35:52 | 0:35:56 | |
up in the Oxford Street area | 0:35:56 | 0:35:58 | |
and we're continually making the area safe | 0:35:58 | 0:36:00 | |
for people to visit and enjoy their nights out. | 0:36:00 | 0:36:05 | |
And with that, Richard decides the party's over | 0:36:05 | 0:36:08 | |
and calls time on his patrol. | 0:36:08 | 0:36:11 | |
Since we filmed, | 0:36:12 | 0:36:14 | |
the pub we saw earlier has made the alterations to its CCTV. | 0:36:14 | 0:36:17 | |
In the end, no further action was taken against the three men | 0:36:19 | 0:36:22 | |
accused of selling fake phones. | 0:36:22 | 0:36:24 | |
The Afghan man, suspected of being in the country illegally, | 0:36:24 | 0:36:28 | |
was bailed to return to court the next day but failed to appear. | 0:36:28 | 0:36:33 | |
He is now wanted by the police. | 0:36:33 | 0:36:36 | |
In Wales, lingerie designer Naomi De Haan is trying | 0:36:44 | 0:36:47 | |
to have some samples made up. | 0:36:47 | 0:36:50 | |
She needs to show them to buyers | 0:36:50 | 0:36:52 | |
from a well-known Oxford Street store in two weeks' time. | 0:36:52 | 0:36:55 | |
So far, it's not been going well. | 0:36:55 | 0:36:58 | |
-They're both incorrect in different ways. -It's a complete nightmare. | 0:36:59 | 0:37:02 | |
She wanted to make ten samples today. So far, she's not even completed one. | 0:37:05 | 0:37:11 | |
In desperation, she turns to the one man who can help - | 0:37:13 | 0:37:17 | |
factory boss James. | 0:37:17 | 0:37:19 | |
-We've only done half a garment so far. -Right, OK. | 0:37:19 | 0:37:22 | |
-So I'm a bit worried. -Right. | 0:37:22 | 0:37:25 | |
Unflappable, James finds some extra time in the diary | 0:37:25 | 0:37:28 | |
to finish the work another day. | 0:37:28 | 0:37:31 | |
-Unfortunately, we've had a slow start. -Mmm. | 0:37:31 | 0:37:34 | |
-We'll make that back up tomorrow. -Yeah. | 0:37:34 | 0:37:36 | |
Do you have any free the next day | 0:37:36 | 0:37:39 | |
cos it would just be to finish the bra, | 0:37:39 | 0:37:41 | |
high-waist brief and thong, isn't it? | 0:37:41 | 0:37:44 | |
With the work spilling over into extra days, | 0:37:44 | 0:37:47 | |
the team don't have much to show for their hard work today. | 0:37:47 | 0:37:50 | |
One suspender. | 0:37:51 | 0:37:53 | |
But the crop top, part of the body's nearly finished, so one... | 0:37:53 | 0:37:59 | |
..one and three-quarters out of ten. | 0:38:01 | 0:38:04 | |
The factory bell has gone. | 0:38:04 | 0:38:07 | |
Time for everyone to go home, including Naomi. | 0:38:07 | 0:38:10 | |
Like all new businesses, she suffers from a lack of experience | 0:38:12 | 0:38:16 | |
but at least she's got James on her side. | 0:38:16 | 0:38:19 | |
He likes her designs and is hoping she'll be a success. | 0:38:19 | 0:38:23 | |
Naomi's particular brand, I've got a good feeling about it myself. | 0:38:25 | 0:38:28 | |
They're nice-looking garments. | 0:38:28 | 0:38:30 | |
They're not too out there, they've got a nice little quirk to it | 0:38:30 | 0:38:34 | |
and I think she'll do well, fingers crossed. | 0:38:34 | 0:38:37 | |
We have a very, very strict schedule now. | 0:38:37 | 0:38:39 | |
We need to fix everything this week, otherwise we're in trouble. | 0:38:39 | 0:38:45 | |
Two weeks later and back in London, | 0:38:46 | 0:38:48 | |
Naomi is preparing for a key meeting with a high-street chain | 0:38:48 | 0:38:52 | |
that potentially wants to collaborate with her | 0:38:52 | 0:38:54 | |
on a new range of lingerie. | 0:38:54 | 0:38:56 | |
The day in Wales might have been a disaster, | 0:38:56 | 0:39:00 | |
but since then, James pulled out all the stops | 0:39:00 | 0:39:03 | |
and four of Naomi's ten new pieces are ready | 0:39:03 | 0:39:06 | |
for her to show off at the buyers' meeting. | 0:39:06 | 0:39:08 | |
They don't collaborate with people much | 0:39:08 | 0:39:10 | |
which is why we're excited that they contacted us. | 0:39:10 | 0:39:13 | |
When they do collaborate with people, it's always a big success. | 0:39:13 | 0:39:16 | |
-SHE SIGHS -Um... | 0:39:18 | 0:39:21 | |
Why am I so nervous? I just need to plan what I'm going to say | 0:39:21 | 0:39:24 | |
when I first go in. Hopefully, they'll be very chatty and friendly. | 0:39:24 | 0:39:27 | |
The team pack the new samples and Naomi heads off. | 0:39:27 | 0:39:30 | |
OK, I'm ready. | 0:39:30 | 0:39:33 | |
-I'll see you guys later. -Good luck. -Bye. | 0:39:33 | 0:39:36 | |
-Oh, God. -It's an important meeting. | 0:39:38 | 0:39:41 | |
James is hoping for a big order through the factory | 0:39:41 | 0:39:44 | |
and Naomi's team at the studio are relying on her | 0:39:44 | 0:39:48 | |
to secure the company's future. | 0:39:48 | 0:39:50 | |
I've never had a meeting like this before, so it's just new, isn't it? | 0:39:50 | 0:39:54 | |
It's always more daunting going into things | 0:39:54 | 0:39:57 | |
that you've never done before. | 0:39:57 | 0:40:00 | |
-Thank you. -That's all right. You're welcome. -Thanks, bye. -Bye. | 0:40:00 | 0:40:04 | |
What happens inside is commercially sensitive, so we can't follow her in. | 0:40:06 | 0:40:11 | |
After an hour, she's back out and smiling. | 0:40:12 | 0:40:16 | |
They liked all the designs, they liked the branding, | 0:40:16 | 0:40:19 | |
they like our imagery, which is nice. | 0:40:19 | 0:40:22 | |
I still don't know if it's going to happen. | 0:40:22 | 0:40:24 | |
It's early stages, but it will be really exciting | 0:40:24 | 0:40:26 | |
to see our stuff on Oxford Street. | 0:40:26 | 0:40:28 | |
And waiting patiently to hear her news is her mother. | 0:40:28 | 0:40:32 | |
Mama? | 0:40:32 | 0:40:34 | |
Yeah, it was good. | 0:40:34 | 0:40:36 | |
She dipped our Rheanna bra in her tea by accident. | 0:40:36 | 0:40:40 | |
But no, it was funny. | 0:40:40 | 0:40:42 | |
They were really nice, they were really friendly. | 0:40:42 | 0:40:45 | |
Since we filmed, Naomi is still waiting to hear | 0:40:45 | 0:40:47 | |
whether the store will go into collaboration with her. | 0:40:47 | 0:40:50 | |
It could take months to finalise any deal. | 0:40:50 | 0:40:53 | |
In the meantime, Naomi can reflect on the fact that the journey | 0:40:55 | 0:40:58 | |
from the Welsh Valleys to Oxford Street is a long and winding one. | 0:40:58 | 0:41:02 | |
Midlands butcher Peter Allen is at an upmarket restaurant | 0:41:13 | 0:41:17 | |
near Oxford Street, looking to make a sale for his high-priced Wagyu beef. | 0:41:17 | 0:41:21 | |
-I take over from this point. -Thank you. | 0:41:22 | 0:41:25 | |
Problem is, it's expensive - around twice the price of his usual beef. | 0:41:25 | 0:41:29 | |
Now, I happen to think that this could be the cut for you. | 0:41:31 | 0:41:36 | |
For chef Douglas to take it, he's got to be sure | 0:41:36 | 0:41:39 | |
it's special enough for people to want to pay a high price for it. | 0:41:39 | 0:41:43 | |
What we should actually do is to cook a picanha steak... | 0:41:43 | 0:41:47 | |
-A picanha steak. -..taste it. -Definitely. | 0:41:47 | 0:41:50 | |
Here we go. | 0:41:52 | 0:41:54 | |
I think now is the moment of truth. | 0:42:01 | 0:42:03 | |
Let's taste. | 0:42:06 | 0:42:07 | |
Wow, definitely, people will pay for this steak and will come back. | 0:42:15 | 0:42:20 | |
Thank you. I'm a happy boy now. | 0:42:20 | 0:42:22 | |
This is not only a steak, it's a completely different thing. | 0:42:22 | 0:42:24 | |
If you taste it... | 0:42:24 | 0:42:26 | |
I want to taste it again because it's very, very good. | 0:42:26 | 0:42:31 | |
It's nice! When you see the meat, you think, "This is quite fatty. | 0:42:34 | 0:42:39 | |
"Will it be boring?" No. This is very good. | 0:42:39 | 0:42:44 | |
Peter... | 0:42:44 | 0:42:46 | |
-..we have a deal. -Oh, good. Thank you. | 0:42:47 | 0:42:50 | |
Bye. We've made the sale. | 0:42:50 | 0:42:52 | |
I won't have to walk to work next week. | 0:42:52 | 0:42:55 | |
And just a few days later, for £55, the rump Wagyu steak ends up | 0:42:58 | 0:43:04 | |
on a group of Oxford Street shoppers' plates. | 0:43:04 | 0:43:07 |