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It's Tuesday. On tonight's show they had the fright of their lives | :00:13. | :00:18. | |
but they danced to fight again. Colin and Kristina will be here. | :00:19. | :00:23. | |
Nicky and car listen be here. She's got us all under her spell. I'm | :00:23. | :00:29. | |
talking about the enchanting Karen Hardy. And he's such a scream, | :00:29. | :00:34. | |
Julien MacDonald is here to talk Strictly Fright Night fashion. This | :00:34. | :00:44. | |
:00:44. | :01:13. | ||
CHEERING AND APPLAUSE Hello and welcome to Tuesday's | :01:13. | :01:16. | |
edition of Strictly - It Takes Two. Saturday night was terrific and | :01:16. | :01:19. | |
terrifying. For one couple it almost turned into a complete | :01:19. | :01:24. | |
nightmare when they nearly left the competition. I will be talking to | :01:24. | :01:30. | |
Colin and cyst crist in a moment. First a re-- and Kristina. First a | :01:30. | :01:35. | |
reminder of their performance. footwork for me was a little happen | :01:35. | :01:40. | |
hazards, you but the positive side is you do have that disco groove, | :01:40. | :01:45. | |
which is lovely to watch. Maybe it wasn't a dirty salsa but it was | :01:45. | :01:50. | |
definitely a saucy salsa this time. Hit a lovely rhythmic tick | :01:50. | :01:55. | |
throughout. I was very encouraged that but it wasn't just a little | :01:55. | :02:00. | |
mistake. There was a major incidents. | :02:00. | :02:05. | |
I had a groovy time but the bit in the middle where the footwork went, | :02:05. | :02:12. | |
that's always been a sticky one. happens. What can you do? You don't | :02:12. | :02:17. | |
get away with anything out there. Those guys are professionals. We'll | :02:17. | :02:22. | |
find out who will be back to dance again next week. Judges it is | :02:22. | :02:27. | |
decision time. Colin and Kristina. Colin and Kristina. Colin and | :02:27. | :02:31. | |
Kristina. Please welcome Colin and Kristina! CHEERING | :02:31. | :02:37. | |
Well done on making it through. It is so tough, even watching that | :02:37. | :02:41. | |
back then my stomach was churning for you. You were ninth on the | :02:41. | :02:45. | |
leaderboard this week, which is the lowest position you've been. Did | :02:45. | :02:50. | |
you have a feeling this was coming. Kristina, we were watching you on | :02:50. | :02:54. | |
the stairs and you were hiding in Colin's chest. I was. I kind of had | :02:54. | :02:59. | |
a feeling. It always a dangerous position to be in that low to | :02:59. | :03:05. | |
middle part of the board. And it had been a weird week. The whole | :03:05. | :03:11. | |
Hallowe'en vibe, it wasn't good in salsa. I've been dressing up as a | :03:11. | :03:16. | |
black cat. It is not good idea. Unlucky for some. Yes. How did you | :03:16. | :03:20. | |
feel it had gone on the night? was an incredible show. Everybody | :03:20. | :03:25. | |
danced at the top of their game when the error did occur, it was a | :03:25. | :03:29. | |
horrible feeling. Watching that back, that's emotional stuff there. | :03:29. | :03:34. | |
You - you actually turned away. You mentioned going wrong there. | :03:34. | :03:40. | |
Why was Len so hard on you, do you think? I think Len is an expert in | :03:40. | :03:44. | |
his field and ultimately it is about the steps and executing them | :03:44. | :03:50. | |
proper. The rhythm and steps and if something depose out of time, for | :03:50. | :03:53. | |
him it's the deal breaker. I totally understand what he was | :03:53. | :03:58. | |
saying. It was one of the dances that didn't gel with us. It does | :03:58. | :04:03. | |
happen, you have dances that really you and you get the right music and | :04:03. | :04:07. | |
the outfit and other weeks it feel as little... Superstition is an | :04:07. | :04:12. | |
incredible fun track. I was back in the club basically. We know it is | :04:12. | :04:16. | |
quite tough for you Kristina coming up with choreography week after | :04:16. | :04:26. | |
:04:26. | :04:46. | ||
week, so we thought we would lend How sexy was that! | :04:46. | :04:55. | |
APPLAUSE That's my stuff. There is a huge | :04:55. | :05:00. | |
party of ladies waiting to take you disco dancing and I'm driving the | :05:00. | :05:02. | |
bus. This week you are doing the foxtrot. | :05:02. | :05:09. | |
You can't do lifts, hate to be classic ballroom. I think he is | :05:09. | :05:12. | |
happy there are no lifts. His shoulder is killing him. I've been | :05:12. | :05:19. | |
strapped up for weeks. You made it look so effortless. But it is tough. | :05:19. | :05:23. | |
This week foxtrot, a nice bit of calm dancing. A great piece of | :05:23. | :05:31. | |
music with all the rhythms in it. Darcey wantsed a dirty arrange Tyne | :05:31. | :05:35. | |
tango and a sexy salsa, what are you going to do in the foxtrot - | :05:35. | :05:42. | |
fruity? I was trying to think. Fruity foxtrot, yes. Fleet of foot. | :05:42. | :05:45. | |
You've been consistent with your scores, in the 20s. How are you | :05:45. | :05:50. | |
going to up your game and stay out of the bottom two? What's the plan? | :05:50. | :05:55. | |
To work as hard as possible and think about what music you have and | :05:55. | :06:01. | |
bring it on the dancefloor, the moves. And the lyrics, he really | :06:01. | :06:05. | |
likes the tune and hopefully it will be his dance. You are not | :06:05. | :06:11. | |
allowed to tell us. It is romantic and it swings. It's jazz. What have | :06:11. | :06:15. | |
you learnt about yourself in this competition, Colin? I've learnt, I | :06:15. | :06:20. | |
was really pleased with myself on Saturday night. It sounds a crazy | :06:20. | :06:24. | |
thing to say, but dealing with the criticism and withing in that | :06:24. | :06:27. | |
position, I was interested to see how I would react. I've had a good | :06:27. | :06:32. | |
time and I feel I have given it 100%, so I realise if you do the | :06:32. | :06:38. | |
prep and you give it all you have got there is nothing you can't do. | :06:38. | :06:43. | |
That and working with Kristina as well. It is brilliant. You are a | :06:44. | :06:49. | |
special couple and your journey isn't over yet. A foxtrot this week. | :06:49. | :06:56. | |
Will it be beautiful. Give it up for Colin and Kristina! Here to | :06:56. | :06:59. | |
talk us through Her Majestyic moments of the weekend, here's | :06:59. | :07:09. | |
:07:09. | :07:17. | ||
She can't be tricked but she's always a treat, please give it up | :07:17. | :07:24. | |
for Karen Hardy, Gangnam style. That was a great moment. Bruce, who | :07:24. | :07:29. | |
would have thought? Also of props and gimmicks, did | :07:29. | :07:34. | |
they add to the choreography or did they distract? In general it added. | :07:34. | :07:39. | |
The whole show was alive, full of energy. There were some that were | :07:39. | :07:45. | |
even greater than others, but for me this year not many disasters. | :07:45. | :07:50. | |
And they are all really improving. Denise and James and their cha-cha | :07:50. | :07:54. | |
chat. Bruno said Denise needs to get more to grips with the basics, | :07:54. | :07:58. | |
you do agree? The problem here was the gamble with this dress. We know | :07:58. | :08:02. | |
she's good and we've talked about how technically strong she, is but | :08:02. | :08:06. | |
if you are taking the gamble of putting a lady with no skirt, it | :08:06. | :08:10. | |
means a little bit of movement only and you are going to expose any | :08:10. | :08:14. | |
weaknesses. In the short time they have been learning, to master this | :08:15. | :08:18. | |
really perfect straight legs with the hip action, it is very | :08:18. | :08:23. | |
difficult. It was a gamble that I think possibly exposed her a little | :08:23. | :08:28. | |
bit too much, but just for James, completely loved the natural top my | :08:28. | :08:31. | |
darling. Absolutely beautiful. I know lit probably go over the heads | :08:31. | :08:36. | |
of most. Like me. Very difficult basic step which she nailed very | :08:36. | :08:42. | |
well. Natural top. Tell me afterwards in the bar. Lisa and | :08:42. | :08:46. | |
Robin and their Charleston ston. Every week they get a standing | :08:46. | :08:55. | |
ovation, but are we going to see all the virth? I'm going to be the | :08:55. | :09:01. | |
-- All the variety? I'm going to be the bad lady. All I'm getting every | :09:01. | :09:07. | |
week is the hand dance all the time. If we complete turn the music off | :09:07. | :09:11. | |
we should be able to identify what the dance is. I'm finding it hard | :09:11. | :09:15. | |
now that each week they are coming out side by side and just carrying | :09:15. | :09:22. | |
out the arm dances. I'm looking for a lot more partnering between them. | :09:22. | :09:25. | |
Richards ander inand the paso doble. The judges aren't satisfied. Craig | :09:25. | :09:29. | |
said he needed to dance through the floor more. What does that mean? | :09:29. | :09:34. | |
you don't get the basics right, it creates a weakness. What it has | :09:34. | :09:41. | |
done here is just made him look very straight. Now, I'm going to do | :09:41. | :09:48. | |
a little demo. Is that alright? APPLAUSE Thank you. Paso doble. | :09:48. | :09:52. | |
We've got to take the weight right over the balls of the feet, so the | :09:52. | :09:55. | |
toes are gripping. Because we are doing, that its means the knees are | :09:55. | :10:03. | |
always soft. Lovely knees? pelvis is pushed right the way | :10:03. | :10:08. | |
forward. It is a very hard position to hold. Then you have to elevate | :10:08. | :10:14. | |
your ribcage so it is much higher so that everything creates this | :10:14. | :10:18. | |
huge shape. Matador! That says Flamenco when you do that. It is | :10:18. | :10:23. | |
taking the weight that far forward, drives you into the floor rather | :10:23. | :10:27. | |
than Tippie toeing across the top of the floor. And the shape's not | :10:27. | :10:33. | |
quite right. That's what Craig is talking about. Aha! Now I | :10:34. | :10:38. | |
understand. Kimberley and Pasha. Len said he wanted more aggression, | :10:38. | :10:44. | |
but Craig said fiery and punchy. Who do you agree with? The thing | :10:44. | :10:50. | |
with a panel of adjudicators everyone has different elements. We | :10:50. | :10:56. | |
often see Craig go for the more theatrical and Len is more | :10:56. | :11:02. | |
technical and in-depth. You can see here as she goes the locks it is | :11:02. | :11:06. | |
really high and soft and too sweet. The assertiveness needs to be | :11:06. | :11:09. | |
because of the technique, but getting that shaping that I said | :11:09. | :11:13. | |
and the pushing into the floor and driving with the heels. That's | :11:13. | :11:19. | |
tougher. A lot harder. I'm learning a lot today. Fern and art emand | :11:19. | :11:23. | |
their American smooth. Len said there was no wow factor and Craig | :11:23. | :11:27. | |
said it was dulling. What did you think of the American smooth? | :11:27. | :11:33. | |
agreeing here. She's so in fear of getting it wrong for him. There's a | :11:33. | :11:39. | |
moment I've got here, a beautiful move, they are stunning. I was like, | :11:39. | :11:46. | |
push him away. Be involved with it, not, "Art em, am I doing this | :11:46. | :11:51. | |
right?" This is it. Take control. Yes. Even if we make mistakes we | :11:51. | :11:54. | |
make the mistakes look brilliant. She video should have been the | :11:54. | :11:59. | |
killer Queen of this performance. Louis and Flavia and their tango. | :11:59. | :12:03. | |
He got the first nines of the competition. Did he deserve them? | :12:03. | :12:09. | |
Absolutely, and so brilliant by our Flavia. Took a gamble. Why? Such | :12:09. | :12:12. | |
complex choreography. It could have gone drastically wrong, but he | :12:12. | :12:16. | |
nailed it. He managed to create the acting of the Hallowe'en, there's a | :12:16. | :12:20. | |
brilliant moment here when he goes into the dance and then bites into | :12:21. | :12:25. | |
her neck supposedly and that's not important, I want to tango. Gets | :12:26. | :12:30. | |
straight on with it and he makes a heap of mistakes afterwards but | :12:30. | :12:36. | |
he's so confident with his delivery that you couldn't even fault it. | :12:36. | :12:40. | |
made mistakes and we had no idea. Brilliant stuff. Michael and | :12:40. | :12:44. | |
Natalie and their quickstep. It seems that ballroom is his forte. | :12:44. | :12:49. | |
This is a ballroom boy. I'm in a suit, I've got a woman in my arms. | :12:49. | :12:55. | |
I'm going love this. And he flies across the room. Gets his timing | :12:55. | :12:59. | |
right. Why is is he goes wrong in the Latin and getting it flight the | :12:59. | :13:03. | |
ballroom? His mentality, he's a ballroom dancer. Physically I think | :13:03. | :13:08. | |
the more you leave him on his own he's in a danger zone. If a man | :13:08. | :13:13. | |
goes out Dan dancing with a woman, he wants to hold her. He likes to | :13:13. | :13:18. | |
hold Natalie and then he feels all macho and manly. You can't blame | :13:18. | :13:23. | |
him though, she is gorgeous. Victoria and Brendan and the tango. | :13:23. | :13:28. | |
You wanted to see the Olympician on the floor and she did. Her highest | :13:28. | :13:34. | |
score, 31. Is it encouraging? brilliant. I don't want to show you | :13:34. | :13:38. | |
what I'm going to show you but it is important. And we are going to | :13:38. | :13:43. | |
learn from it. We've been looking for the flawless performance. | :13:43. | :13:48. | |
She made a tiny mistake but what's important is how she recovers. We | :13:48. | :13:53. | |
are going to show it here. A tiny mistake, the feet go wrong there | :13:53. | :14:01. | |
but bang! I am in this. There are those eyes. I am in this. What has | :14:01. | :14:06. | |
happened before when she went wrong, "We've had this moment on the | :14:06. | :14:09. | |
dancefloor..." this is what we've been looking for. That's what we | :14:09. | :14:14. | |
want to see from her every week. Move forward, drive, forget about | :14:14. | :14:22. | |
that. I didn't notice that footwork. Karen, brilliant. Thank you as | :14:22. | :14:25. | |
always. APPLAUSE On Saturday whacky Nicky and his | :14:25. | :14:30. | |
lab assistant had all the chemistry to create their tango. Here is how | :14:30. | :14:36. | |
they got on. The whacky professor has found his secret formula. You | :14:36. | :14:40. | |
went at it like a rooster with a booster. | :14:40. | :14:44. | |
You've got to have tighter hold and you stomped with your footwork but | :14:44. | :14:50. | |
it was sharp, it was crisp and you got through it beautifully. | :14:50. | :14:55. | |
need to sort your posture out. That is the main priority and concern. | :14:55. | :14:59. | |
You are picking your feet up way too much and that's why it is | :14:59. | :15:06. | |
looking stompy, but I really liked the routine. | :15:06. | :15:12. | |
My feet were lifting. I was so aware if I didn't lift them to do | :15:12. | :15:16. | |
the turns the I wouldn't get round quick enough. To get a six from | :15:16. | :15:21. | |
Craig is really impressive. They may have found the formula for | :15:21. | :15:23. | |
dancing success. Please welcome Nicky and Karen! | :15:23. | :15:28. | |
CHEERING Hooray! Well done you two on | :15:28. | :15:32. | |
Saturday. It was great. First of all was it a shocker Colin and | :15:32. | :15:36. | |
Kristina being in the bottom two? How was it among the rest of the | :15:36. | :15:43. | |
troops? I think that was a shock. Colin was pretty shocked as well. I | :15:43. | :15:47. | |
think backstage I don't think Fern was happy with her performance. She | :15:47. | :15:50. | |
probably felt she was going in and right at the last minute Fern was | :15:50. | :15:55. | |
kind of announced out of the dance- off and Colin was in. Look, every | :15:55. | :15:59. | |
week now you can't pick it, because there's people who are very good | :15:59. | :16:03. | |
and there's people who aren't, say, brilliant but they are putting in | :16:03. | :16:06. | |
so much evident to be good. You can't call it. And six different | :16:06. | :16:12. | |
couples have been in the bottom two. My dad pointed that out to me. | :16:12. | :16:16. | |
How's he doing? He's going to Venice and it's flooded but | :16:16. | :16:21. | |
anyway... You dropped two places on the leaderboard but how happy were | :16:21. | :16:25. | |
you with your tango on Saturday? It was brilliant. It was happy, I'm | :16:25. | :16:30. | |
not going to lie. If I get to the judges and they are smiling and | :16:30. | :16:33. | |
they say, "We love the aggression and the character" that's it for me. | :16:33. | :16:39. | |
The technical side of it we work so hard on. I did stomp but all week I | :16:39. | :16:44. | |
was trying to keep my feet close to the floor. I was trying to glue his | :16:44. | :16:47. | |
feet on the floor. The posture, to be honest with you, I don't know | :16:47. | :16:51. | |
what more I can do. It is really like this at this point. The feet | :16:51. | :16:58. | |
yes, the posture, even when I see those clips I'm like, to my eyes I | :16:58. | :17:01. | |
can't see the posture being wrong. What do you think about the judges | :17:01. | :17:06. | |
keep going on about his posture? What do you think of his posture? | :17:06. | :17:11. | |
We've been working really hard and it has improved. There's little | :17:11. | :17:16. | |
things, he is not as consistent in but we are working on it. I think | :17:16. | :17:22. | |
he's done a great job on it. We has to stay away from me. I keep | :17:22. | :17:27. | |
telling him, "Keep away from me" but one step at a time. I was a | :17:27. | :17:32. | |
goalkeeper by trade so I was train to do so be on my toes and to. So | :17:32. | :17:39. | |
when I'm dancing I'm like, I've got be on my heels. It is retraining | :17:39. | :17:44. | |
your mind and it is not a natural position, that ballroom. Quickstep | :17:44. | :17:48. | |
is that position and this week tang other is bent leg and this week it | :17:48. | :17:52. | |
is straight again. It is so confusing. There is we think when | :17:52. | :18:00. | |
you two are training possibly a bit of a language barrier between you. | :18:00. | :18:07. | |
Boom! Boom. I have no idea what you mean. | :18:07. | :18:13. | |
Ka-ka. Are you sure about that? I speaking in Spanish? I think you | :18:13. | :18:23. | |
:18:23. | :18:28. | ||
should check the man yum. Choop, ka-ka... What's that? Up pom-pom. | :18:28. | :18:37. | |
OK, alright! APPLAUSE She's a lunatic. How am I supposed to get | :18:37. | :18:41. | |
the posture right if I'm dealing with that? That doesn't mean | :18:41. | :18:44. | |
anything in English, Spanish or Irish by the way. Goodness me, | :18:44. | :18:48. | |
brilliant. You are doing the rumba this week. How is the romance and | :18:48. | :18:54. | |
the speed? Are you loving it? started yesterday and it's | :18:54. | :18:58. | |
different. The song is a really good song, which for me coming from | :18:58. | :19:03. | |
a musical background, if the song is brilliant, I kind of feel you've | :19:03. | :19:10. | |
got half the battle won with the public. I'm learning the rumba. It | :19:10. | :19:19. | |
is very slow. I'm one, two... I think how I do it in my head is | :19:19. | :19:22. | |
learn the steps... Learn the character and put it together in | :19:22. | :19:27. | |
the week. I'm the opposite, character and put the steps on to | :19:27. | :19:31. | |
the character. It is a bit crazy, but I think he's doing great though. | :19:31. | :19:36. | |
It started out good. A bit hectic, a bit unstable, but we are going to | :19:36. | :19:41. | |
get there. Really? She's telling you this now. It is for your own | :19:41. | :19:46. | |
good. Your wife Georgina was persuading tow do this competition, | :19:46. | :19:50. | |
is she proud of you, and your boy? They are loving it, they've been | :19:50. | :19:56. | |
over every week in the audience and the kids watch it at home. Week one, | :19:56. | :20:02. | |
they said you shouldn't have lifted her. I didn't get the memo. | :20:02. | :20:08. | |
last week it was like, "We like Craig, he was the Tin Man, he's | :20:08. | :20:14. | |
cool." It does take over your life. My mother and sister and Georgina's | :20:14. | :20:19. | |
sister and brother, everybody loves it. Good luck with your rumba and | :20:19. | :20:25. | |
keep it slow. I will remember, one, two and three. And slower again. | :20:25. | :20:28. | |
Nicky and Karen! CHEERING | :20:28. | :20:32. | |
Saturday's theme was of course Hallowe'en and the Strictly costume | :20:32. | :20:37. | |
department went into overdrive. Here is our very own dedicated | :20:37. | :20:47. | |
:20:47. | :20:55. | ||
follower of fashion, Julien Please welcome our ambassador of | :20:55. | :20:57. | |
fashion, it's Julien MacDonald! CHEERING | :20:57. | :21:01. | |
Welcome back to Strictly - It Takes Two. The costume department | :21:01. | :21:06. | |
surpassed them with Hallowe'en. was incredible. It took me by | :21:06. | :21:09. | |
surprise - a glamorous new Hallowe'en. You really were like, | :21:09. | :21:15. | |
wow, this is brilliant. You picked out your top three must-see looks | :21:15. | :21:20. | |
of the weekend. In reverse order. Who is your number three of the | :21:20. | :21:25. | |
weekend? My number three of the week is the gorgeous Fern Britton. | :21:25. | :21:34. | |
I love Fern. She always looks super chic and elegant. I want to be that | :21:34. | :21:43. | |
won. She's great! -- I want to with that -- I want to be that woman, | :21:43. | :21:49. | |
she's great! That can be arranged. This is rich, deep velvet, gorgeous. | :21:49. | :21:54. | |
Very sexy. And here we have this incredible embroidered neckline. | :21:54. | :21:59. | |
The neckline is baroque. It has hundreds of crystals and beads. It | :21:59. | :22:02. | |
takes hours to do something like this. And we see the straps of the | :22:02. | :22:08. | |
dress, which helps her look very slim and elongates her body. | :22:08. | :22:15. | |
has lost loads of weight. Why does this outfit work so well for a | :22:15. | :22:20. | |
curvey woman? The combination of the velvet, the georgette, the full | :22:20. | :22:25. | |
skirt. The vev et helps you to suck in and the stretch neck on the arms | :22:26. | :22:31. | |
wrap round the dress. It makes you look and feel confident and feel | :22:31. | :22:37. | |
like a woman. With the way you talk it makes it sound so sumptuous, | :22:37. | :22:43. | |
oozing. Who is your number two of the week? The gorgeous Victoria | :22:43. | :22:48. | |
Pendleton. I love this dress. The thing is apparently it is three | :22:48. | :22:54. | |
dresses which have been chopped up and made into one fabulous white | :22:54. | :22:58. | |
wedding dress. It is incredible isn't it. She says she is getting | :22:58. | :23:02. | |
married and is taking ideas for her own wedding. What stood out for you | :23:02. | :23:09. | |
about this dress? Skirt I love, because it is made from tulle. It's | :23:09. | :23:15. | |
a transparent net with our fashion designers use to make frothy skirts. | :23:15. | :23:23. | |
I am learning so much. You get so excited it is almost disturbing. | :23:23. | :23:27. | |
What about the del tail? Lots of chains and crystals draped around | :23:27. | :23:31. | |
the body. It reminds me a bit of Madonna in Desperately Seeking | :23:31. | :23:37. | |
Susan. It is very 1980s fashion. You could see a young girl wearing | :23:37. | :23:42. | |
this dress perhaps with a pair of big black boots. It is very Camden | :23:42. | :23:46. | |
market for young kids. We'll all be out this weekend buying three | :23:47. | :23:52. | |
dresses and sewing them together. What's about the make-up? It is | :23:52. | :23:58. | |
gothic, dark eyes, and long eyelashes. If they get any longer | :23:59. | :24:03. | |
they will touch the ceiling. I love the fascinator hat. It is a shame | :24:03. | :24:08. | |
she didn't wear it on the night. It reminded me of something that | :24:08. | :24:11. | |
Carrie Bradshaw would wear in Sex And The City. | :24:11. | :24:16. | |
Yes! Incredible. And your number one spot this week July afternoon? | :24:16. | :24:21. | |
The number one Strictly fashion pick has to be... Kimberley! | :24:21. | :24:28. | |
Marvellous. What did you love about her outfit? She's a very saucy and | :24:28. | :24:35. | |
sexy Red Riding Hood, the red cape, the glamorous hood and, my God, the | :24:35. | :24:40. | |
body that is underneath. She has this incredible body. I've dressed | :24:40. | :24:47. | |
Kimberley lots of times. She is so curvey and gorgeous stkhfplt That | :24:47. | :24:52. | |
tiny waist. Not many women could wear this waist with the hips? | :24:52. | :24:55. | |
wouldn't recommend this look to a lot of people, as you do have to | :24:55. | :25:00. | |
have an incredible body. If you want to go for a crop top I would | :25:00. | :25:07. | |
layer it and layer it and layer it. Like a vest? I would put a body, a | :25:07. | :25:12. | |
T-shirt and the crop top on the top. This is a theatrical costume and | :25:12. | :25:17. | |
you could turn into a fashion disaster if you left the house with | :25:17. | :25:23. | |
nothing but that top on. Goodness me. I shall put mine aside. Even I | :25:23. | :25:33. | |
did spot the Gawdets in this dress. Apparently there's sight in one | :25:33. | :25:37. | |
skirt. Outrageous! It is a fashion designer's dream. | :25:37. | :25:47. | |
But these are dip dyed, pleet, nipped with silk and covered in | :25:47. | :25:53. | |
hundreds of cyst ands! I'm really hoping that someone will sample | :25:53. | :26:01. | |
that and make into it a record. And now your guilty pleasure of the | :26:01. | :26:07. | |
week. My guilty pleasure is the very handsome this week Richard | :26:07. | :26:15. | |
Arnold. Butch, handsome, countries eled jaw line, a -- chiselled jaw | :26:15. | :26:21. | |
line. Covered in rocks. Look out. The thing is an embroiledered | :26:21. | :26:28. | |
jacket is the fashion must-have of the season for women. Not many men | :26:28. | :26:33. | |
can carry that look off. It is not fair that you girls get all the fun. | :26:33. | :26:41. | |
Us guys need a bit of sparkle as well. Stunning. Did he have | :26:41. | :26:45. | |
painted-on stubble? I don't think he shaved for a week. All that | :26:45. | :26:50. | |
dancing around. So good. We've talked a lot about Strictly fashion | :26:50. | :26:56. | |
and translating into the real world. You've got a treat for us I | :26:56. | :27:01. | |
believe? I'm taking Denise van Outen's dress and put it on Amy who | :27:01. | :27:10. | |
works in a zoo. Fantastic. Let's see fit worked. | :27:10. | :27:16. | |
Hi I'm Amy and I'm a zoo keeper at Battersea Park children's zoo. This | :27:16. | :27:22. | |
is what I usually wear at work. Let's go feed some animals. My | :27:22. | :27:25. | |
colleagues have very jealous. They would have loved to have done it | :27:25. | :27:34. | |
themselves but I'm the fan, so I got to do it. | :27:34. | :27:38. | |
It is such an unglamorous job normally so it is nice to wear | :27:38. | :27:44. | |
something pretty and sparkly rather than wellies. These are the ring- | :27:44. | :27:48. | |
tailed lemurs. Let's see how they take to my outfit. | :27:48. | :27:52. | |
Wearing the outfit is fantastic. There are a few issues with wearing | :27:52. | :27:56. | |
stilettos in the enclosures. Wearing heels in sand doesn't | :27:56. | :28:04. | |
really mix. This isn't the most glamorous part | :28:04. | :28:09. | |
of the job but let's see if this will give it a bit more sparkle. | :28:09. | :28:14. | |
When I was cleaning out the enclosures and I was bending down, | :28:14. | :28:21. | |
I was trying to convince my boss that this is the way forward for | :28:21. | :28:26. | |
the new uniforms. But it is not practical enough. Who knows, maybe | :28:26. | :28:33. | |
some of the glamour has rubbed off. Let's here it for Amy -- hear it | :28:33. | :28:39. | |
for Amy! A lot of women in you said you will be wearing Denise van | :28:39. | :28:46. | |
Outen's dress, they would be terrified. She's got an amazing | :28:46. | :28:51. | |
body, and here is Amy looking gorgeous. Cleaning up lemur poop. | :28:51. | :28:56. | |
Will you come back next week Julien? Definitely. Julien | :28:56. | :29:00. |