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Hello. Welcome to Tuesday's two two. Tonight's show very much a tale of | :00:12. | :00:17. | |
two foxtrots. They survived dancing disaster to bounce back. Richard | :00:17. | :00:19. | |
and Erin are here. APPLAUSE | :00:19. | :00:23. | |
And on Saturday night they gave us the sweetest feeling, Michael and | :00:23. | :00:25. | |
Natalie are here. APPLAUSE | :00:25. | :00:30. | |
And to describe the difference between forgotten foot work and | :00:30. | :00:34. | |
fleckerls, Karen Hardy is here. Three words come to mind when I see | :00:34. | :00:41. | |
this man, godet, godet, godet, Julien MacDonald. What a line up. | :00:41. | :00:51. | |
:00:51. | :01:20. | ||
This is Strictly It Takes Two. Please welcome your host, Johnny | :01:20. | :01:25. | |
Ball. Zrb Zoe Ball. | :01:25. | :01:30. | |
Hello. Welcome to It Takes Two. Saturday saw Richard face every | :01:30. | :01:35. | |
celebrity's worst fear as he forgot his foxtrot. Here's a reminder of | :01:36. | :01:43. | |
what happened. A complete dance disaster. That was just a shame, | :01:43. | :01:48. | |
because you just lost your focus. It was a tad ploddy. I'm going to | :01:48. | :01:54. | |
call you the plod father. You've got a face on you like a frozen | :01:54. | :02:04. | |
haddock. It all went terribly wrong. It was a dance disaster. Yeah, for | :02:04. | :02:09. | |
once Craig hit it spot on. Maybe we'll get a chance to do it again. | :02:09. | :02:19. | |
:02:19. | :02:22. | ||
I think we might. I still love you. I love you too. Judges it's time | :02:22. | :02:29. | |
toe decide. Richard and Erin. Richard and Erin? Richard and Erin. | :02:29. | :02:32. | |
Please welcome Richard and Erin. APPLAUSE | :02:32. | :02:37. | |
Thank you guys. Oh, my goodness me. Bless you forgetting your steps is | :02:38. | :02:41. | |
the stuff that Strictly nightmares are made of. Did you ever think it | :02:41. | :02:45. | |
could happen to you? There was a moment where I looked down and I | :02:45. | :02:50. | |
thought, "Shave your legs, it's Saturday night." Then I just lost | :02:50. | :02:57. | |
focus completely. It's all about myself, not you dear. It was one of | :02:57. | :03:04. | |
those moments and my palms have gone clammy thinking about it. I've | :03:04. | :03:09. | |
had my fair share of live television. But it was out of body. | :03:09. | :03:16. | |
That was thought about anything else. I was thinking Mary Berry's | :03:17. | :03:21. | |
Victoria sponge, and I must get the flour in. At what point did it slip | :03:21. | :03:27. | |
away? I have no idea. Oh, I do. I remember well. As the pro, do you | :03:27. | :03:31. | |
suddenly, did you see it in his eyes? I heard it. Because he | :03:31. | :03:35. | |
actually turned to me, I felt it first, then I could feel that he | :03:35. | :03:39. | |
was going off in another direction. I thought, I have to take him this | :03:39. | :03:44. | |
way. He looked at me and went "I just can't remember". We have your | :03:44. | :03:54. | |
:03:54. | :04:03. | ||
Micks. Let's relive it again. Go on. Oh, no. Go right. Pifots. | :04:03. | :04:11. | |
Pifots. -- pivots. When she said pivot, I | :04:11. | :04:16. | |
thought, oh, I know that one. Let's have a go at that one. You can help. | :04:16. | :04:20. | |
It does happen. It shows it was live TV. We just had to then go up | :04:20. | :04:23. | |
and face those judges after that. The thing is that then you came | :04:23. | :04:28. | |
back in the dance-off and you had a second chance to do it right. | :04:28. | :04:31. | |
Cracker. You did it brilliantly. That was the thing that was most | :04:31. | :04:35. | |
important to me redeeming ourselves in front of everybody. Because we | :04:35. | :04:39. | |
had put the hours in. We trained, we worked, we had the number. | :04:39. | :04:44. | |
was there. It was somewhere. I had to dig deep for it. We were | :04:44. | :04:48. | |
prepared for the dance-off. I'm glad we got to do it. It shows that | :04:48. | :04:53. | |
Richard is improving, he can do it. He went out there and got all his | :04:53. | :04:57. | |
steps right and we were fortunate enough to stay. Not the best | :04:57. | :05:01. | |
weekend but things improved on Monday, did they? On a Monday | :05:01. | :05:05. | |
you're overwhelmed when you start a routine. You get through the | :05:05. | :05:11. | |
weekend and you're giddy and you come in and you're like... Ah. | :05:11. | :05:17. | |
Argh! Well done. It's Monday morning. Tell me why I | :05:17. | :05:22. | |
don't like Mondays. Oh, God. Come on it's a Monday. This is like | :05:22. | :05:26. | |
learning to walk again. I can't get this bit at all. It's like starting | :05:26. | :05:32. | |
from the very beginning. Point your leg out. I can't do that. Ye you | :05:32. | :05:38. | |
can. Tell me when you've finished. That's beautiful. I just threw up | :05:38. | :05:44. | |
in my own mouth. He's a classy sort. We're nothing | :05:44. | :05:49. | |
if not human. Mondays are difficult for everybody because it's a | :05:49. | :05:53. | |
mountain to climb. Every Monday is a joy to be back, there she goes, | :05:53. | :05:57. | |
welcome to week four, welcome to week five. This week, welcome to | :05:57. | :06:03. | |
week six. Really? Welcome to the charleston. Jazz hands. How is it | :06:03. | :06:10. | |
so far? We're loving it. Love it. It's like a keystone cop. It's very | :06:10. | :06:14. | |
Richard. He's bubbly and fun, that's what it's all about, a story, | :06:14. | :06:18. | |
we're telling a story and having fun. You can just let yourself go a | :06:18. | :06:22. | |
bit this week. We're allowed to tell you a bit about the story. | :06:22. | :06:27. | |
Come on. I'm her hairdresser. Do you think I'm being shoe horned | :06:27. | :06:30. | |
into a cliche on this show. What are they trying to do. You would | :06:30. | :06:34. | |
tell me wouldn't you? I'd always be honest with you. I think it will be | :06:34. | :06:39. | |
a good week for you. I have julienne running up the most | :06:39. | :06:42. | |
amazing frock, I have no idea what you're wearing. Richard and Erin! | :06:42. | :06:48. | |
Thank you. With no themes, it was back to | :06:48. | :06:51. | |
basics this weekend..celebrities rise to the challenge. Here to | :06:51. | :07:01. | |
:07:01. | :07:07. | ||
offer her expert opinion is Karen Welcome Karin! | :07:07. | :07:12. | |
APPLAUSE A lady who throws down shapes and | :07:12. | :07:15. | |
explains it to us. Really mixing it up this year, eight different | :07:15. | :07:19. | |
styles on dance on Saturday, much to cover. First of all, Dani and | :07:19. | :07:23. | |
Vincent and the jive. The highest scoring jive of the series. What | :07:23. | :07:27. | |
made it so good? We've got to look straight at the choreography, of | :07:27. | :07:31. | |
course, what was great about this, I've seen so much of the side by | :07:31. | :07:36. | |
side kicks and flicks. But the true essence of a great jive is what we | :07:36. | :07:40. | |
have here it circumstance laits. She's going under the arm and | :07:40. | :07:45. | |
turning and the routine is turning and back again. The greatest jives | :07:45. | :07:50. | |
in the world are all about turning. She did it so well. Nicki and Karin | :07:50. | :07:53. | |
and the rumba. Craig said it was just a series of presentations, | :07:53. | :07:57. | |
what due think? I quite like today. I'm going against the grain here. I | :07:57. | :08:01. | |
thought it was brilliant. It was the perfect balance and why? Let's | :08:01. | :08:05. | |
look straight away here. We've got look straight away here. We've got | :08:05. | :08:08. | |
an open hip twist. He's dancing. He's using his hips, sending her | :08:08. | :08:12. | |
into fan position. He's doing his back base ibgdz, forward checks. | :08:12. | :08:17. | |
You don't need any more than that. Even at a high top level in the | :08:18. | :08:22. | |
professional field it takes a world champion to come out and only do | :08:22. | :08:25. | |
basics. You want the passion. The most thing about a woman, you've | :08:26. | :08:30. | |
got to present her. It's not all about being the proud peacock in | :08:30. | :08:34. | |
this dance. It's all about your woman and he did it brilliantly. | :08:34. | :08:42. | |
Well done. Denise and James an the Vienneseualities. Huge 35 for this | :08:42. | :08:52. | |
:08:52. | :08:54. | ||
on Saturday. -- Viennese waltz. attention to detail is here. Look | :08:54. | :08:58. | |
at the spin there where her arms are around her waist, then they're | :08:58. | :09:02. | |
over her shoulders. These are the hardest spins to do. Any time the | :09:02. | :09:05. | |
arms elevate, it makes the spins much more difficult. She could have | :09:05. | :09:09. | |
arrived there, bumped, fallen over, missed the connection. She didn't. | :09:09. | :09:13. | |
It was effortless. It's the attention to detail that make it's | :09:13. | :09:18. | |
look so seamless and beautiful. Well done. Victoria and Brendan and | :09:18. | :09:22. | |
the samba. Bruno very critical saying that at week five, her | :09:22. | :09:26. | |
rhythm should be better. What do you think? I want to ask you, what | :09:26. | :09:31. | |
does rhythm mean? I'm not sure and I can't spell it. A regular | :09:31. | :09:36. | |
occurrence of accented beats. Now everyone says rhythm, do we know | :09:36. | :09:45. | |
what it means? We take a metronome. It can never speed up and in | :09:45. | :09:49. | |
Victoria's case it can never slow down. Once we set that. Am I | :09:49. | :09:53. | |
sending you to sleep. What we have here, as she finishes the dance, | :09:54. | :09:58. | |
the band keeps playing at this speed but she decides I'm going to | :09:58. | :10:01. | |
slow down. That's what Bruno is talking about. The rhythm goes. | :10:01. | :10:05. | |
Once the dance starts, you have to keep the beat going. Have you to | :10:05. | :10:09. | |
keep the speed going. It doesn't mean keep the body moving, it means | :10:09. | :10:13. | |
keep the regular beat ticking along. You can't slow down and have a cup | :10:13. | :10:18. | |
of tea before the music is finished. Michael and Natalie and his foxtrot. | :10:18. | :10:22. | |
Praise all round from the judges. Darcey was going on about his stiff | :10:22. | :10:27. | |
neck. I could argue it needed to be more active. But definitely not | :10:27. | :10:31. | |
stiff. Simply because the complex choreography he was doing, if you | :10:31. | :10:35. | |
look here, we go into a beautiful action of a double fall away, which | :10:35. | :10:40. | |
I love, not just one, there's one and here comes the second one, into | :10:40. | :10:44. | |
the oversway. If we freeze it there, you can argue he needed to slightly | :10:44. | :10:48. | |
give it a little bit of dance, a bit of a breathe. But definitely | :10:48. | :10:53. | |
not stiff for me. I thought it was an incredible routine. I just think | :10:53. | :10:59. | |
he looks suave and sophisticated out there. First class. Lisa and | :10:59. | :11:05. | |
Robin and the tango. The judges almost came to blows over this. Was | :11:05. | :11:10. | |
there too much up and downiness? Our knees should be really | :11:10. | :11:13. | |
compressed in this dance. Because the knees are low, it means that | :11:13. | :11:17. | |
we're meant to peel the feet, pick them up off the floor and put them | :11:17. | :11:20. | |
down again. Now, it's very difficult because the knees are so | :11:20. | :11:25. | |
bent, as you pick up, everything comes up with it. We tend to get | :11:25. | :11:29. | |
this bouncing action. What you've got to do is stalk across the floor. | :11:29. | :11:34. | |
You pick the knees up like that. If we look at this, you see this | :11:34. | :11:39. | |
bouncing as she closes her feet, bounce, bounce. You need to keep | :11:39. | :11:46. | |
that all on one level. In the moment, Craig used the wrong word | :11:46. | :11:51. | |
"guide" and everybody attacked them. We pick up the feet in tango but | :11:51. | :11:57. | |
the level of the head must remain the same. That creates the stacatto | :11:57. | :12:02. | |
action. Kimberly and Pasha, the highest score so far. Len spotted | :12:02. | :12:07. | |
an incident with the arms. Due spot it? It was very slight. Look at the | :12:07. | :12:12. | |
commitment she gave to it. Not only does she have fantastic routine of | :12:12. | :12:15. | |
use of the arms, twist, turn and hey flick the head at the same time | :12:16. | :12:19. | |
as I use my arm. Here is the mistake, there you go, he grabs, | :12:19. | :12:24. | |
but what a team. They recover. That's what it's all about. When | :12:24. | :12:28. | |
you have done a complex action like that, it, you can lose why you are. | :12:28. | :12:33. | |
She was brilliant because we were seeing all this armology, people | :12:33. | :12:37. | |
didn't see how great her technique was as well. In this for a long | :12:37. | :12:42. | |
time. Fern and Artem and the paso doble. Some criticism again for | :12:42. | :12:46. | |
Fern for not delivering the performance. Where is she going | :12:46. | :12:49. | |
wrong? I say it to all my students, thinking and doing are two | :12:50. | :12:53. | |
different things. If I shook your hand naturally in the street we'd | :12:53. | :12:57. | |
do that. If you shake hands on TV you have to make it clear. She's | :12:57. | :13:01. | |
thinking she's doing it right, but it's not coming through. I believe | :13:01. | :13:05. | |
that it's the expectation. Everybody loves Fern. We're wanting | :13:05. | :13:09. | |
her to look like a world champion. We love her but she's just not | :13:09. | :13:12. | |
delivering that expectation for everyone. Give her a chance. She's | :13:12. | :13:19. | |
growing. Louis and Flavia and the samba. Len praised the content. But | :13:19. | :13:24. | |
Bruno said it strayed into salsa? Nowhere near a salsa. So far from | :13:24. | :13:27. | |
it. This dance was incredible. I need to explain a few things. We've | :13:27. | :13:33. | |
talked about rhythm today. In the samba, we have 11 different rhythms. | :13:33. | :13:37. | |
Some of these steps of these rhythms have to be danced flat, | :13:37. | :13:40. | |
some bounce and some curve. I'm going to show you how brilliant | :13:40. | :13:47. | |
this dance was. Look here as we go into these steps. This step, his | :13:47. | :13:52. | |
head stays flat throughout the dance. Natural turn, it's all | :13:52. | :13:57. | |
stayed flat. He's not bouncing up and down. Now, he starts to bounce. | :13:57. | :14:03. | |
Perfect. We had a combination of rhythms, some of them flat, some of | :14:03. | :14:06. | |
them bounce. Don't be misunderstood that this dance should dance | :14:06. | :14:10. | |
throughout. It should be a combination and he did it perfectly. | :14:10. | :14:15. | |
Well done Louis. Richard and Erin and the foxtrot. We know now it all | :14:15. | :14:18. | |
went wrong on the night. How hard is it for a celebrity to get back | :14:18. | :14:21. | |
into the dance once you've forgotten where are you? There's | :14:21. | :14:25. | |
something I always say to people, the answer's are -- the answers are | :14:25. | :14:31. | |
in the music. What happened here was a meltdown on TV. He thought | :14:31. | :14:36. | |
our lovely Erin twinkle toes were going to put him into steps. If I | :14:36. | :14:41. | |
look at Erin's feet, then maybe they will help me. If he'd have | :14:41. | :14:45. | |
just listened to the music, the beats were there, which we talked | :14:45. | :14:48. | |
about tonight, and also, there's those big strong actions. He would | :14:48. | :14:51. | |
have rehearsed it time and time again that would have said, I've | :14:51. | :14:56. | |
done that all wrong, but this is my pivot. What he didn't do, he looked | :14:56. | :15:01. | |
down at the feet. He was saved. Let's leave with that The Hardest | :15:01. | :15:07. | |
Partism that you just taught us -- Hardyism - that you just taught us. | :15:08. | :15:11. | |
The answers are always in the music. The answers are always in the music. | :15:12. | :15:19. | |
Karen Hardy, thank you so much. Don't forget, you can catch Karen | :15:19. | :15:24. | |
Hardy on the red button on Saturday. Who do you have with you? John | :15:24. | :15:29. | |
Culshaw. You'll have everybody. For a second week in a row Michael and | :15:29. | :15:34. | |
Natalie blew us away and their foxtrot landed them a whopping 31 | :15:34. | :15:38. | |
points. Here's a reminder of what happened. | :15:38. | :15:43. | |
What a good job. I hope this dream will continue for you. You just | :15:43. | :15:47. | |
need to add three things - style, you need to add swing and you need | :15:47. | :15:53. | |
to add sway. You shine in ballroom. You're elegant, graceful and you | :15:54. | :15:59. | |
glide. Wear tails every week, please. Best foxtrot of the night | :15:59. | :16:09. | |
:16:09. | :16:17. | ||
As soon as I get on the dance floor in the lives, I just kind of like | :16:17. | :16:21. | |
it. I think you've got style. You had a little bit of swing, a little | :16:21. | :16:27. | |
bit of sway. But not enough. Please welcome Michael and Natalie! | :16:27. | :16:35. | |
APPLAUSE You start welling up watching these | :16:35. | :16:40. | |
stories. They're like love stories. Len said best foxtrot of the night. | :16:40. | :16:43. | |
How was it for you? I was nervous on Saturday night, more than last | :16:44. | :16:48. | |
week. I kind of just got on the dance floor and relaxed about | :16:48. | :16:53. | |
halfway through. The second half was better than the first half. The | :16:53. | :16:57. | |
first few steps my legs were wobbling with nerves. How do you | :16:57. | :17:02. | |
calm him before you go on? I done real -- I don't really. She has a | :17:02. | :17:07. | |
little look. It's the look of fear. Please don't forget your steps or | :17:07. | :17:12. | |
stay calm, keep cool, carry on. gives me a few last minute tips. | :17:12. | :17:15. | |
You're about to go on. She says get your legs into the dance floor and | :17:15. | :17:19. | |
you'll be OK. I know he's fine. It's just that initial, getting off | :17:19. | :17:23. | |
on the right foot, starting on the right timing and then we're fine. | :17:23. | :17:27. | |
The great thing is you matched your brilliant score for the quickstep | :17:27. | :17:32. | |
the week br. You must be thrilled. Lots of praise from the judges. | :17:32. | :17:36. | |
Annie from Pembrokeshire says "Well done Natalie, you've made a real | :17:36. | :17:41. | |
dancer out of Michael." Is that good to have hard work recognised? | :17:41. | :17:46. | |
I try to give her as much credit. I call her Harry Potter. She's like | :17:46. | :17:49. | |
the Wizard of Oz. She's amazing. Only a few weeks ago I couldn't | :17:49. | :17:54. | |
really move around the dance floor. To get 31 and 31 on consecutive | :17:54. | :17:58. | |
weeks. She's doing something right. You're delivering. It's not just | :17:58. | :18:02. | |
about me. You want to do the work. You deserve it. Clue in the title, | :18:02. | :18:10. | |
It Takes Two. Very good. So Darcey said elegant and graceful, but | :18:10. | :18:13. | |
quite how you achieve that when we've watched your training back is | :18:13. | :18:23. | |
:18:23. | :18:45. | ||
APPLAUSE They love it. It's funny seing that. | :18:45. | :18:50. | |
We have a lot of fun. You work with sportsmen all the time. They must | :18:50. | :18:55. | |
be notorious for playing tricks. You met your match. I got mine back. | :18:55. | :18:59. | |
So salsa. We go from ballroom to salsa for you this week. You've | :18:59. | :19:03. | |
struggled a bit with the Latin. Do you think this new-found confidence | :19:03. | :19:07. | |
is going to carry through to this weekend? I really think it's a | :19:08. | :19:12. | |
great opportunity because two weeks of ballroom has gone well. The two | :19:12. | :19:15. | |
weekends previously with the Latin wasn't as good. I don't think | :19:15. | :19:19. | |
anyone's going to expect anything. That is a point. That's my attitude | :19:19. | :19:24. | |
for the week. Train as hard as for the ballroom and hopefully surprise | :19:24. | :19:27. | |
a few. If there's no huge expectation, they're all like oh, | :19:27. | :19:34. | |
here he comes, you can go that-da. Here we are, salsa king, look out. | :19:34. | :19:37. | |
Could you say that with a bit more conviction next time. I'm hoping | :19:38. | :19:41. | |
any way. The thing is, sheer hard work does translate onto the dance | :19:41. | :19:45. | |
floor. You have been putting the hours in. You're right up there on | :19:45. | :19:50. | |
the training hours, the most that you've done. Is that how you were | :19:50. | :19:54. | |
with cricket. Is that a sportsman thing? If you spoke to my cricket | :19:54. | :19:58. | |
coaches they wish I had tried a bit harder, as I do with the dance. | :19:58. | :20:01. | |
It's the only way to get better, by putting the hours in. To catch up | :20:01. | :20:05. | |
with the likes of Denise and Louis and Kimberly, I've had to put more | :20:05. | :20:09. | |
time in. It's the only way I feel I can get the routines in my head and | :20:09. | :20:13. | |
then somehow deliver a decent performance on a Saturday night. | :20:13. | :20:16. | |
You have worked miracles before with Michael. Can you do it this | :20:16. | :20:22. | |
week with the salsa? We're going to do what we do, try as hard as we | :20:22. | :20:28. | |
try in every other dance. It's a great song. Tlgz a great feeling. | :20:28. | :20:32. | |
Sprinkle your dust again. Bring some magic. We will do everything | :20:32. | :20:38. | |
we can, have fun with it. I love dancing with you. I think he's | :20:38. | :20:41. | |
amazing. Good luck with your salsa. I think it's going to be great. | :20:41. | :20:46. | |
I believe. It gives you a warm feeling. A | :20:46. | :20:49. | |
beautiful array of dresses on the dance floor this weekend. Who | :20:49. | :20:53. | |
better to talk us through them than It Takes Two's very own style guru | :20:53. | :21:03. | |
:21:03. | :21:16. | ||
Mr Julien MacDonald. Please welcome Lord glamb mbas -- | :21:16. | :21:21. | |
glambasador. Was it good to see traditional outfits? I absolutely | :21:21. | :21:26. | |
loved lamb week's show. It was sparkling, colourful and truly | :21:26. | :21:31. | |
Strictly. Julienne's here. You could get excited about a pin I | :21:31. | :21:35. | |
think. You've picked your favourite three outfits, as always. We're | :21:35. | :21:42. | |
going in reverse order. Who's is number three? Victoria. Come on | :21:42. | :21:46. | |
lady. This dress looks quite simple, but I'm told it's actually very | :21:46. | :21:50. | |
complicated in design. It's a very complicated structure. There's a | :21:50. | :21:57. | |
bod is. There's a cup. It's made from microfibre, very technical | :21:57. | :22:02. | |
fabric, a beast to sew. But it looks amazing on her. It looks | :22:02. | :22:06. | |
glorious. Tell me about the ruched Basque. That's what it says here. | :22:07. | :22:11. | |
Thafrpblgts is a gathered cup to give her a bit of a lift and more | :22:11. | :22:21. | |
:22:21. | :22:22. | ||
of a fuller bust shape. So a like a show girl stylee. I need a ruched | :22:22. | :22:26. | |
Basque. This is short at the front and long at the back. This is on | :22:26. | :22:30. | |
trend. A lot of designers are experimenting with short and long | :22:30. | :22:35. | |
hem. This is a special hem. I have been waiting week after week for a | :22:35. | :22:41. | |
Strictly ruffle. You wanted a ruffle, you've got one. This is | :22:41. | :22:47. | |
Strictly ruffles. It's not just one ruffle, it's a multitude of ruffles. | :22:47. | :22:52. | |
Why I love ruffles so much, stop laughing, I'm being serious, they | :22:52. | :22:57. | |
are the biggest fashion trend for next summer. If you have any | :22:58. | :23:02. | |
ruffles in your wardrobe, ruffle them up and keep them for the | :23:02. | :23:08. | |
summer. Can we all carry on a ruffle, honestly? It can be ageing. | :23:08. | :23:16. | |
But as fashion will tick Tate, next summer you're going to see a lot of | :23:16. | :23:22. | |
big, small, ruffles. We heard it from you first. Number two, who's | :23:22. | :23:28. | |
is that? My number two of the week has to be Dani. She looked | :23:28. | :23:34. | |
absolutely gorgeous in this outfit. Apparently leopard print on trend. | :23:34. | :23:38. | |
It's always in fashion. Every description of an animal print is | :23:38. | :23:45. | |
always in fashion. But it's great to see it Strictlyified. Does a | :23:45. | :23:51. | |
skirt this length flatter a person of this stature? It's great if | :23:51. | :23:55. | |
you're short. But if you're tall this kind of skirt can make you | :23:55. | :23:59. | |
look like a giraffe. This is a special skirt. It's very special | :23:59. | :24:05. | |
because this black border which is a bias border, sewn onto the skirt | :24:05. | :24:10. | |
to open the skirt up and give it lots of volume. So when she's doing | :24:10. | :24:17. | |
the spins it twirlz out and you can see the unitard underneath. It was | :24:17. | :24:20. | |
pink! I've been paying attention. Do I get extra marks? And who is | :24:21. | :24:25. | |
the top spot for you this week? Well, it has to be, this is the | :24:25. | :24:29. | |
first on the fashion spot, Denise Van Outen. I'm so glad you said | :24:29. | :24:33. | |
that. She looked gorgeous on Saturday night. Why does she | :24:33. | :24:39. | |
deserve the top spot? She looks spepbsive and chic and it's what we | :24:39. | :24:45. | |
want to see on Strictly, this kind of gorgeous dress. Apparently no | :24:45. | :24:50. | |
godets this week. What is that then? I've told you before. Sorry, | :24:50. | :24:54. | |
pay attention. A godet is a triangular piece of fabric inserted | :24:54. | :24:59. | |
into a skirt to create volume. This is a big piece of fabric which | :24:59. | :25:04. | |
falls flat onto a crinoline base. It's a crinoline base with lots of | :25:04. | :25:10. | |
fabric all gathered to make the soft, floating Kandy Floss hem. | :25:10. | :25:17. | |
I understand! Lovely embellishment on the bust area. The top half of | :25:17. | :25:23. | |
the dress is incredible. This is a bugle bead. Bugle bead! I've never | :25:23. | :25:28. | |
heard that before. It sounds special. It's a bugle bead which is | :25:28. | :25:33. | |
a cylinder of glass and it's laminated with metallic inside. The | :25:33. | :25:37. | |
metallic and fringing makes it very modern. We have a tale of two | :25:37. | :25:42. | |
cities, a dress soft and romantic and very hard and graphic and very | :25:42. | :25:49. | |
feminine on the top. I love it when you talk like. That Now not only | :25:49. | :25:54. | |
Denise and Dani and Victor ya, you did have another favourite from -- | :25:54. | :25:58. | |
Victoria, you had another favourite. My guilty pleasure has to be Louis. | :25:58. | :26:06. | |
Come on! This is a skin-tight top with an animal print on the top of | :26:06. | :26:12. | |
a swirl. This is a zip top. Apparently he chose to stop the zip | :26:12. | :26:17. | |
just there. Teasing. Classy boy. It will get lower as the weeks go on, | :26:18. | :26:22. | |
I think. Apparently, look at him working it. Come on Louis. Get out | :26:22. | :26:29. | |
of guns. He doesn't think the camera's running. Apparently he's | :26:29. | :26:32. | |
just won Ultimate Hottie of the Year at the cosmopolitan awards. | :26:32. | :26:41. | |
Deservedly. So He look s just like Po peye. Look, the reverse! Let's | :26:41. | :26:47. | |
hear it for Louis. He worked it. Last week, with a help from Amy the | :26:47. | :26:50. | |
zookeeper, you demonstrated how the Strictly outfits can cross over | :26:50. | :26:55. | |
into the work place. You've been at it again. I've been very naughty. I | :26:55. | :27:02. | |
have given Bev the plumber Lisa's hanky panky outfit to wear to work | :27:02. | :27:10. | |
plumbing. I love it. Plumbing, surely not. Take a look. | :27:10. | :27:15. | |
My name's Bev and I'm a plumber. This is my normal work outfit. But | :27:15. | :27:18. | |
today, I've been sent a frock from Strictly and so I'm going to change | :27:19. | :27:23. | |
from this to this. Wow! That's better. Time to go to | :27:23. | :27:33. | |
:27:33. | :27:41. | ||
Hi I've come to do your sink. look fantastic. Thank you. It felt | :27:41. | :27:46. | |
amazing. Lots of stretch in it, which is good for reaching into all | :27:46. | :27:50. | |
the hard to get to places, but the length of it not great for plumbing. | :27:50. | :27:56. | |
How does it feel in a glamorous dress? Good, but it's a bit on the | :27:56. | :28:06. | |
:28:06. | :28:09. | ||
How are you doing with the high heels? I love them, but I don't | :28:09. | :28:13. | |
think health and safety will be too impressed. I felt amazingly | :28:13. | :28:17. | |
glamorous and it was good to feel that glamorous whilst working. I | :28:17. | :28:22. | |
think my colleagues would love it. They'll be madly jealous. The best | :28:22. | :28:26. | |
looking plumber I've ever had. been fantastic being made up for | :28:26. | :28:29. | |
the day and wearing the dress. Unfortunately I've had to give it | :28:29. | :28:34. | |
back now and go back to my old work clothes. But it doesn't mean I | :28:34. | :28:41. | |
can't Accessorize. Let's hear it for Bev! She looked | :28:41. | :28:47. | |
gorgeous. Thank you very much to Ann and Charles, Ann beautiful as | :28:47. | :28:52. | |
well. Bev can fix my pipes any week in that dress. Thank you to Julien | :28:52. | :28:58. | |
MacDonald. See you next week. Thank you to all my guests tonight. | :28:58. | :29:01. | |
Tomorrow I'm talking to Denise and James, Louis and Flavia and | :29:01. | :29:05. |