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Hello and welcome to Tuesday's show. On tonight's programme: They are | :00:12. | :00:17. | |
still here, Kimberley and Pasha. APPLAUSE They got top scores this | :00:17. | :00:22. | |
weekend, top scores of the series so far, Denise and James are here. | :00:22. | :00:27. | |
APPLAUSE She's a hardy woman to please. She has such high | :00:27. | :00:31. | |
expectations. Karen Hardy is here with Choreography Corner. APPLAUSE | :00:31. | :00:37. | |
Julien Macdonald is here tonight. APPLAUSE It will be a marvellous | :00:37. | :00:47. | |
:00:47. | :01:16. | ||
This is Strictly: It Takes Two. Please welcome your host, Zoe Ball! | :01:16. | :01:22. | |
APPLAUSE Hello. Welcome to Tuesday's It Takes Two. In a moment, | :01:22. | :01:27. | |
I will be chatting to Kimberley and Pasha. Here is a reminder of their | :01:27. | :01:33. | |
romantic Viennese waltz from the weekend. | :01:33. | :01:38. | |
That was such an emotive performance. You really moved me. | :01:38. | :01:47. | |
It was gentle, I really enjoyed it. Well done. Oh, really achingly | :01:47. | :01:52. | |
romantic. I love the sense of are we going to end up together? Or are | :01:52. | :02:01. | |
we going to be separated at the end? That was a delicious Viennese. | :02:01. | :02:11. | |
:02:11. | :02:11. | ||
I loved it. Yes! We got a nine from Len. And Bruno. And Bruno. | :02:11. | :02:18. | |
enjoyed it. People enjoyed it. That was great reaction. Amazing. Which | :02:18. | :02:23. | |
of you will be back to dance again next week? Judges? Kimberley and | :02:23. | :02:29. | |
Pasha. Kimberley and Pasha. Kimberley and Pasha. Please welcome | :02:29. | :02:34. | |
Kimberley and Pasha. APPLAUSE Oh, goodness me. What an emotional | :02:34. | :02:40. | |
weekend you had. Such a beautiful Viennese waltz. Then, second on the | :02:40. | :02:44. | |
leaderboard. To be in the bottom two, you must have been devastated? | :02:44. | :02:48. | |
I was gutted to be in the bottom two. We had really enjoyed our | :02:48. | :02:53. | |
dance on Saturday. Obviously, we got our highest scores so far. We | :02:53. | :02:56. | |
were really happy and, yeah... was worried about you, during the | :02:56. | :03:04. | |
results you were going pale rerks. She is going to fall down! -- paler. | :03:04. | :03:09. | |
She is going to fall down? She was holding on to me. Pasha, how did | :03:09. | :03:13. | |
you feel? This is the first time you have been in the bottom two is | :03:13. | :03:21. | |
this Yes. LAUGHTER Oh no, don't... How did it feel for you? It was | :03:21. | :03:27. | |
fine. I was really concerned about Kimberley. I could feel the energy | :03:27. | :03:31. | |
change around her and she was like holding on. I was, are you OK? Are | :03:31. | :03:37. | |
you going to fall now? He was so good. He stayed so calm which | :03:37. | :03:40. | |
helped me to gather myself together. I had a little moment where I | :03:40. | :03:45. | |
thought oh God, I don't know if I can do this. He gave me the, yes, | :03:45. | :03:50. | |
you can. He is so good. He is. are a lucky girl. So many messages | :03:50. | :03:54. | |
of support for you online. Loads of messages coming in. People are | :03:54. | :03:59. | |
shocked to see you in the bottom two. "How was Kimberley in the | :03:59. | :04:04. | |
bottom two? Her dance was beautiful." It is a warning to | :04:04. | :04:10. | |
everyone. They need to vote for you? Yeah. You should take heart | :04:10. | :04:15. | |
because Tom Chambers was in the bottom two and he went on to win. | :04:15. | :04:21. | |
See! It can happen. Also, your mate, Cheryl Cole was in the bottom two | :04:21. | :04:28. | |
on Pop stars The Riels and look at her now! -- The Rivals and look at | :04:28. | :04:33. | |
her now. Fact! Did that make you more nervous dancing in front of | :04:33. | :04:39. | |
her? No. I was quite calm. It was nice having her there. Between you | :04:39. | :04:45. | |
and me, who else did she like in the show? She loved Denise. I'm not | :04:45. | :04:52. | |
just saying that because she is here! She loved Denise' dance. | :04:52. | :04:56. | |
week, you got the Samba. Yes. Wembley. How have you found it so | :04:56. | :05:02. | |
far? Only a bit of practice so far? So far, so good. I'm enjoying it. | :05:02. | :05:10. | |
It is really fun. She likes to shake it more than... We have seen | :05:10. | :05:17. | |
you... Shaky, shaky, shaking. quite an intricate dance, all the | :05:17. | :05:21. | |
different rhythms. How difficult will it be for Kimberley to pick it | :05:21. | :05:27. | |
up? She is doing really well. She likes to shake it! LAUGHTER | :05:27. | :05:32. | |
Kimberley Walsh, she likes to shake it! OK.S also, you have Children In | :05:32. | :05:38. | |
Need. You are performing on Children In Need -- OK. Also, you | :05:38. | :05:43. | |
have Children In Need. You have performing on Children In Need. How | :05:43. | :05:46. | |
will that affect your training? will be a hard week. We will still | :05:46. | :05:52. | |
be working really hard. We need to put as many hours as possible in. | :05:52. | :05:56. | |
Wembley! It is Wembley. You have played to massive crowds in Girls | :05:56. | :06:00. | |
Aloud. How daunting is Wembley to dance out there? You know, it is | :06:00. | :06:04. | |
really daunting to think about... Don't think about it! OK. LAUGHTER | :06:04. | :06:08. | |
Imagine you are in your nan's sitting room and it will all be | :06:09. | :06:13. | |
fine. You have been consistent with your scores for three weeks. How | :06:13. | :06:19. | |
are you going to wow them at Wembley? Like I said, she likes to | :06:19. | :06:23. | |
shake it! LAUGHTER I'm getting quite excited. Good luck at Wembley. | :06:23. | :06:26. | |
Thank you. Enjoy Children In Need on Friday. Good luck to you both. | :06:27. | :06:33. | |
Thank you. Thank you. APPLAUSE This weekend, we saw a fab paso doble | :06:33. | :06:37. | |
from Denise and James. We witnessed Richard playing the bongos on | :06:37. | :06:42. | |
Erin's bum and Michael and Natalie gave us a pants performance - a | :06:42. | :06:52. | |
:06:52. | :06:58. | ||
flash! Here to tell us more is Please welcome Karen Hardy! | :06:58. | :07:04. | |
APPLAUSE Hello. I get excited when you come here. This weekend, the | :07:04. | :07:10. | |
judges gave out 11 nines. That is an awful lot of nines at this point. | :07:10. | :07:14. | |
Is the standard of dance the best we have seen? It is. It is coming | :07:14. | :07:18. | |
together now. Back in the early weeks, all the seeds were planted | :07:18. | :07:22. | |
to learn the technique, the footwork, body, frame, all of those | :07:22. | :07:26. | |
things. Those people that have grasped it now, it is all beginning | :07:26. | :07:31. | |
to flower and look beautiful. love you bringing farming into | :07:31. | :07:34. | |
dancing(!) LAUGHTER Let's talk about the weekend. Kimberley and | :07:34. | :07:39. | |
Pasha. What a shocker they were in the bottom two. It was very, very | :07:39. | :07:43. | |
interesting. What I liked here was how quick Len's eye was. Look at | :07:43. | :07:48. | |
the beautiful steps here. We are doing reverse turns which means | :07:48. | :07:51. | |
that Kimberley's meant to be crossing her feet and closing. She | :07:52. | :07:56. | |
did the wrong footwork. But Len picked up on it. He doesn't miss a | :07:57. | :08:01. | |
trick. What I think, it could have been what led up to the foot fault | :08:01. | :08:06. | |
here and the imbalance. It was still so beautiful and so elegant. | :08:06. | :08:11. | |
Not worthy of the bottom two. is still here, so that is great. | :08:11. | :08:15. | |
Yes. Michael and Natalie did the salsa. He got a lot of praise for | :08:15. | :08:18. | |
his lifts. Why were they so impressive? I think what I really | :08:18. | :08:24. | |
loved about these two, it was that salsa meltdown. We can see it going | :08:24. | :08:29. | |
wrong, sadly again. What I love, the chemistry between these two, | :08:29. | :08:34. | |
they have got to deliver the lifts. Lifts give you good points. Get it | :08:34. | :08:37. | |
back together, let's make this work. They got the chemistry. That could | :08:37. | :08:44. | |
have been a mouse lifting an elephant! It turned out beautiful. | :08:44. | :08:48. | |
They work together. Denise and James and the paso doble. Highest | :08:48. | :08:52. | |
score of the series so far. What did their paso doble have that so | :08:52. | :08:59. | |
many others haven't? The missing ingredient was the competitive edge. | :08:59. | :09:04. | |
We have always said how great her technique is, the frame, all these | :09:04. | :09:08. | |
things. I have never seen in her eyes as much as we have seen in | :09:08. | :09:12. | |
this number, the, "I'm in this competition!" The paso doble | :09:12. | :09:16. | |
encourages you to do that. She has to keep that sparkle in her eye, | :09:16. | :09:20. | |
not to be afraid to be the front- runner, to show them that she can | :09:20. | :09:24. | |
win this. She's got to keep going every week and keep that sparkle. | :09:24. | :09:29. | |
You are here to win! Richard and Erin and their Charleston. It is | :09:29. | :09:32. | |
all about character. It is all about performance. He really pulled | :09:32. | :09:37. | |
this off well at the weekend. How technically good was he? How clever | :09:37. | :09:43. | |
is this little munchkin?! He's got the personality. He's got | :09:43. | :09:48. | |
everything going on. We have the faces, but then every week when I | :09:48. | :09:52. | |
look at his technique, it is terrible. Look what he does. Bring | :09:52. | :09:57. | |
out the smiles! Bring out the cheeks! Bring out the jazz hands! | :09:57. | :10:00. | |
And that's what he's been very clever with. He brings us the | :10:00. | :10:04. | |
entertainment factor every week. The judges will now really start | :10:04. | :10:09. | |
looking downstairs a lot more. He's got to improve. Dani and Vincent | :10:09. | :10:13. | |
and their tango. Craig said fantastic dancer. How can she | :10:13. | :10:18. | |
improve and get to nines and tens? There isn't much more that she's | :10:18. | :10:22. | |
got to do. She has to keep going along with what she is doing. She | :10:22. | :10:28. | |
delivers great choreography. She gets the timing right. She does | :10:28. | :10:33. | |
good technique. I'm loving the slows and the quicks. It is all | :10:33. | :10:35. | |
bringing layering to the performance. We are waiting for | :10:35. | :10:39. | |
that moment when it all comes together, the right song, the right | :10:39. | :10:44. | |
dance and up will go those tens. Good. Let's hope that happens at | :10:44. | :10:47. | |
Wembley. Louis and Flavia and the waltz. Craig gave them a six. What | :10:47. | :10:53. | |
did you make of that? Nowhere near a six. It was beautiful. But what | :10:53. | :10:56. | |
amazed me was the uproar between the judges. And things didn't make | :10:56. | :11:01. | |
sense to me. What he does was so beautiful. Firstly, the most | :11:01. | :11:04. | |
important thing in the waltz is that we do accent a beat. We accent | :11:05. | :11:09. | |
the one, two, three, one, two, three. There was a discussion as | :11:09. | :11:13. | |
well about his head position. His choreography is really interesting. | :11:13. | :11:17. | |
Rotating all the time. It asked the head to go from its basic position | :11:17. | :11:21. | |
into promenade position, it has to come back again, it has to change. | :11:21. | :11:24. | |
So it should have that natural movement of the head. The one thing | :11:25. | :11:31. | |
that was overlooked. He was too fast for the music! Ah. In general, | :11:31. | :11:36. | |
with what the judges were talking about, I was getting frustrated. It | :11:36. | :11:42. | |
was worthy of something much higher than a six. Beautiful frame, great | :11:42. | :11:47. | |
top line. Beautiful development across the floor. A couple of | :11:47. | :11:50. | |
timing errors. Thank you. Victoria and Brendan and the quickstep. So | :11:50. | :11:54. | |
the junls think she is mastering the footwork -- judges think she is | :11:54. | :11:57. | |
mastering the footwork, but needs work on her frame and shoulders? | :11:57. | :12:02. | |
Let's have a look at it. Can you see how the shoulders are right up | :12:02. | :12:06. | |
there by the ears. If we don't have a good frame, we can't see the | :12:07. | :12:11. | |
great performance that is going on inside. She's dancing so incredibly | :12:11. | :12:16. | |
well. And what happens is as we lead into the dancing now, she is | :12:16. | :12:21. | |
able, she recovers it and it breaks again. She recovers it. That has to | :12:21. | :12:23. | |
be Brendan pulling her back into place all the time. That doesn't | :12:24. | :12:28. | |
want to happen. Every great lady should be able to hold her own | :12:28. | :12:31. | |
position and her own frame. Each person in the partnership has their | :12:31. | :12:36. | |
own frame and that is what comes together, two people moving around | :12:36. | :12:40. | |
the dancefloor as one. Lisa and Robin and the foxtrot. They focused | :12:40. | :12:44. | |
on the footwork all week. How good was her footwork? The speed, when | :12:44. | :12:50. | |
the song came on, whoosh! They were flying. What I loved was the | :12:50. | :12:54. | |
attention to the footwork. Why is that important? Now, we are going | :12:54. | :12:58. | |
to see - there's the heel turn. Now, it wasn't her best. I don't want | :12:58. | :13:01. | |
her to get upset about that. What is great, remember we have said the | :13:01. | :13:08. | |
more she's working on that footwork, it will build on her performances. | :13:09. | :13:13. | |
Maybe she didn't get them together, but she had a go at it. It is the | :13:13. | :13:19. | |
mechanical strength that will help her. Nicky and Karen, I love the | :13:19. | :13:24. | |
whole performance. The judges saying he needs to move more? | :13:24. | :13:28. | |
opening was fantastic. It is a foxtrot. As he takes up here and he | :13:29. | :13:36. | |
starts to dance, I didn't see him starting to drive. It is OK. In | :13:36. | :13:39. | |
week six, he should be really getting those legs driving across | :13:39. | :13:43. | |
the floor now. I'm building up to think I will probably have to | :13:43. | :13:51. | |
demonstrate. Please. APPLAUSE We love it. OK. We have our standing | :13:51. | :13:55. | |
leg and our free leg. It doesn't matter which one you are working on. | :13:55. | :13:59. | |
You have one that wants to do the work automatically. There's one | :13:59. | :14:04. | |
that must be doing the work for you. The one that doesn't have the | :14:04. | :14:09. | |
weight... I'm following you. Keeps wanting to do the work. This is the | :14:09. | :14:14. | |
leg, the standing leg. You have to create the work out of the standing | :14:14. | :14:20. | |
leg and that is where you start to drive. Oh! Come on! APPLAUSE Give | :14:20. | :14:27. | |
us more! I'm going to sit down. Don't! Stop it! It is the... She's | :14:27. | :14:32. | |
still got it! Get out of here! Wembley next weekend. What do our | :14:32. | :14:37. | |
contestants need to do to perform? It is huge. The one thing I say | :14:38. | :14:42. | |
every time - be careful about going out to the audience. You always | :14:42. | :14:45. | |
bring the audience into your performance. They come to you. They | :14:45. | :14:49. | |
are paying to see you. All that money is going to Children In Need. | :14:49. | :14:53. | |
You must not go out to them. That is where very important. Bring the | :14:53. | :15:00. | |
audience in to you. I adore you. Thank you. APPLAUSE On Saturday, | :15:00. | :15:04. | |
they charged their way to the top of the leaderboard, receiving a | :15:04. | :15:10. | |
full house of nines. In case you missed it, here is a reminder of | :15:10. | :15:14. | |
how Denise and James got the judges in a spin. You captured the | :15:14. | :15:19. | |
character with the dance. You moved well. I thought it was terrific. | :15:19. | :15:26. | |
Denise, the red menace, with a conquering power of a firestorm! | :15:26. | :15:31. | |
The turns are amazing. They are out of this world. It is the most | :15:32. | :15:38. | |
exciting role I have seen you dance and perform. A great paso doble. | :15:38. | :15:48. | |
:15:48. | :15:50. | ||
Fabulous. Yes! So happy. So proud of you. Thank you. I really enjoyed | :15:50. | :15:53. | |
it. You were performing that. The first week I have felt from | :15:53. | :16:00. | |
beginning to the end, you were in it! I loved it. Please welcome | :16:00. | :16:08. | |
Denise and James. APPLAUSE You were awesome on Saturday night. Thank | :16:08. | :16:13. | |
you. Not you! Oh. Did you love it out there? I loved it. It was one | :16:13. | :16:20. | |
of my favourite dances. I could be aggressive. We like that. Also, | :16:20. | :16:24. | |
there was the whole drama of whether James was going to be able | :16:24. | :16:29. | |
to dance. When did they make the decision? I always wanted to dance | :16:29. | :16:33. | |
with Denise, but I was given the go-ahead on Saturday. Up until that | :16:33. | :16:41. | |
point, you didn't know who you were going to be dancing with. Not a | :16:41. | :16:51. | |
:16:51. | :16:51. | ||
ScoobyDoo! He is well-jel! I think Craig should concentrate on | :16:51. | :16:56. | |
commenting on the celebrities and not worry about the professional | :16:56. | :17:05. | |
dancers. He's not qualified to judge us. Oh. Glad you got that off | :17:05. | :17:11. | |
your chest! I have been in love with Ian Waite since 2005. Are you | :17:11. | :17:16. | |
well-jel? I can't bear watching you two together! I'm like that! | :17:16. | :17:21. | |
LAUGHTER I'm back with James now. Can I have him back now? Yeah. | :17:21. | :17:25. | |
you got to dance the paso with him and you did fall in love with him. | :17:25. | :17:30. | |
Have a look at this. I thought myself and Denise had something | :17:30. | :17:34. | |
special. I'm noticing that there's something brewing between Ian and | :17:34. | :17:38. | |
Denise now. # Love lift us up... # | :17:38. | :17:42. | |
I thought you are like the other half of me. He is taller than James. | :17:42. | :17:48. | |
Which I like. He is really good fun. Which I like. He is a really good | :17:48. | :17:52. | |
teacher. Which I like. Did you change it to make it better? I | :17:52. | :18:01. | |
really like Ian! I want to get close to you, Ian! I know, darling. | :18:01. | :18:07. | |
He has nice, long arms, lovely long legs. So nice to dance with. I feel | :18:07. | :18:15. | |
like a gooseberry! Oh, it's so much fun winding up James! It is really | :18:15. | :18:18. | |
funny(!) He gave me such a hard time so it is nice to get my own | :18:18. | :18:24. | |
back. We have you something very special. Not another one. I have a | :18:24. | :18:27. | |
collection. You have only got to get a few more and you will have | :18:27. | :18:34. | |
the full set! You can be my little poof! LAUGHTER This week, the | :18:35. | :18:37. | |
Charleston. I'm imagining this dance will suit you. How is the | :18:37. | :18:41. | |
training so far? Well, it's been good so far. It is quite an | :18:41. | :18:45. | |
energetic dance, which I am looking forward to. I don't know at the | :18:45. | :18:51. | |
moment. There is a lot of character and lifts? Yes. James looks | :18:51. | :18:54. | |
concerned? I am. Why? For the professional dancers, this is | :18:54. | :18:58. | |
something out of our comfort zone. I am trying to push the boundaries. | :18:58. | :19:02. | |
All the professionals have choreographers come in for the | :19:02. | :19:07. | |
Charleston. You do Latin and ballroom. Charleston... Charleston | :19:08. | :19:17. | |
:19:18. | :19:18. | ||
and salsa we get help - and Argentine tango. So today, you were | :19:18. | :19:25. | |
laughing in the studio. We are dancing to Walk Like An Egyptian... | :19:25. | :19:30. | |
He looks like a pigeon. LAUGHTER I have never been able to do that | :19:30. | :19:35. | |
stuff either. I can't do that. make it look so easy. Do it. | :19:35. | :19:42. | |
can't. Do it. Do it again. LAUGHTER I can do that. But I can't... | :19:42. | :19:47. | |
Hopefully, you will get to see this at Wembley. It's gone! I'm not | :19:47. | :19:53. | |
doing it. You are dancing at Wembley this week in front of 6,000 | :19:53. | :19:58. | |
people. So a big floor. Does that fill you with nerves or excitement? | :19:58. | :20:04. | |
I will be nervous on the day. I am so excited. We all wanted to get to | :20:04. | :20:11. | |
Wembley. Never ever played to a crowd that big, so - you have! How | :20:11. | :20:16. | |
many times have you told me? Loads! Good luck at Wembley this week. | :20:16. | :20:23. | |
Good luck with the head moves. your pigeon! LAUGHTER Give it up | :20:23. | :20:31. | |
for Denise and James. Thank you. APPLAUSE Get off! On Saturday night, | :20:31. | :20:35. | |
the dancefloor was full of godets, ruffles and sequins. Here to tell | :20:35. | :20:45. | |
:20:45. | :20:51. | ||
us who wore them best is Julien Welcome the right honourable Julien | :20:52. | :20:57. | |
Macdonald! APPLAUSE Hello. Welcome back. Welcome back. The weekend, it | :20:57. | :21:01. | |
was all about the girls. They took the top spots, but I want to know | :21:01. | :21:07. | |
who was top in the frocks spots? Who is your number three? My number | :21:07. | :21:12. | |
three this week is the gorgeous Kimberley! Ah. Gorgeous in this | :21:12. | :21:22. | |
:21:22. | :21:23. | ||
dress. She was quite a - the frock was stunning. It was almost a tale | :21:23. | :21:29. | |
of two dresses, two cities. Gorgeous colours, super-complicated. | :21:29. | :21:35. | |
She waltzed it all away. When you say "super-complicated" - give me | :21:35. | :21:42. | |
some facts? Well, there was over 4,000 mixed crystals, all hand-sewn | :21:42. | :21:50. | |
on. Stretched georgette. Laced. Not any old lace. It was like a dark- | :21:50. | :21:55. | |
grey lace, covered in sequins and a lot of ruffles. We know from last | :21:55. | :22:00. | |
week that you love your ruffles. Where are the ruffles? The ruffles | :22:00. | :22:06. | |
are on the skirt. There's over 26 metres of tulle, all gathered and | :22:06. | :22:13. | |
all ruffled up! LAUGHTER I do love that! What is georgette? Georgette | :22:13. | :22:20. | |
is a very silk-based fabric, which we use a lot to create light, | :22:20. | :22:25. | |
floaty fabrics and skirts. Lovely. Is that georgette, her wings? | :22:25. | :22:34. | |
wings are georgette. This is not just any old georgette, this is | :22:34. | :22:40. | |
STRETCHED georgette! Who is your number two this week? My number two | :22:40. | :22:47. | |
this week blew me away, Denise Van Outen. Look at her moves. What can | :22:47. | :22:52. | |
you tell me about this incredible red dress? She reminded me of | :22:52. | :22:56. | |
Sharon Stone. What I loved about her, I loved everything about her. | :22:56. | :23:01. | |
Not just the dress, the hair, the make-up. It was totally modern. And | :23:01. | :23:07. | |
I loved it. What can you tell me - is that the Sharon Stone bit? | :23:07. | :23:11. | |
LAUGHTER What can you tell me about the detailing? It was a very | :23:12. | :23:16. | |
complicated dress as well. The thing is, it was a combination of | :23:16. | :23:22. | |
two very different fabrics. A stretched mesh bodice mixed with a | :23:22. | :23:28. | |
satin and a crepe skirt. You have a light and stretchy fabric. This | :23:28. | :23:33. | |
added to the drama of the dress. You make anything sound saucy! This | :23:33. | :23:38. | |
was the most covered-up that Denise has ever been. What do you think of | :23:38. | :23:44. | |
the design? Could she have shown more flesh? It is very sporty, it | :23:44. | :23:49. | |
is very graphic, modern, lots of slashing all around the top part. | :23:49. | :23:58. | |
Over 4,500 mixed crystals. Siam, shades of red and a dangerous | :23:58. | :24:00. | |
Bordeaux crystal dazzling on the top of the dress and with a heavy | :24:00. | :24:06. | |
skirt and this split, if that split got any higher it would be reaching | :24:06. | :24:11. | |
the sky! APPLAUSE I'm going to give you a round of applause for that. | :24:11. | :24:18. | |
That wasn't your top spot. Who is your numb bier one? My number one - | :24:18. | :24:24. | |
- number one? My number one has to be the lady in pink! We are sad to | :24:24. | :24:28. | |
see her go. It is great to see a woman having fun. What a | :24:28. | :24:32. | |
transformation of a woman. She looks incredible. I watched the | :24:32. | :24:39. | |
live show. When she came out, she was just there, yang, fresh, | :24:39. | :24:45. | |
beautiful. Wow! She's lost so much weight. What can you tell me about | :24:45. | :24:50. | |
the detailing? This is incredible. It has over 12 metres of fringe. | :24:50. | :24:55. | |
The fringe is sewn together ten centimetres away from each other. | :24:55. | :24:59. | |
So the fringe is light and not heavy. Does somebody have to sew | :24:59. | :25:07. | |
each one? It is on a band. It is sewn on with the hands of angels! | :25:07. | :25:12. | |
LAUGHTER The thing, is fringe adds movement, it is a 19 20s thing. For | :25:12. | :25:19. | |
a woman of this age to wear a tiny pink dress, full of fringe, she | :25:19. | :25:24. | |
just makes it work. Do not try it at home. You could look like mutton | :25:24. | :25:32. | |
dressed as lamb. This is... Are you looking at me?! No, not at all. We | :25:32. | :25:36. | |
are in Strictly World! Tell me about the mesh as well. This is | :25:36. | :25:42. | |
clever. There aren't sleeves, but there are sleeves? It is based on a | :25:42. | :25:48. | |
tulle illusion. I am not lying. It is an invisible tulle which holds | :25:48. | :25:53. | |
the dress together. That is what helps the dress from falling apart. | :25:53. | :26:02. | |
If the dress - the dress is moulded on to her body. This deep low V- | :26:02. | :26:07. | |
neckline makes this part of her body longer, thinner and more | :26:07. | :26:12. | |
gorgeous! So many clever tricks. How gorgeous! Last week, Bev, the | :26:13. | :26:17. | |
plumber, showed us how you could make the messy job of unblocking U- | :26:17. | :26:25. | |
bends that bit more glamorous. Whose dream have you granted this | :26:25. | :26:29. | |
week? I have sent Roger, a fish porter, Richard's paso outfit, | :26:29. | :26:39. | |
:26:39. | :26:41. | ||
which is skin-tight, colourful, what else do you want?! Hi, my name | :26:41. | :26:49. | |
is Roger. I'm a fish porter at Billingsgate Fish Market. This | :26:49. | :26:54. | |
morning, I was sent an outfit which belongs to Richard. So now it is | :26:54. | :27:04. | |
:27:04. | :27:12. | ||
time for me to transform from this to this! WHISTLES New firm's outfit. | :27:12. | :27:18. | |
The old paso doble! Very good. have been Strictlified. My work | :27:18. | :27:28. | |
:27:28. | :27:30. | ||
colleagues are jealous of me today! What do you think? LAUGHTER | :27:31. | :27:40. | |
:27:41. | :27:42. | ||
Gorgeous! Brighten up the market! Yes! Glamour? In Billingsgate? Who | :27:42. | :27:45. | |
would ever think of it? Wouldn't you want to just take that home and | :27:45. | :27:51. | |
put a pair of legs on it? That will be the best dance partner in the | :27:51. | :28:01. | |
:28:01. | :28:09. | ||
market. The only thing is, this Yes! I have enjoyed being | :28:09. | :28:19. | |
:28:19. | :28:19. | ||
Strictlified, but I don't think it will catch on! Whiting, �2.20 a | :28:19. | :28:27. | |
kilo! Roger! APPLAUSE He's got the moves. Hi to all the lads at | :28:27. | :28:32. | |
Billingsgate. Thank you so much. Will you come back next week? | :28:32. | :28:38. |