:00:11. > :00:15.Hello. It's Tuesday. Welcome to It Takes Two. They were bailed out by
:00:15. > :00:22.the judges. Nicky and Karen are here. They have just about caught
:00:22. > :00:28.their breath after the speediest quick step Wembley has ever seen,
:00:28. > :00:31.Dani and Vincent. They stepped up their A game with
:00:31. > :00:38.their choreography, it's Karen Hardy. Look at him in his shiny
:00:38. > :00:48.jacket. Hopefully, we'll be talking about ruffles and go-days ago, go.
:00:48. > :01:17.
:01:17. > :01:20.It's Walter McDonald. What a show. This is Strictly Come Dancing: It
:01:20. > :01:25.Takes Two. Please welcome your host, Zoe Ball.
:01:25. > :01:31.APPLAUSE Hello, and welcome to It Takes Two.
:01:31. > :01:35.Nicky and Karen were given a get- out-of-jail free card at the
:01:35. > :01:40.weekend when they were saved by the judges. Hooray. I'll be chatting to
:01:40. > :01:44.them in just a minute, but first, a reminder of their performance.
:01:44. > :01:51.was a great jive - the style, the energy - straight away, you have
:01:51. > :01:55.worked hard. I can see that. very flat-footed. I thought.
:01:55. > :01:59.BOOING It made it appear stompy. There is
:01:59. > :02:04.not any retraction in any of your flicks. It was quick. It was slick.
:02:04. > :02:09.The flavour of that wasn't jive. It was rock 'n' roll. That gets a
:02:09. > :02:19.different leg action. Stylistically it was absolutely wonderful rock
:02:19. > :02:24.
:02:24. > :02:30.This was the goal - to dance here, and we did, and we got a beautiful
:02:30. > :02:34.score. We got a six from Craig, but we'll go again next week. If we're
:02:34. > :02:39.here, we'll go again. Itself. better than a four. It's time to
:02:39. > :02:44.find out which one of you will be back next week. Judges? Nicky and
:02:44. > :02:48.Karen. Nicky and Karen. Nicky and Karen. You have been let off for
:02:48. > :02:52.good behaviour. Ladies and gentlemen, please welcome Nicky and
:02:52. > :02:57.Karen. Well done on Saturday night. I watched the show with loads of my
:02:57. > :02:59.mates. We were all going crackers for you after your performance.
:02:59. > :03:05.Congratulations on surviving the horrid dance-all. If we ignore that
:03:05. > :03:10.little bit, how was Saturday night at Wembley for you? I loved it.
:03:10. > :03:18.Fantastic. To get there was huge. I was looking to play Wembley with
:03:18. > :03:22.West Life. I knew the atmosphere. What is it like to play there 20
:03:22. > :03:27.times? Who is counting? It's an amazing place. You have to go out
:03:27. > :03:31.there and try to entertain. That's what I tried to do. I loved it. It
:03:31. > :03:36.came off. We felt we gave it a great job. You got three eights
:03:36. > :03:39.there - Craig and his sixes we'll ignore! Obviously, Richard went
:03:39. > :03:43.home, and he has been such a wonderful mate to everybody, hasn't
:03:43. > :03:47.he, and he such a good laugh. Did you get quite emotional? When
:03:47. > :03:55.you're in the dance-off and I have never been in a situation like that,
:03:55. > :03:59.and it's horrible. I never want to be in there again, but I got
:03:59. > :04:02.through. My gut feeling and initial reaction was to get to Richard to
:04:02. > :04:06.make sure he was OK. It was an interesting situation. There were
:04:06. > :04:11.three others below you. Were you shocked to be in the bottom two?
:04:11. > :04:15.could happen. It could happen to any one of us. We thought we had a
:04:15. > :04:19.brilliant dance,ed a all of a sudden we end up down there. When
:04:19. > :04:23.you're down there the first thing you have to do is fight for it. We
:04:24. > :04:29.want to be in the competition. We want to succeed, and we want to
:04:29. > :04:35.make Craig happy. That's all we want! That's all... You did make
:04:35. > :04:40.him happy last week, just wasn't happy this week. I want to keep him
:04:40. > :04:45.happy every week. When he put up the six, I think he had it upside
:04:45. > :04:51.down. Clearly. You could have gone over and turned it up. You have had
:04:51. > :04:56.loads of messages. Claire says, "Nicky didn't deserve to be in the
:04:56. > :05:00.dance-all. He has been consistently improving up like others." Ooh. The
:05:00. > :05:03.good thing is unanimous decision. You must take comfort from that. At
:05:03. > :05:07.that point, there is a million emotions running through your mind,
:05:07. > :05:11.and I just wanted to get the dance- off out of the way. It was like,
:05:11. > :05:15.let me on the floor. Let me try and do my best again and see where we
:05:15. > :05:18.go. It's nice to hear comments from Len like rock 'n' roll. Forget
:05:18. > :05:23.about the straight kicks. It was rock 'n' roll, and you did it very
:05:23. > :05:25.well - took some heart in that when they all give you the go-ahead, you
:05:26. > :05:30.feel like I have done something right, so it was nice.
:05:30. > :05:34.difficult is it to lift spirits and go out and do it again and
:05:34. > :05:38.effectively dance for your life, Karen, at that point? It's so
:05:38. > :05:41.difficult because the first time we went out we thought it was a home
:05:41. > :05:45.run, and the second time you're trying to do the same thing, but
:05:45. > :05:50.seriously, he surprised me! Because he was just going, and I was like,
:05:50. > :05:54.all right. I am just going for the ride. Just before the dance-off
:05:54. > :06:01.happened, out of nowhere Michael Vaughan appeared. Honestly, he just
:06:01. > :06:05.appeared out of nowhere. Myself and Vaughan get on very well. Bromance.
:06:05. > :06:11.Definitely. He was dead serious and almost like a captain. He grabbed
:06:11. > :06:16.ahold of me. He said "You know what you can do. Go and do it. Don't
:06:16. > :06:19.mess up." It's like Field of Dreams. So if you're watching, thank you
:06:19. > :06:23.very much. You obviously were channelling Elvis. You danced to
:06:23. > :06:29.Elvis. You carried this through in the training room last week. We
:06:29. > :06:37.have some special bits here. you imagine if Elvis was... You are
:06:38. > :06:44.Elvis! E-l-v-i-s! Did I spell that right? I don't ever recall seeing
:06:44. > :06:54.Elvis in one of these. Elvis was all about the eyebrow and the head
:06:54. > :06:55.
:06:55. > :06:58.down. Maybe it's Priscilla. Love me tender
:06:58. > :07:07.# Love me true # Elvis has left the building. Uh-
:07:07. > :07:11.huh! Thank you very much. So this week,
:07:11. > :07:16.onwards we go to the Charleston. Obviously, early days. How is it
:07:16. > :07:21.going so far? It's OK. Fun. It's the first day, a few hours in. It's
:07:21. > :07:26.exciting. It's very fun. It's funny, intentionally funny. Intentionally.
:07:26. > :07:30.But I am sure Craig will give us a four or something. No, it's good.
:07:30. > :07:33.We're going to work hard. That's all that matters. Is it daunting
:07:33. > :07:37.following James and Denise last week? They were awesome. They were
:07:37. > :07:43.so good, but you know what? We're just going to go out and do what we
:07:43. > :07:48.do. You know, we're in the opposite. We were in the dance off. We don't
:07:48. > :07:53.want to leave the show. No-one does. When you're down there, you pick up
:07:53. > :07:59.the pieces and go come on. Let's not give up without a fight.
:07:59. > :08:04.have a bit of Gatsby about you for the Charleston. Give it up for
:08:04. > :08:07.Nicky and Karen. Saturday's huge dancefloor left plenty of room for
:08:07. > :08:17.dance errors. As usual, keeping a close eye on the choreography was
:08:17. > :08:23.
:08:23. > :08:27.Please welcome our very own dancing Queen, Karen Hardy.
:08:28. > :08:31.APPLAUSE I love that opening sequence. How
:08:31. > :08:35.much did you enjoy dancing through the decades at Wembley on Saturday,
:08:35. > :08:40.Karen? Absolutely amazing, and I think what we probably need to do
:08:40. > :08:45.is count how many times I am going to say "absolutely" and "amazing"
:08:45. > :08:49.today. Quite a few. Do we have a little thing that goes ting-ting?
:08:49. > :08:53.Let's start with Nicky around Karen. Did they deserve to be in the
:08:53. > :08:57.bottom two in your eyes? No. I got confused about the reference of the
:08:57. > :09:02.retraction. Craig said there wasn't enough retraction, and Len said
:09:02. > :09:06.it's more like rock 'n' roll jive. Who was right? It's all relative to
:09:06. > :09:09.the speed of the music. As soon as it gets over a certain speed, the
:09:09. > :09:13.retraction is taken away, and physically you flick away and
:09:13. > :09:16.create the rock 'n' roll effect. I will give it a quick go-to, but
:09:16. > :09:21.before I do that, I want to say there was so much content in this
:09:21. > :09:24.choreography. There were walks. There were chicken walks, underarm
:09:24. > :09:28.turns. It was beautiful jive content, but it had the rock 'n'
:09:28. > :09:31.roll essence to it, and I would have liked for them to have picked
:09:31. > :09:35.up more on the content rather than they didn't understand that the
:09:35. > :09:40.music really was way too fast, and there would have been no
:09:40. > :09:44.opportunity for a retraction as I'll show you. Oh. I will try. I
:09:44. > :09:48.will try. I may launch my shoes across the studio. I am excited by
:09:48. > :09:54.the prospect. Go. The normal idea - let's say a kick, ball change - you
:09:54. > :10:00.can see my knees are coming up. retraction, yeah. Once it gets
:10:00. > :10:03.faster, the foot just kicks away. It's a beautiful thing. Can you see
:10:03. > :10:10.that? That's a beautiful thing. Let's talk about Denise and James
:10:10. > :10:15.and their charston - was it the best ever Charleston in your eyes
:10:15. > :10:23.on Strictly? James is going to get me in the corridor because I have
:10:23. > :10:28.to say yes. Technically, though, she was miles ahead of everybody.
:10:28. > :10:31.Denise. It looks relatively simple - move the arm, kick the leg in and
:10:31. > :10:35.out and jump up and down at the same time - nearly impossible, and
:10:35. > :10:39.it's coming towards the end, and she's got the big lift that was
:10:39. > :10:44.quite a nerve-racking moment. You would think she'd be absolutely
:10:44. > :10:48.exhausted. She delivered it with such style and pizazz, I loved it,
:10:48. > :10:53.absolutely amazing - ding-ding. There we go. Lisa and Robin and
:10:53. > :10:56.their samba. Such an opening to the show. She gave such an incredible
:10:57. > :11:01.performance. Len said she needs to polish her technique. Yeah,
:11:01. > :11:08.technique as we're going through the ranks now is very important.
:11:08. > :11:16.Samba and jive - the knees are soft and compressed so we should have
:11:16. > :11:22.been seeing long back lines. She was very upright, so it just looked
:11:22. > :11:26.a bit static almost, but another - absolutely amazing. To open with
:11:26. > :11:30.this number - my gosh, it was incredible. She was really moved,
:11:30. > :11:35.wasn't she - the crowd? launched that show in absolute
:11:35. > :11:39.style, but as the competition goes on now, attention to the technical
:11:39. > :11:45.elements because the audience will vote on performance, but the judges
:11:45. > :11:51.will be hitting on these technical elements now. Always with the
:11:51. > :11:56.technical elements. Kimberly and Sasha with their samba. How did she
:11:56. > :12:00.cope with this dance? Brilliantly. In this dance she took on I would
:12:00. > :12:04.say the samba role - one of the most difficult roles. It's this
:12:04. > :12:08.action that is brilliant. To top it all off they go to natural roles as
:12:08. > :12:12.well - very, very difficult to do. Why is it difficult? In the Latin
:12:12. > :12:16.dances when we have - we have full body contact. One of them goes
:12:16. > :12:21.wrong in a samba role it could fall apart. We potentially don't see
:12:22. > :12:26.many celebrities take that sort of choreography on. Lewis and Flavia
:12:26. > :12:31.and their American smooth - was it an American smooth or a quick step?
:12:31. > :12:38.Putting my technical hat on, in my American smooth there are only four
:12:38. > :12:43.dances we use, a foxtrot, a waltz, a Viennese waltz or a tango. Ango.
:12:43. > :12:50.Right. They form the foundations of the dance, and then we separate it
:12:50. > :12:54.into the lifts and big lifts that make it a Fred and Ginger dance. We
:12:54. > :12:58.hardly ever use the quick step, but I am all for it because taking a
:12:58. > :13:01.gamble can go one way or the other. On this occasion it didn't go her
:13:01. > :13:05.way, but taking a gamble can make you a frontrunner. If you look at
:13:05. > :13:08.what we had here it was a first- class quick step. They're not
:13:08. > :13:12.breaking a way, and holding something like that she could have
:13:12. > :13:16.gone into a promenade position or breaking away from them, but she's
:13:16. > :13:20.kept the entire routine into a closed hold until the end and a
:13:21. > :13:27.little break-away there. Did they pull it off? The big gamble - in my
:13:27. > :13:30.opinion, on this occasion, sadly, no. Michael and his Latin smooth -
:13:30. > :13:40.we were expecting great things from him because we know this is a style
:13:40. > :13:43.that suits him, but did we Nigeria so good? I never expected this from
:13:44. > :13:50.Michael. Fantastic for Natalie for creating that. The music literally
:13:50. > :13:54.told you what to do - # Duh, duh, duh, duh, duh #
:13:54. > :13:59.Kick the legs, present it, whoosh it. They literally stole the show -
:13:59. > :14:02.incredible. One little thing we'll pick up on - you know, the pivot
:14:02. > :14:07.turns there, a little bit hunched over coming back into hold, but do
:14:07. > :14:10.you know what? At Wembley, you forgive those things like that when
:14:10. > :14:16.we're away from Wembley we're going to be looking closely - look at
:14:16. > :14:22.that - look at the kicks! Third one in at the back there - no
:14:22. > :14:28.my dreams. Victoria and Brendan and their paso doble - Brendan said her
:14:28. > :14:34.shaping wasn't so great - Bruno. Was her passo intense? It didn't
:14:35. > :14:41.have the intensity, but I think the entire - the British flag, the
:14:41. > :14:47.bicycle, Wembley - the paso doble got a little bit lost. In reference
:14:47. > :14:51.to Bruno, he talked about the arms which was a major technical element
:14:51. > :14:55.we understand. The elbow is always higher than the wrist so you're
:14:55. > :14:59.creating these flamenco arms and using the arms, so even if I
:14:59. > :15:04.elevate upwards the arms are working there. If the hand leads,
:15:04. > :15:09.it goes almost American smooth. You can see here it is a bit soft and
:15:09. > :15:13.flowy. These - the elbow needed to be leading and then create the
:15:13. > :15:16.width - the flick of the skirt attitude is what it needed rather
:15:16. > :15:21.than gracefulness of it. It's a shame because actually I think that
:15:21. > :15:25.the content of the choreography was brilliant. There were twists in it.
:15:25. > :15:27.There was great choreography, but there was something very
:15:27. > :15:31.interesting and very, very difficult - musically, it started
:15:31. > :15:38.with the eight beats - one through eight. It changed halfway through
:15:38. > :15:43.to six beat, then it goes back again to eight. That means it will
:15:43. > :15:46.limit Brendan to the steps he'll choose with that song it was quite
:15:46. > :15:50.restrictive as well to the great paso doble steps. I would have
:15:50. > :15:55.liked a little bit more stamping, a little bit more attitude. The real
:15:55. > :16:00.gypsy lady is what I would have liked. Len said it had both
:16:00. > :16:05.quantity of steps and quantity of movement. How well did this couple
:16:05. > :16:11.do to cover that vast floor at Wembley? Ten. Lets of people
:16:11. > :16:13.thought it was undermarked. Absolutely. The first reason it was
:16:13. > :16:18.undermarked is Smurf and Smurfette went one-and-a-half times around
:16:18. > :16:22.the floor - how they did that - I can tell you how they did it - we
:16:22. > :16:24.talked previously about using the standard leg. We have had tall
:16:24. > :16:28.celebrities on the show that couldn't even make it across the
:16:28. > :16:32.BBC stage here. We've got Wembley here - around they go. It's the use
:16:32. > :16:36.of the standing leg, and what I also loved about this routine - he
:16:36. > :16:41.was so cool and calm - "You know what? Let's just play around slowly
:16:41. > :16:48.in front of the judges. I have all the time - hey, let's speed it up a
:16:48. > :16:51.bit and go across the room - a little slick turn and boom, back to
:16:51. > :16:59.centre stage. Brilliant. choreography was loaded with so
:16:59. > :17:08.much, it was incredible. I absolutely loved it. It was amazing.
:17:08. > :17:14.Absolutely amazing. Ten, ten - tinge, tinge, tinge, ting. You're
:17:15. > :17:18.absolutely amazing and incredible. Karen Hardy. On Saturday, Team
:17:18. > :17:21.Smurf gave the performance of the competition so far. I'll be talking
:17:21. > :17:25.to them in a moment, but first, here's a reminder of how they
:17:25. > :17:28.brought the swinging '60s to Wembley. The quick step is about
:17:28. > :17:35.the quantity and the quality. For me the quantity of steps was there,
:17:35. > :17:39.the quality of movement. Little Ms Dynamite - you were fabulous.
:17:39. > :17:47.placed, precise, the foot placement, precise. The changes in direction -
:17:47. > :17:53.a wonderful job. Fast, efficient, fearless - I loved it. Wow. You can
:17:53. > :17:58.eat up that dancefloor - my goodness! I loved it. Nine. Nine.
:17:58. > :18:02.Nine. I can't believe it. That's the best feeling I've ever
:18:02. > :18:07.experienced in my life. The fact that we got our highest score to
:18:07. > :18:12.date at Wembley - it just doesn't get any better than that. No.
:18:12. > :18:14.speechless - the reason I am still talking... Me too! Me too.
:18:14. > :18:20.Brilliant. Please welcome Dani and Vincent.
:18:20. > :18:26.APPLAUSE It was truly amazing, and
:18:26. > :18:30.congratulations, Vincent, because you got your standing ovations from
:18:30. > :18:34.the women... I couldn't wait. was all you wanted. How brilliant
:18:34. > :18:38.did you feel out on that gloor? was honestly just the most amazing
:18:38. > :18:42.experience. I didn't expect that reaction at all. It was just
:18:42. > :18:47.brilliant, loved every second of it. How quickly did you get home to
:18:47. > :18:52.watch it back? I did watch it back, and yeah, it was really good. The
:18:52. > :18:55.floor was amazing. It was fabulous, absolutely. We really did travel
:18:55. > :18:59.around that floor, which I think we were both nervous about, but we got
:18:59. > :19:03.around it. The thing is when you first walked out and saw the size
:19:03. > :19:07.of the floor, you were a bit overwhelmed. How nervous were you
:19:07. > :19:11.before the show? It's really strange. I think it's the most calm
:19:11. > :19:16.both of us have ever been. It was so strange. It only hit me after we
:19:16. > :19:19.finished that, my gosh, I just performed at Wembley. Dani was kind
:19:19. > :19:23.of dreading this performance at the beginning of the week. Yeah, it
:19:23. > :19:26.wasn't an easy dance for her. As we always say, people are suited more
:19:26. > :19:32.- there was lots of running involved, which is fun, but keeping
:19:32. > :19:35.the whole - the directions the musicality... Did she surpass your
:19:35. > :19:40.expectations? Of course she did. many messages from people saying
:19:40. > :19:45.that you were undermarked, young lady. Diane said, "Brilliant. No
:19:45. > :19:48.negative comments. Why did they not get tens from the judges?" Yene
:19:48. > :19:54.said they should have got three tens the same as Denise. We thought
:19:54. > :19:57.she was just as good, if not better. So there! What do you make of that?
:19:57. > :20:02.That's pretty cool. There's a statement. Four nines is still a
:20:02. > :20:08.really good score. I can't complain about that at all. No, no
:20:08. > :20:13.complaints about that. Some say you're becoming the dark horse of
:20:13. > :20:16.the competition. Dark pony. She hasn't made it to a horse yet.
:20:16. > :20:19.You're only young. What do you think about that? Do you think,
:20:19. > :20:25.yeah, my chances could be all right here? Do you know, I think it's
:20:25. > :20:28.good to be the dark pony. I quite like it. We're slowly creeping up
:20:28. > :20:32.and improving every week. That's what I wanted. You have been
:20:32. > :20:37.dancing together for a few months now. How do you keep her motivated,
:20:37. > :20:43.Vincent and yet keep it fun in the training room? Hello! It's hard to
:20:43. > :20:48.say. Next question, please. Let's talk a bit about the language
:20:48. > :20:52.barrier between you... Disaster. had a bit of a confusion between
:20:52. > :20:59.pose and pause. And menopause. Which is my favourite. Last week in
:20:59. > :21:02.the training room, it was another P word, "prawns". Prawns. Prowns!
:21:02. > :21:06.LAUGHTER Prawns.
:21:06. > :21:06.LAUGHTER Say
:21:06. > :21:06.Say it
:21:06. > :21:06.Say it again,
:21:07. > :21:16.Say it again, please.
:21:17. > :21:19.
:21:19. > :21:24.Say it again, please. Prawns. I said in the restaurant - "Can I get
:21:24. > :21:34.the prawns." You said it right. It's just your accent that was
:21:34. > :21:41.making me giggle. Prawns. I always say it that way - "prons"! Nobody
:21:41. > :21:47.understands me. I'm still so lonely in this world. I just - I love him.
:21:47. > :21:51.So unfair. We want to know, why were you discussesing prawns?
:21:51. > :21:57.Because she doesn't like fishes. She's scared of fishes. She has a
:21:57. > :22:02.phobia. I am scared of fish. flavour of the prawn... Still makes
:22:02. > :22:06.me laugh. The samba this week... Bring it on. How is it going?
:22:06. > :22:10.going really well so far. Obviously, I've got a really good teacher, so
:22:10. > :22:14.that's good. Yeah, I am picking it up well and we have a good song.
:22:14. > :22:17.know what it is, and we're not going to say. We know nothing.
:22:18. > :22:22.We'll make them wait for it. How is the bounce action? It's getting
:22:22. > :22:26.there. It's coming. She's good at Latin dances - if you're good at
:22:26. > :22:30.both. She's good at both. It's surprising. You have a good teacher.
:22:30. > :22:35.It's all because of me! Can we see some tricks for some tens do you
:22:35. > :22:39.think? Yes, we have to. We have to. I think it would be amazing to get
:22:39. > :22:47.at least one ten. I just asked, who has got the highest score in samba
:22:47. > :22:57.ever, and you hold the title. How could he do that to us? Go on,
:22:57. > :22:57.
:22:57. > :23:02.smash it! We will really smash it. I'll be so bitter! Good luck again.
:23:02. > :23:05.Amazing shoes, by the way, Dani. Check out those shoes. Aren't they
:23:05. > :23:10.incredible? Love them. Everything was bitter and better on Saturday,
:23:11. > :23:20.but can the same be true for the costumes? Who better to tell us
:23:21. > :23:21.
:23:21. > :23:25.than theo so stylish Julien # Playing Material Girl by
:23:25. > :23:32.Madonna.) Please welcome Lord Julien
:23:32. > :23:38.MacDonald. APPLAUSE
:23:38. > :23:43.I have no authority to do that! Did you enjoy Wembley? I thought it was
:23:43. > :23:46.Strictly fabulous! It was. Were you out of your seat with awe at the
:23:46. > :23:50.outfits? I was screaming. There was everything I love - fringes,
:23:50. > :23:55.colours, even a few ruffles. There were ruffles. We'll discuss the
:23:55. > :24:00.ruffles. As always, you chose in your top three must-see looks - who
:24:00. > :24:08.is your number three this week, do you think? My number three of the
:24:08. > :24:17.week is the fabulous Dani. Look at her gorgeous skirt - dare we say it
:24:17. > :24:21.there are ruffles! Woo! There are 150 ruffles. My God. That's almost
:24:21. > :24:25.too many for most to bear. Tell me more details about the ruffles in
:24:25. > :24:30.the skirt. This ruffle is striped ruffles, so it's gathers of a
:24:30. > :24:34.striped fabric all gathered and ruffled together to make 150
:24:34. > :24:42.ruffles on one tiny skirt. She has been ruffled up. I know. It is
:24:42. > :24:46.quite. What is it made of? It's been raw cut. It allows the ruffle
:24:46. > :24:51.to be light and float. I never knew anyone could make a ruffle sound
:24:51. > :24:57.just so exciting as you did. What about the sequence? These ones are
:24:57. > :25:02.slightly different to the ones they normally use. There are 2,000
:25:02. > :25:07.striped circular sequence on one tiny top. These sequins are baby
:25:07. > :25:12.pink, a fabulous colour. I love the contrast with the black band and
:25:12. > :25:16.the baby pink which makes them look quite sporty and athletic. She did
:25:16. > :25:22.look absolutely gorgeous. Who is your number two this week?
:25:22. > :25:26.number two of the week took me by surprise. There she is. It's the
:25:26. > :25:32.fabulous Victoria. Giving us a little whoosh of her skirt there.
:25:32. > :25:36.It's quite an unusual outfit. What stood out about this for you?
:25:36. > :25:41.love the drama of the outfit. I loved that she had a leotard
:25:41. > :25:46.underneath it - this fabulous panel skirt which just went up and up and
:25:46. > :25:51.up. It's a seriously impressive skirt. How much fabric did they use
:25:51. > :25:57.Apparently eight metres of fabric in a melty panelled skirt which was
:25:57. > :26:05.colour blocked. A pattern cutter's nightmare I imagine. Can I just say
:26:05. > :26:12.9,000 crystals. Is that the most we have had on an outfit? That's the
:26:12. > :26:18.most. 5,000 Navy blue, 2,000 red and 2,000 crystals the makes nine.
:26:18. > :26:23.Thanks for doing the maths. Who is at your top spot this week? She's a
:26:23. > :26:28.bundle of few. It's Lisa Riley. was awesome on Saturday. She's a
:26:28. > :26:32.very, very curvy woman. What design tricks have been used to show off
:26:32. > :26:36.her curvaceous figure? She's using a colour block. Colour block is in
:26:36. > :26:40.trend. It's where you mix two contrasting colours together, like
:26:40. > :26:44.pink and like orange, the fact that these colours are strong and
:26:44. > :26:51.confident on her body - you forget about what's inside. You just think,
:26:51. > :26:58.wow, she looks amazing teamed up with, again, more fringe - all
:26:58. > :27:03.wrapped around, wrapped around, wrapped around. A person running
:27:03. > :27:07.around like this - "pin it!" Let me tell you, there is a lot of
:27:07. > :27:14.fringing, then underneath the fringing up a tonic of a lot of
:27:14. > :27:18.sequins. Wow! And what can you tell me about the crystals over her
:27:18. > :27:24.shoulder? That's really pretty, isn't it? This helps her look
:27:24. > :27:31.really gorgeous because the thing is there is over 4,500 crystals
:27:31. > :27:36.encrusted on to a lace base on a tulle illusion. Hang on. Can you
:27:36. > :27:44.just say that again! The tulle illusion is transparent net. The
:27:44. > :27:53.lace is cut off, put on to the tulle, then embroidered by 4,000
:27:53. > :27:57.crystals. Right. Everyone has to get tulle illusion into their
:27:57. > :28:01.conversations at work tomorrow. There is somebody creating a fab
:28:01. > :28:08.trend... There is definitely fashion in the training room. It
:28:08. > :28:13.has to go to Mr Robin Windsor. at him in the vest. He does wear it
:28:13. > :28:19.so well. Do you have a favourite in the vests? This has to be my
:28:19. > :28:27.favourite - the cut-away grey vest with hood. Is this something we can
:28:27. > :28:31.all do at home? I have been busy today and have made him a special
:28:31. > :28:41.cut-away vest. So exciting. It's an original. He could sell this for
:28:41. > :28:44.
:28:44. > :28:51.lot of money. Look at this. I have ruffle in. There wasn't enough room
:28:51. > :28:54.for a ruffle on this vest. Look at the back. We'll make sure he dons
:28:54. > :28:58.that for you. Thank you, Julien MacDonald. Thank you to all of my
:28:58. > :29:02.guests. Tomorrow, I'll be talk tens with Denise and James. Plus,