:00:11. > :00:14.It's Tuesday, coming up on tonight's show, Nancy and Anton
:00:14. > :00:19.narrowly avoided elimination and survived to dance another day.
:00:19. > :00:24.They'll be here. Our very own dancing Queen, Karen Hardy, is in
:00:24. > :00:34.the studio for more choreography corner. I'll chat to Bruce Oldfield
:00:34. > :01:10.
:01:10. > :01:20.about who or what this weekend.... This is Strictly It Takes Two.
:01:20. > :01:24.
:01:24. > :01:27.Please welcome your host, Zoe Ball. Our couples are straight back to
:01:27. > :01:32.business in the training rooms getting ready for their next
:01:32. > :01:37.performance. On Saturday, Nancy and Anton performed a tango full of
:01:37. > :01:42.passion, drama and style, aiming for Italian stallion, did they end
:01:42. > :01:49.up more blooding mule? They'll chat to me in a moment, but let's talk
:01:49. > :01:54.alike at their weekend story. It had all the tension of a cold
:01:55. > :02:03.sponge. There was lots of style but no substance.
:02:03. > :02:08.It was like a plodding mule trudging through mud. It actually
:02:08. > :02:16.looked like a tango. And you actually looked like you can dance.
:02:16. > :02:20.Carry on this way. The couple leaving tonight is... Dan and Katya.
:02:20. > :02:26.We'll try better next week, try and get the dancing up a bit better,
:02:27. > :02:33.see if we can get better marks from the judges and go from there really.
:02:33. > :02:39.Please welcome our first couple tonight, Nancy and Anton.
:02:39. > :02:45.Nancy, you look glorious. Always so nice to see you. It's one of the
:02:45. > :02:51.best of - parts of Strictly, coming to see you. After being with you!
:02:51. > :02:57.Have you recovered from your weekend? We haven't recovered yet.
:02:57. > :03:02.Have you recovered? Just about. Last week is already over. We start
:03:02. > :03:08.a new routine and now the only sthing to look ahead for next
:03:08. > :03:12.Saturday -- the only thing is to look ahead for next Saturday.
:03:12. > :03:20.talk about Saturday. Your costume,, the make-up, the music, did that
:03:20. > :03:30.all add to the character you played in your tango? Definitely. The
:03:30. > :03:30.
:03:30. > :03:36.make-up, the costume, it was fantastic. But of course, my
:03:36. > :03:40.character, the tango quite suits me with the passion, it goes with
:03:40. > :03:45.Italians and the music was so very passionate. So I was very pleased
:03:45. > :03:52.to dance that. Never heard Anton be so quiet for so long. Well done!
:03:52. > :03:56.Thank you very much. In amazement. In previous weeks, you've had
:03:56. > :04:01.costume dramas, you forgot the steps, did it go according to plan
:04:01. > :04:04.for you both on Saturday? Why are you so far away? I don't know, do
:04:04. > :04:10.you want me to get closer. I shoveled up, you shoveled away.
:04:10. > :04:14.Make your mind up, I'm confused. I feel rejected but I'm not quite
:04:14. > :04:17.sure why! Did it go according to plan? I thought Nancy danced very
:04:17. > :04:21.well, I thought the beginning was very strong. The judges didn't
:04:21. > :04:27.mention the fact that any of the celebrities really danced on their
:04:27. > :04:34.own, they do something on their own. Nancy did the bit of the dance on
:04:34. > :04:39.her own, I was at the front row and she's giving it all this. And then
:04:39. > :04:43.wollop, the leg goes up, perfect time. That's really difficult to do
:04:43. > :04:47.that and they gave no credit at all. Not only to Nancy, but to any of
:04:47. > :04:52.the celebrities for anything they do on their own. I think it's
:04:52. > :04:57.remarkable that they do dancing on their own. If they are watching
:04:57. > :05:01.this, they'll take note. They probably will, quite frankly, no,
:05:01. > :05:06.no. They never do! Can you win with the judges, they want more content,
:05:06. > :05:09.you give it to them... Don't care about the judges any more. Who are
:05:09. > :05:13.they, I don't even know who they are, there are only four of them,
:05:13. > :05:16.ten million viewers. So you say you are not dancing for the judges but
:05:16. > :05:22.the people at home? Of course, this is what the show is about, dancing
:05:22. > :05:26.for the people watching, the viewers, not the judges. We are not
:05:26. > :05:31.dancing for the judges. What are they going to do, mark you down?
:05:31. > :05:37.Thauf already done that. We are so free, we can do whatever we want.
:05:37. > :05:42.feel rebellious, I might take me tie off! Steady on, Anton!
:05:42. > :05:46.Online, they are loving it. Trace si said such a huge improvement and
:05:46. > :05:54.the judges have been too harsh. -- Tracy. You are absolutely right,
:05:54. > :05:58.Tracey, thank you. Melanie loves you and says she's doing better
:05:58. > :06:04.than I ever could. How did it feel to be in the bottom two? Well, you
:06:04. > :06:11.know. Have you been before? Once or twice! Has he been there before?!
:06:11. > :06:20.Bless you. May I answer? I want you to, I'm over this already, I can't
:06:20. > :06:28.be bothered. Definitely it's not a nice feeling. It was a new
:06:28. > :06:34.experience. I love Claudia, but I hope not to see her again. Not on
:06:34. > :06:40.Sunday! I see what you mean, you don't want to be talking to her
:06:40. > :06:50.because you will be in the bottom? No, the feeling is not nice. I
:06:50. > :06:52.
:06:53. > :07:00.never thought to be out to be very honest. I didn't deserve it. Much
:07:00. > :07:05.better than that Dan. I adore you both, I really do. Let's point out
:07:05. > :07:10.that the scores are going up, a 12, 14, 20, it's good, going in the
:07:10. > :07:14.right direction. We like that. Thank you, I do as well. Still
:07:14. > :07:20.bottom but going up. It's only good if nobody else goes up you see,
:07:20. > :07:26.when they all go up, we remain the same, so essentially it's rubbish.
:07:26. > :07:31.Paso Doble, how is it going? Brilliant. Is this going to be the
:07:31. > :07:35.comeback dance? From what? I'm not sure. We haven't been away have we?
:07:35. > :07:41.Only from the bottom two, are you going to go up? It's going to be
:07:41. > :07:45.good. We're going to have lifts in it. We are e we have been lifting
:07:45. > :07:48.all the time. We should have a troop of matadors and horses.
:07:48. > :07:54.is a great glimpse into the training room, isn't it? I would
:07:54. > :08:00.love to talk all night but I have to talk to everyone else. Good luck
:08:00. > :08:03.with the Paso Doble, Nancy and Anton. You are adorable! There was
:08:03. > :08:07.a strong emphasis on the choreography which included bold
:08:07. > :08:12.story-telling, illegal lifts and props and what Len described as too
:08:12. > :08:22.much messing about. To help us decipher what it meant, who we
:08:22. > :08:28.
:08:28. > :08:31.Here she is, a close personal friend of Henry Winkler, Karen
:08:31. > :08:34.Hardy! Loving you and Henry talking on the
:08:34. > :08:40.red button on Saturday! Right, Broadway in the ballroom this
:08:40. > :08:43.weekend. We are going to start with Holly and Artem and the tango. What
:08:43. > :08:46.did you think? Interesting. I've gone the other way with this
:08:46. > :08:50.performance. I think this girl is incredible. But when I watched this
:08:50. > :08:55.performance and we saw the whole cage thing going on and saw her
:08:55. > :08:58.doing lots of solo work, it looked like a pop video, whereas you look
:08:58. > :09:02.like this, she could have easily done that move in hold so we would
:09:02. > :09:05.have had much more content. This could have easily been, for me, one
:09:05. > :09:11.of her beautiful pop shows where she's on her own looking hot and
:09:11. > :09:16.sexy, but you know what, this is a ballroom competition. Dancing is
:09:16. > :09:21.movement to music, ballroom dancing is two people moving together. That
:09:21. > :09:26.makes ballroom. Anita and Robin did the jive. How did Anita co-do for
:09:26. > :09:30.you? Brilliant. It was brave and brilliant. We had jive content. We
:09:30. > :09:34.had timing issues which the judges said it looked like she was behind,
:09:34. > :09:37.but you put a celebrity on their own, it's very hard, they've only
:09:37. > :09:42.been together a couple of weeks. But there was so much great content
:09:42. > :09:49.in there, it was jiving, it was bouncing and the props were there
:09:49. > :09:53.but they didn't take over too much, it was beautiful for me, loved it.
:09:53. > :10:01.Happy Karen. Let's talk about Rory and Erin and their quickstep. Great
:10:01. > :10:05.night for them. How did they capture it so well? Listen to this,
:10:05. > :10:09.da-da-da-da, that for me is really clever because this music is so
:10:09. > :10:16.special. It basically tells the celebrities what steps to do. So
:10:16. > :10:19.this then allows the celebrities to relax a little bit more, da-da-da
:10:19. > :10:24.is making him take that forward step and skip across the floor, he
:10:24. > :10:27.can get into character. The greatest thing there from Erin, she
:10:27. > :10:32.chose excellent music and he would have been able to give that Fred
:10:32. > :10:36.Astaire appeal on the dance floor. Very clever! Two big gold stars.
:10:36. > :10:39.Yes. Lulu and Brendan and the rumba. I cried watching this, I thought it
:10:39. > :10:43.was so beautiful. But we can't talk about them without mentioning the
:10:43. > :10:48.lift. The first thing is, I know it was illegal, but, as a lift, Karen,
:10:48. > :10:52.was it good? It was a fabulous lift. I'm not going to complain. Look at
:10:52. > :10:58.it, height, legs in an excellent position, pointing her toes and she
:10:58. > :11:05.lands very nicely. Lots of great things. But I'm a big no, no, no
:11:05. > :11:09.with the lifts. Come on, guys. It's trickery, you put lifts in to
:11:09. > :11:14.create an effect. So what's really going to... You can put all the
:11:14. > :11:17.effects in now, but those that are learning the steps and the
:11:17. > :11:20.fundamentals, it's going to come back and save them later in the
:11:20. > :11:25.show. Let the people put their tricks in, but it's going to go
:11:25. > :11:29.against them later in the line. I'm glad that Craig picked up on it and
:11:30. > :11:33.stuck to his guns. She could have held his waist and had a toe on the
:11:33. > :11:38.floor and got exactly the same effect. I think we know how you
:11:38. > :11:42.feel about lifts! Yes! Audley and Natalie and their quickstep now.
:11:42. > :11:46.After being in the bottom two last week, Audley did well in this
:11:46. > :11:51.dance? He did. But look how he did well. See that step? Now look again,
:11:51. > :11:56.we are going to repeat it again. Now, repetition of steps is a very
:11:56. > :11:59.clever way, if people are not maybe getting the dance quick enough,
:11:59. > :12:03.quickstep is one of the big ones, really hard with lots of fast steps
:12:03. > :12:07.and we already know with his feet. But look what she does, a little
:12:07. > :12:14.later none the routine... Is it back? It will come back again.
:12:14. > :12:18.didn't note thais at all. Notice this at all. He's going into
:12:18. > :12:22.it for the fourth time and by now, it's confused him, he's gone wrong
:12:22. > :12:25.there, so there's a point of repetition can be great, especially
:12:26. > :12:29.there might be one dance in the series that a celebrity's
:12:29. > :12:32.struggling with, and we've all done it, you repeat the steps, but you
:12:32. > :12:36.have got to be careful. Four repetitions and I think he lost
:12:36. > :12:41.where he was, tripped over his own feet there. It's easy to trip over
:12:41. > :12:43.those feet, they are big! I'm hearing you there. Robbie and
:12:43. > :12:51.Ola and the tango. Robbie was struggling with spinning in
:12:51. > :12:55.training last week. What did Ola do here? She added more! Look at this.
:12:55. > :12:59.With saw a three-step turn with a chair and then we are going to see
:12:59. > :13:02.her spin again. Basically, to me, she's saying, you
:13:02. > :13:07.might have motion sickness, but I think you are going to be in this
:13:07. > :13:11.for the long run and any time we add turn into dance, it creates the
:13:11. > :13:15.dynamic and it creates an effect. Anything that's flat, so if Robbie
:13:15. > :13:18.would have done that earlier on, Ola would have made him do three
:13:18. > :13:22.walks across the stage and three back again, but as she's upping his
:13:23. > :13:28.game and increasing him, you've got to be turning everywhere. Turn is
:13:28. > :13:32.the elegance of dance. She's saying, Savage, get on with it, deal with
:13:32. > :13:37.the sickness. And they did it. Russell and Flavia, much more
:13:37. > :13:41.ballroom content. Look at this! I love it. He is adorable. Flavia was
:13:41. > :13:47.very clever to include his trademark gestures, wasn't she?
:13:47. > :13:50.We had all that beautiful content and here it comes again. Even wants
:13:50. > :13:54.to say hello to Russell and it's that classic bit of music, he's
:13:54. > :13:58.living the dream, on the stage, he's at home! So, what I love this
:13:58. > :14:01.time, we saw way too much of that in the last two performances. She
:14:01. > :14:06.got it perfect this time. Look, straight back into hold. And
:14:06. > :14:12.foxtrot is the dance of death to a lot of couples because it's flat
:14:12. > :14:19.and can be very boring. With that song, that bit of Broadway in the
:14:19. > :14:21.middle, fantastic number! OK, let's talk about Jason and Kristina in
:14:22. > :14:28.their tango. You are almost hysterical and we haven't talked
:14:28. > :14:32.about it. The competition of the campness we've got to say. We've
:14:32. > :14:36.got camp, we've gone Broadway, got hips and Kristina is living the
:14:36. > :14:39.moment and suddenly, wow, back into the intensity of it all! He's
:14:39. > :14:44.saying, I'm in this competition, I will give you your Broadway moment
:14:44. > :14:48.for the middle bit, beginning, middle and end, that's the
:14:48. > :14:53.classical Broadway theme, then he said, I'm back into the tango
:14:53. > :14:58.because this is what everybody will be marking. Loved it. Chelsee and
:14:59. > :15:02.Pasha and their cha-cha-cha, now, would Chelsee benefit from simpler
:15:03. > :15:07.choreography? The judges keep saying she's too bouncy and a bit
:15:07. > :15:13.frenetic? It's not that. I mean, if we have a look, she's got time to
:15:13. > :15:18.go, I've got a hair in my face, I think I'll remove it. She can
:15:18. > :15:22.handle all the fast choreography, she's not mastering the techniques.
:15:22. > :15:26.They do what we say when it grounds a woman, sounds madness. But for
:15:26. > :15:30.example, a cha-cha-cha, straight legs, lock the legs in, create hip
:15:30. > :15:34.action. Very important. But what we are getting in every single dance
:15:34. > :15:37.with Chelsee is bounce, bounce, bounce, as soon as she hits
:15:37. > :15:44.something like a rumba or the gracefulness of a foxtrot, she's
:15:44. > :15:48.going to have to learn heels and toes and master the technique.
:15:48. > :15:52.Choreography is a walk in the park for her. Harry and alowe that that
:15:52. > :15:56.and their jive. A lot of people loving this, not sure whether it's
:15:56. > :16:02.because of the pecks or the dancing? You are not so sure?
:16:02. > :16:07.we've got a lovely couple of weeks coming along. We've got Grease here,
:16:07. > :16:10.we've got the car, the costumes and the music. It's all too much for
:16:10. > :16:15.you? All I needed with that was just a great jive because that boy
:16:15. > :16:18.can do it. We've just got to be careful, we are going to have some
:16:18. > :16:22.lovely themed events, let's make the mistakes now, but those judges,
:16:22. > :16:26.as the weeks go on, will be demanding more and more content of
:16:26. > :16:29.dance. OK. Karen Hardy, as always,
:16:29. > :16:33.gorgeous! Karen, see you next week, thank you!
:16:33. > :16:37.I feel like I've learned something. The next couple had a triumphant
:16:37. > :16:41.night on Saturday, received stellar comments for their simple but
:16:41. > :16:47.beautiful routine and were rewarded with eights across-the-board. Alex
:16:47. > :16:52.and James are here in a second but let's relive their memories of the
:16:52. > :16:59.weekend. James, I think you are being very clever. It was
:16:59. > :17:07.uncomplicated. Loved it, really, really loved it. It was simply
:17:07. > :17:13.beautiful. For me, you are the most improved dancer. You look elegant
:17:13. > :17:18.and dreamy. It was like watching a magical bird stretching its wings
:17:18. > :17:28.for the first time ready to take flight. It was, as Len said,
:17:28. > :17:34.
:17:34. > :17:40.absolutely beautiful in its 32! I'm absolutely for the first
:17:40. > :17:46.time ever I think speechless. Loved it. Is that going totive you
:17:46. > :17:52.confidence? Yes. Sure? Yes. Thank you. Please give a warm welcome to
:17:52. > :17:56.Alex Jones and her partner James Jordan.
:17:56. > :18:00.It's just given me a big blow seeing you come out there. Alesha
:18:00. > :18:03.said you were the most improved dancer. Well done, that must feel
:18:03. > :18:07.fantastic? It was a highlight on Saturday and I suppose that's what
:18:07. > :18:15.this competition is all about, getting a bit better. There was
:18:15. > :18:18.nothing there to begin with, let's be honest. You could beg to differ
:18:18. > :18:23.there! I suppose a bit of improvement every week is what it's
:18:23. > :18:28.all about and just having a brilliant time doing it. It must be
:18:28. > :18:33.nice for you, James, because Craig call yod clever. True. Surely
:18:33. > :18:39.that's a first from Craig for you? I thought you meant it was the
:18:39. > :18:45.first time I've been called clever. It's the first time he said
:18:45. > :18:47.anything like that to me. But I the routine very simple. You don't need
:18:47. > :18:52.intricate choreography to create a story or power. Because of the
:18:52. > :18:57.music being so nice, the dress was so nice, the choreography was very
:18:57. > :19:01.emotional, I think it sold it. So yes, you can keep things simple.
:19:01. > :19:05.Broadway week, some might say that's a risky strategy to take,
:19:05. > :19:08.throwing in props and all kinds, but it was effective. We spoke
:19:09. > :19:16.about it. We were dancing to memories and didn't want to have
:19:16. > :19:25.the wagging tails. I did wonder at one moment if you were going to be
:19:25. > :19:29.Mr Mestopalies and come out with the whole chabang. We kept it
:19:29. > :19:33.simple. On Facebook, you have had so many lovely comments. Kenny said
:19:33. > :19:37.James is turning Alex into a serious contender. Look at that!
:19:37. > :19:42.Loads of comments about how moving and emotional it was. A greet
:19:42. > :19:46.student. She's teachers' pet at the moment. She is, but it's God to see
:19:46. > :19:50.though because you are obviously loving it. I'm having the best time
:19:50. > :19:55.ever. Saturdays are scary, Zoe, they are, they're terrifying.
:19:55. > :19:58.been there, I know exactly how scary they are. But during the week
:19:58. > :20:07.building up to Saturday, we have just a great time, pleasing James
:20:07. > :20:10.and improving a bit, for me, that's what it's all about. Just taking it
:20:10. > :20:14.week-by-week. I don't think every week it's possible to improve at
:20:14. > :20:19.the level she has been, you are eventually going to plateau and one
:20:19. > :20:25.of the dances may not suit her. All the time she's giving me 100% and
:20:25. > :20:29.trying, that's all I care about and she is, she's very trying!
:20:29. > :20:35.Oh! In the training room, occasionally, there are three
:20:35. > :20:38.people in there, we've noticed. Have a look at this! Really. James
:20:38. > :20:44.says do a step and I'll automatically think step, literally
:20:44. > :20:48.and go wow and do a huge step like that. She has this thing where she
:20:48. > :20:58.lifts her feet so high off the floor to take a step. I genuinely
:20:58. > :20:59.
:20:59. > :21:06.look a bit like Basil Fawlty which is not the look James was going for.
:21:06. > :21:14.There was a bit of Basil in there. There was. We don't want to
:21:14. > :21:20.completely lose him, we'll miss him. Hopefully I'll become Darcy
:21:20. > :21:23.Bussel.: I hope so. Won't happen. Basil. He comes back every Monday,
:21:23. > :21:28.doesn't he? I fear he may be back for the rumba, to be honest.
:21:28. > :21:33.have the rumba, it's a tough dance, the dance of love. How are you
:21:33. > :21:39.finding it? Hm. That good, eh? have only done a couple of hours so
:21:39. > :21:43.far and it's all new. Like ten hours! Really?! How do you get all
:21:43. > :21:48.the training in because you are doing the One Show and strictly as
:21:48. > :21:54.well, you must live here at the BBC. Well, I don't know why I'm paying
:21:54. > :21:58.rent, Zoe, to be honest. Just get a duvet under the sofa. It's OK, it's
:21:58. > :22:02.a routine, we meet in the morning and then I do the One Show, and if
:22:02. > :22:05.I've not been good in the day, we meet in the night after the One
:22:05. > :22:09.Show, so you can always gauge how the session's gone in the morning.
:22:09. > :22:14.We are going training after this. You are good students. Good luck
:22:14. > :22:20.with the rumba. Look forward to seeing Basil on Saturday if we are
:22:20. > :22:25.really lucky. Alex and James! On Saturday night, the fashion bar
:22:25. > :22:30.was raised higher than ever before, as the celebrities embraced their
:22:30. > :22:40.Broadway characters. Some of the girls got wigy with it. Here is a
:22:40. > :22:50.
:22:50. > :22:53.reMaundyer of who wore what at the Joining me now to cast their expert
:22:53. > :22:58.eye over the costumes, please welcome fashion designer Bruce
:22:58. > :23:08.Oldfield and fashion lecture oo that O'Hagan.
:23:08. > :23:08.
:23:09. > :23:12.Delightful to have you both here. - - Oonagh O'Hagan. Chelsee first in
:23:12. > :23:15.her cha-cha-cha number. What did you make of her little number?
:23:15. > :23:22.amazing. The fact that you can put anything on this young girl, you
:23:22. > :23:29.know, and she'll go for it yourbgs know, she'll just wear it, I loved
:23:29. > :23:35.it. Looked like something from the '20s or even the '60s. A bit like a
:23:35. > :23:42.swim suit, '50s like Esther Williams. Yes. Pity there was no
:23:42. > :23:50.hat to match. Give us some fashion facts about what is going on in her
:23:50. > :23:59.outfit there? It's 1,500 bugle beads. They're long thin beads,
:23:59. > :24:04.looking a bit like macaroni and they are each threaded on by hand,
:24:04. > :24:09.so it's really intense a job in beautiful oranges and pinks.
:24:09. > :24:12.Beautiful warm, liquid colours here. Why is that particularly good for
:24:12. > :24:16.the cha-cha-cha? What effect is that going to give? The bugle bead
:24:16. > :24:21.is used because it's a tube on the thread, it spins and moves. So
:24:21. > :24:25.rather than using a tassel like you would use for maybe the jive or
:24:25. > :24:31.Charleston which is a very up and down movement, the bugle beads spin
:24:31. > :24:36.so it's very much more the twists. I want some attached to me right
:24:36. > :24:39.now! Come over here. We'll start now!
:24:39. > :24:44.Anita. She was doing the number from Hairspray. Now, Bruce, when
:24:44. > :24:51.you saw this outfit, you pulled a funny face. You weren't a big fan?
:24:51. > :25:00.Bows I don't really like and two bows I really don't like. Is that a
:25:00. > :25:05.rule never to be broken. Yes, it was Minnie Mouse but right for hair
:25:05. > :25:09.spri. It was originally going to be a blue colour but they went for
:25:09. > :25:15.this candy floss pink to make it more camp to tie in with hair spri.
:25:16. > :25:19.The hemline as well. What is going on with it -- Hairspray. It's wire
:25:19. > :25:25.to make it stand out like that. It's put on a zig-zag, then they
:25:25. > :25:32.thread the wire through as it goes and it forces it to do that. It's
:25:32. > :25:37.got underneath it four layers of pettycoats. That was four different
:25:37. > :25:44.fabrics, so they moved because they had soft characters, nylons, satin
:25:44. > :25:53.and fashion fact, six metres of fabric. On each layer? No, she
:25:53. > :25:58.wouldn't be able to get up. Shield be like a puff Fay. We've got
:25:58. > :26:02.Lulu's outfit in the studio -- puffe. Black-and-white representing
:26:02. > :26:06.the Phantom, dancing to a number from Phantom Of The Opera, but
:26:06. > :26:09.quite '60s as well with the monochrome. Did you lake that,
:26:10. > :26:16.Bruce? I did. There was a lot of fabric there on rather a petite
:26:16. > :26:20.woman and it could have been a bit of a tent... Overwhelming. Yes. But
:26:20. > :26:26.it worked because there were parts that were see-through so you got a
:26:26. > :26:30.bit of body showing and leg showing, so it kind of worked. It worked foe
:26:30. > :26:35.me. This is Lulu in the '60s and look at her on Saturday night. She
:26:35. > :26:41.just looks glorious, doesn't she? Amazing. The same. What is your
:26:41. > :26:47.secret, Lulu? We all want to know. She looks gorgeous. Tell us about
:26:47. > :26:54.what is it made from, the dress? The knowledge about the dress. It's
:26:54. > :26:58.a crepe base, then the scarves of Georgette to give it the romantic
:26:58. > :27:02.silhouette. Apparently, they were doing that to the last-minute, the
:27:02. > :27:07.layers and Lulu was discussing how much she wanted because it would be
:27:07. > :27:12.affect by the actual dance as well. A lot of work went into it. So even
:27:12. > :27:16.as she was running on to the stage, they're sewing it on. It's like a
:27:16. > :27:20.fashion show. Very contemporary, this black-and-white as well, very
:27:20. > :27:24.Chanel. Let's talk about Holly's outfit. We saw the beginning of it
:27:24. > :27:30.last week which was virtually a cup and a bit of strap and that's how
:27:30. > :27:34.it ended up. Absolutely stunning. You dress her, don't you? From time
:27:34. > :27:37.to time, yes. It's very, very nice. She has got a figure, you know,
:27:37. > :27:41.she's not a stick insect. She's a woman with shapes and curves.
:27:41. > :27:45.That's why we all love her. She's got curved. And as a result of that,
:27:45. > :27:51.she can wear this outfit which has this whole sort of, we were saying
:27:51. > :27:56.it's like underwear's outerwear, very Gaultier, reminded me of
:27:56. > :28:00.Madonna's videos for Vogue. Yes, now you mention it. Why is this
:28:00. > :28:06.dress good for tango? If you look at the slashes on the leg, it's
:28:06. > :28:09.nude net which makes her legs look like they go on for miles, even
:28:09. > :28:13.though they do and it means you can see the leg work which is so
:28:13. > :28:17.important in the tango as well. she felt so confident going out
:28:17. > :28:21.there in what seems to be very little really. Yes, and she was so
:28:21. > :28:26.confident that she actually managed to dance through getting her heel
:28:26. > :28:32.caught. She dealt with it like a pro. She did, she was fantastic.
:28:32. > :28:37.are huge fans. Thank you so much both of you for coming in. Bruce
:28:37. > :28:40.and Oonagh! Thank you to all my guests tonight.