:00:14. > :00:17.It's Tuesday. Coming up, after a big fright, Audley and Natalie
:00:17. > :00:21.squeaked through. They're here in a moment. No cape fear for Alex and
:00:21. > :00:26.James in the paso. I'll chat to them later. And she doesn't fall
:00:26. > :00:32.for scare tactics. Karen Hardy is back with choreography corner. Plus
:00:32. > :00:42.Ben gives us his view on the weekend's outfits. This is It Takes
:00:42. > :01:11.
:01:11. > :01:18.This is Strictly It Takes Two. Please welcome your host. It's Zoe
:01:18. > :01:21.Ball! Hello and welcome to It Takes Two.
:01:21. > :01:25.For some of the couples, the Halloween special wasn't as scary
:01:25. > :01:29.as they thought. For Audley and Natalie, big smiles turned into a
:01:29. > :01:34.bd dream when they landed in the bottom two. They are here next, but
:01:34. > :01:37.here is how they got on with the jive.
:01:37. > :01:41.Bad dream. You are completely and utterly
:01:41. > :01:47.physically unsuited for this dance, I'm afraid. You really got into the
:01:47. > :01:55.spirit of things. Big smile, great personality, terrible footwork.
:01:55. > :02:01.not going to be disappointed for you. I commend you. Well done.
:02:01. > :02:04.Bad dance. It was over too quick. Yes, 18 and a half stone, toes
:02:04. > :02:07.pointing, dodgy knee, I went for it. The judges were tough on me this
:02:07. > :02:12.week. They are looking at the technical aspects and everyone
:02:12. > :02:17.knows if you look down at my feet you ain't gonna be happy. Keep it
:02:17. > :02:21.real. Craig, it's going to be today when something happens and
:02:21. > :02:28.something will go bump in the night!
:02:28. > :02:33.Please welcome Audley and Natalie! Hello, guys, welcome to the show.
:02:33. > :02:38.Well done on surviving is. Thank you. How did you feel on Saturday
:02:38. > :02:42.night? I felt relieved. Yeah? in the bottom two again, you know,
:02:42. > :02:45.second time, you know, and dance the dance to the best of our
:02:45. > :02:50.ability and the best of my ability and to be in the bottom two again.
:02:50. > :02:58.But the competition is getting very tough. It is, it does feel like
:02:58. > :03:04.it's gone up a notch and there is a lot of pressure on everyone. Even's
:03:04. > :03:08.delivering amazing performances. keep bouncing out there and getting
:03:08. > :03:14.there somehow. We are at the half way point. Did you expect it to be
:03:14. > :03:20.here this far in? After the first week, I exceeded my expectations.
:03:20. > :03:24.We are still in it and more to come in improving it. Let's talk about
:03:24. > :03:29.the jive. It's been well documented by everyone that it's a hard dance
:03:29. > :03:34.for the boys and that maybe it wasn't your best dance. Look at
:03:34. > :03:38.that! Beautiful! Look at those kicks and flicks. So light on your
:03:38. > :03:42.feet, I thought. Natalie, are you glad to see the back of the jive or
:03:42. > :03:46.do you think he did great? Absolutely. Audley went back to
:03:46. > :03:52.America, no excuses, but it was definitely a difficult dance, you
:03:52. > :03:56.know. You were great, we performed, had an amaidsing time. That was
:03:56. > :04:01.probably one of my best nights this series -- amazing. The energy was
:04:01. > :04:05.up, the crowd were amazing and you did really well, spieled and
:04:05. > :04:09.entertained the crowd. -- smiled. Everyone loves your smile. You had
:04:09. > :04:14.to go back to America last week so you only got 11 hours of training.
:04:14. > :04:18.Did that put the fear of good in you on Saturday before you went on
:04:18. > :04:22.stage? Definitely, I was concerned about how much time we put in and
:04:22. > :04:26.my knee was playing up as well. But, you know, you've got what you've
:04:26. > :04:31.got, get out there, make it work, no excuses and make it happen.
:04:31. > :04:38.That's what we did, put in our best performance. We had a great session
:04:38. > :04:43.today. I see a great improvement. This week when we're down! Speaking
:04:43. > :04:53.of fighting talk, like a big fight, dancing has rules that need to be
:04:53. > :04:59.
:04:59. > :05:08.followed as well. Take a look at Waltz, foxtrot. Salsa. Love my
:05:08. > :05:12.dancing. Let's dance. Stop talking! Do you see my on my toes, Craig. Is
:05:12. > :05:17.my feet flat, Craig. Craig, you can't down mark me. Look at that,
:05:17. > :05:27.Craig, I can walk on my toes, look at that now, I can walk on my
:05:27. > :05:29.
:05:29. > :05:38.toes... I'm a wandering man. Imagine all the people... I'm
:05:38. > :05:41.looking great. I'm a genius. Mwah! Can you take position? I can't go.
:05:41. > :05:49.Don't argue with me. Can you remember your steps, please? Why
:05:49. > :05:53.didn't you say that then? questions? No. Fighting talk! Now,
:05:53. > :05:58.Viennese waltz this week, what are the rules in dance club this week?
:05:58. > :06:01.A lot o the judges have said they haven't seen a lot of swing and
:06:01. > :06:10.sway, which is what you need to cauth in the Viennese waltz. I
:06:10. > :06:14.don't want it to be one dimensional. We've worked on the footwork and I
:06:14. > :06:19.want to work on the upper body so it seems effortless and light.
:06:19. > :06:23.you taken that on board? I have no choice. He has to, that's my
:06:23. > :06:26.fighting talk! And she's the boss and she's going to tell you how it
:06:26. > :06:32.is? Yes. Good for you. What are the strengths and weaknesses that you
:06:32. > :06:37.really need to focus on? Again, rise and fall. Just strengthening
:06:37. > :06:40.the ankles and the knees and the frame and the posture, you know.
:06:40. > :06:43.You're improving every week, but there's always so much and so
:06:43. > :06:49.little time for so much technique that's involved. So we are doing a
:06:49. > :06:54.lot more hours as well. Yes, are you? Yes. Good. I'm whipping my
:06:54. > :06:58.whip like that. All hours of the morning if we have to. The frame's
:06:58. > :07:01.got to be right, the fingers are going to be closed, the rise and
:07:01. > :07:05.fall will be good, the swing will be right, the head will be to the
:07:05. > :07:10.left. Tick, tick, tick. Technically, it's tick, tick, tick... You have
:07:10. > :07:16.to sleep like that as well, Audley. Good idea, I might do that. Good
:07:16. > :07:22.luck with the Viennese waltz this week. Audley and Natalie!
:07:22. > :07:26.Just by all the ghoulish goings on, one woman had her eye firmly on the
:07:26. > :07:36.choreography this weekend. Let's meet our good witch. It's time for
:07:36. > :07:43.
:07:44. > :07:49.Please welcome choreography spice, Karen Hardy!
:07:49. > :07:55.They love you. Karen, on Saturday, we had coffins, vampires, bats,
:07:55. > :07:59.forget all of that, choreography overall, good or bad?
:07:59. > :08:04.98% brilliant! That's high! couple of little ones fell through
:08:04. > :08:09.the cracks but in general, what a great Halloween weekend. Let's talk
:08:09. > :08:18.about Jason and Christina and their quickstep. Bruno said great core
:08:18. > :08:22.rog ra fi. How risky was this bit at the beginning -- choreography.
:08:22. > :08:27.So risky. Even though she's on the stage, look at that, it's like
:08:27. > :08:32.magic. Like telepathy. But in our world, it's the perfect partnership.
:08:32. > :08:37.The chemistry and timings together. She was able to work him across the
:08:37. > :08:42.dance floor and it's so powerful. This is what we always go on about.
:08:42. > :08:50.Two people dancing together is the skill of ballroom dancing. I love
:08:50. > :08:55.that quote. There are little things you put in there, tongue-in-cheek
:08:55. > :09:00.from Kristina. Did you see her? I thought it was a first class
:09:00. > :09:04.performance, back up on top and rightly so. Rightly so. Holly and
:09:04. > :09:08.Artem. This was high risk and a perilous concept. What were the
:09:08. > :09:12.hazards of this ballet American smooth? It's quite simple what the
:09:12. > :09:16.hazard was. This is so great, it's so original and unique. Look at the
:09:16. > :09:24.sweeping across the floor with the smoke, she's got the beautiful top
:09:24. > :09:27.line, she's graceful and elegant and it's balletic as well. It's so
:09:28. > :09:32.different, you would either love it or hate it. So it's a huge gamble
:09:33. > :09:37.here by Artem. But, the legend of choreography here, we've seen so
:09:37. > :09:41.much over so many years and to keep bringing out something fresh and
:09:41. > :09:47.new like that, I don't think anybody ever thought we'd have
:09:47. > :09:51.Tchaikovsky playing on the screens here! In the same week as AC/DC.
:09:51. > :09:55.Exactly. It's so diverse, brilliant! Just to larify one thing.
:09:55. > :10:00.Len was nit-picky about it. Just remember, American smooth, what's
:10:00. > :10:04.meant to happen is that in hold, out of hold, back into hold out of
:10:04. > :10:08.hold. The only thing that ah tenl did is that he did everything in
:10:08. > :10:14.hold at the first half then everything was out in the second
:10:14. > :10:17.half. But if it meant a standing ovation from Princess Beatrice.
:10:17. > :10:21.haven't mentioned that there was Royalty there. Wasn't that amazing.
:10:21. > :10:25.For me, first class unique and I just loved it.
:10:26. > :10:28.I thought it was amazing. Good, good, good. Harry and Aliona. Len
:10:28. > :10:34.thought that the chair routine at the begining was crisp, but he
:10:34. > :10:37.wanted more in hold and then Alesha gave them a ten. What were your
:10:37. > :10:40.thoughts? Really clear on this and I want to let everybody know at
:10:40. > :10:46.home to let them judge. Look at this content I've chosen here.
:10:46. > :10:51.Isn't it powerful and strong. It's very tango and easy to understand.
:10:51. > :10:55.17 seconds is about how long they did. Is that all they did? This is
:10:55. > :11:00.where Len's coming from. I've said before, this boy is amazing, we do
:11:00. > :11:04.not want a show dance every week. What we want is to see that great
:11:04. > :11:07.tango content, so the strong arms are up, getting down into the knees,
:11:07. > :11:11.the strong head flicking, but we want to see it for at least a
:11:12. > :11:17.minute, a minute and 20 seconds. However, he is still a phenomenal
:11:17. > :11:21.dancer, but for me, that was a first class show dance, not a tango.
:11:21. > :11:26.Show dancers are in the final. Otherwise there is nothing to look
:11:26. > :11:31.forward to. I can see where you are coming from. Lulu and Brendan and
:11:31. > :11:38.the paso, Craig commended Brendan on the thee ath rickality of the
:11:38. > :11:42.dance, splendid -- the Another rickalty of the dance. --
:11:42. > :11:46.theatricality of the dance. We had these amazing costumes and
:11:46. > :11:51.Brendan's favourite dance, he loves the paso. Did you see what she had
:11:51. > :11:56.in her dance. The sticks. Love it. Originally, I'm sure the design was
:11:56. > :12:00.to make it look more like bat wings, but what it did here, in paso, one
:12:00. > :12:05.of the strong elements we are looking for, big shapes. So there's
:12:05. > :12:10.our lovely Lulu whose arms finish here, suddenly looking like she's
:12:10. > :12:14.eating that floor alive. This was brilliant. I loved it! Now, what
:12:14. > :12:19.she's got to be careful of next week, there's going to be no flying,
:12:19. > :12:25.no bat wings. Just little old Lulu back on the dance floor. But if she
:12:25. > :12:29.suezs the energy she felt in this, and put that into her next dance,
:12:29. > :12:34.we'll see stronger and stronger performances. She'll fly without
:12:34. > :12:37.the strings. Chelsee and Pasha and tango, the judges thought it was
:12:37. > :12:42.really good? This man has been so clever. Look at this head flick and
:12:42. > :12:47.again. Into the next group of steps and a head flick and another. Now,
:12:47. > :12:52.the reason I'm saying that, I want everybody to learn more and more at
:12:52. > :12:57.home, because you are the judges. Yes. Now, tango, every week if I
:12:57. > :13:05.said cha-cha-cha, hip actions, Samba, bouncing, if I Satan go,
:13:05. > :13:08.strong head flicks, very, very strong. -- if I say tango. This is
:13:08. > :13:14.where Pasha is being clever, choosing the elements he knows the
:13:14. > :13:17.judges are going to want to mark. He's then bringing performance
:13:17. > :13:21.within the ballroom dancing scene. Great hold, she was up there,
:13:21. > :13:27.looked amazing. They're a good balance. Well done. The one man
:13:27. > :13:32.this weekend to do proper cape action, Robbie Savage. How did Ola
:13:32. > :13:36.use his talents in his paso? Because she put everything in there.
:13:37. > :13:42.She put cape action and a trick like this fly ing around the dance
:13:42. > :13:48.floor. Next he'll leap through the air and we'll have the grand finish
:13:48. > :13:52.on the judge's desk. It was amazing. Simply again, another professional
:13:52. > :13:57.being very clever. Technically, we all know Robbie's not the strongest
:13:57. > :14:00.in his technique, but hey, let's put up there lots of flash and
:14:00. > :14:06.razzamatazz while Ola keeps working away at the technique underneath
:14:06. > :14:09.and this will get stronger. She kept paso choreography in there,
:14:09. > :14:14.the dance was excellent and accurate. It was just again the
:14:14. > :14:18.Robbie show and I loved it, thought it was great. I loved it too. Anita
:14:18. > :14:22.and Robin, our devil woman she was on Saturday. Craig loved the
:14:22. > :14:27.routine, Len was liking a lot of tango content. Now, there was a
:14:27. > :14:31.moment when she went wrong? Just there, right there, a tiny little
:14:31. > :14:35.step. That just goes to show, these celebrities are on the edge all the
:14:35. > :14:39.time. So like a deck of cards, if you pile them up and make the
:14:39. > :14:43.pyramid, you pull the middle out, it comes falling down. That's the
:14:43. > :14:47.feeling for the celebrities. Every moment they go on that dance floor.
:14:48. > :14:52.What I want to briefly pick up on, the risk that Robin took by putting
:14:52. > :14:58.all that tango content in there. Now, of course, the judges went, we
:14:58. > :15:01.still want you to work on your top line. Now, Robin is giving the
:15:01. > :15:05.judges a chance to be critical about ballroom dancing because
:15:05. > :15:09.that's what he's giving them. So, every week now, the judges can look
:15:09. > :15:14.and say yes, that's improving, I can see it. But if we keep getting
:15:14. > :15:18.show dances from too many of our celebrities and professionals, what
:15:18. > :15:21.can the judges mark - absolutely loved the week. We've got your
:15:21. > :15:26.point, no more show dances, more dancing on the floor, but overall,
:15:26. > :15:31.Karen Hardy happy. Yes. We are happy to have you. Please come back
:15:31. > :15:36.next week! APPLAUSE
:15:36. > :15:42.Now, Anne Widdecombe may have been a fleeting dream for Jason don von
:15:42. > :15:52.on Saturday, but here, she's a real presence and has been putting of
:15:52. > :15:53.
:15:53. > :15:59.your questions to our pro dancers. It's Widdy's Question Time. Geoff
:15:59. > :16:04.would like to know which animal do you think you most resemble?
:16:04. > :16:09.Sfrpblgts a chimpanzee. Because I'm light on my feet and very smart.
:16:09. > :16:15.Really? Very hairy. No, no, we don't need to know about that.
:16:15. > :16:24.Thank you. A cheetah. Really? panther. Irbgs I look like a
:16:24. > :16:30.bulldog and dance like one too. Agreed. A cat. Rrrrrr... Terrifying.
:16:30. > :16:38.Powerful and graceful. I lake to think of myself as all those things.
:16:38. > :16:41.Dream on. If you've a question for our Widdy, head to the Strictly
:16:41. > :16:47.website. My next couple seem to be having an
:16:47. > :16:51.odd effect on Craig, all cold after their rumba but all steamed up
:16:51. > :17:00.after their paso. Alex and James are here but first here is a look
:17:00. > :17:05.at how they got on at the weekend. I quite like the ytd of Dracula
:17:05. > :17:10.chasing innocent virgin blood -- the idea. You played that extremely
:17:10. > :17:17.well. Too much wafting for me, but I thought it was terrific. Well
:17:17. > :17:23.done. You had a knock last week, but you have picked yourself up and
:17:23. > :17:33.you're back on form. One happy Dracula hfplt What a happy woman in
:17:33. > :17:36.
:17:36. > :17:46.white! I'm just made up with the score. What was it? 31? Well done!
:17:46. > :17:48.
:17:48. > :17:55.Yeah, well done! Give me a kiss. Don't bite! Please welcome Alex and
:17:55. > :17:58.James. So good to see you so happy after
:17:58. > :18:03.that performance and what have you done to Craig? He had a proper hot
:18:03. > :18:08.flush after that, Alex? Well, it was a complete turn around wasn't
:18:08. > :18:15.it? It was a bit worrying. Craig said it was erotic. But we'll go
:18:15. > :18:23.with it. Take it? We'll take it. It's positive. That's good. A
:18:23. > :18:25.viewer says "OMG, it was epic". was easier because James
:18:25. > :18:30.choreographed a lovely story and there was a narrative running
:18:30. > :18:34.through it so it was easy to get into character somehow. I'm scaring
:18:34. > :18:39.myself just watching it. Behave. thought you were enjoying yourself.
:18:39. > :18:47.I was. I am good, aren't I? I surprise myself sometimes. Because
:18:47. > :18:52.we look so scary, I mean he looked proper evil. I didn't have to act
:18:52. > :18:58.as much as I thought because I was genuinely quite scared. If you
:18:58. > :19:01.could look properly evil every week, it would be perfect? Great for the
:19:01. > :19:07.quickstep. Being properly evil. Last week, your confidence took a
:19:07. > :19:10.blow, but after this show, surely it must be sky high now? Ooh, not
:19:10. > :19:15.sure about sky high, but it's definitely better, so looking
:19:15. > :19:21.forward to starting the new dance, well we have started a little bit.
:19:21. > :19:25.Oh, it's tiring. The quickstep. It's exhausting isn't it, so full-
:19:25. > :19:29.on. It's basically running a lot of the time but elegantly done. Let's
:19:29. > :19:32.talk about your stunning frock on Saturday. Len said a lot of wafting
:19:32. > :19:37.but, I have to say, we all loved the wafting. Was it difficult to
:19:37. > :19:42.dance in, because there was a lot of it? It was surprisingly quite
:19:42. > :19:46.heavy, the dress and all week, we'd been working on how you waft a
:19:46. > :19:52.skirt. Now who knew it was so difficult. We stkpwhr we don't
:19:52. > :19:56.really wear skirts that need wafting. It's easy. By the end of
:19:56. > :20:02.the week, the bingo wings had gone temporarily so the skirt was heavy,
:20:02. > :20:05.but I thought it was nice, it looked pretty. You looked good.
:20:05. > :20:10.Looked good on the slow-mo of Len's Lens. Beautiful. You had a lot of
:20:10. > :20:15.input into that, James. You put your hand over James's mouth, were
:20:15. > :20:20.you worried about the back chat? With know James Jordan by now,
:20:20. > :20:22.don't we. We didn't want a repeat performance, but I think the judges
:20:22. > :20:30.were complimentary this week. I think just you looking at them with
:20:30. > :20:33.those red eyes was enough anyway to scare them. Stop it! It just went a
:20:34. > :20:37.lot better than week before, generally speaking. Alesha said
:20:37. > :20:42.breakthrough performance for you. agree. Bit of character. You went
:20:42. > :20:45.for it a bit more, let yourself go. Yeah. You've got to believe in
:20:45. > :20:48.yourself, you've got to. I think that's the difficult bit. I still
:20:48. > :20:53.don't think I can dance which is the basis of this competition.
:20:53. > :20:56.you can, look, you are still in the competition. I know. You are
:20:56. > :21:00.getting rally good scores. Do you see what I have to deal with.
:21:00. > :21:06.Everyone else believes in you, you have to believe in yourself. I like
:21:06. > :21:11.the sound of this week's dance. is it going? Hell to begin with!
:21:11. > :21:16.Because it's so tiring. Even you, you were out of breath. Because I'm
:21:16. > :21:20.carrying you around the floor, that's probably why. I'm just
:21:20. > :21:25.saying. Yep, but it's so quick, it's like basically as you said,
:21:25. > :21:31.doing a marathon. It is constant running, it's exhausting. A lot of
:21:31. > :21:34.steps. People have said, have you lost weight doing Strictly, and I'm
:21:34. > :21:39.like no, but this week it's the breakthrough week. You don't need
:21:39. > :21:43.to lose weight. We are half way through and great improvement from
:21:43. > :21:48.the judges, they're saying that, it'sen couraging. Do you think you
:21:48. > :21:54.could give Matt Baker a run for his money? Ah... Who's that? So last
:21:54. > :21:58.year, who's he?! Matt was excellent and I mean, he set the bar really
:21:58. > :22:01.high. Does he give you tips? does, he does. He said, I don't
:22:01. > :22:05.want to say too much because I don't want to step on James's feet
:22:05. > :22:09.and tell you something that maybe is... Hm. That's different to what
:22:09. > :22:13.James has taught you, but he's really encouraging and he
:22:14. > :22:19.understands and he makes doing Strictly on the One Show possible.
:22:19. > :22:23.He's like a fifth judge so I know the judges on the Saturday night,
:22:23. > :22:28.Matt Baker on a Monday, but he said the paso was the opportunity to
:22:28. > :22:35.show aggression and that's what we needed. Thaurbgs Matt, glad you're
:22:35. > :22:39.happy. Good thuck this weekend -- thank you, Matt.
:22:39. > :22:49.Brendan and Len confirmed what we thought, the costumes and make-up
:22:49. > :22:59.
:22:59. > :23:09.were fantastic. Time to talk top of Here to give their expert opinion
:23:09. > :23:10.
:23:10. > :23:15.on this week's outfits is ooch rnagh o Hagueen and Ben Delicey. --
:23:15. > :23:20.Oonagh. Thank you for coming in. Ben, you have designed for Kate
:23:21. > :23:26.Winslet, Rachel Weiss, Angelica Houston. Who stood out for you?
:23:26. > :23:34.Alex in the white confection of very fluid fabric. It really did it
:23:34. > :23:38.good, I loved the dance. She looked glorious. Yes. And she looked
:23:38. > :23:42.confident. Len was saying there was a lot of dress wafting for his
:23:42. > :23:47.liking, perhaps too much. But with a dress like that, how can you help
:23:47. > :23:52.but waft it, Ben? That's the whole thing with using that fabric, it
:23:52. > :24:01.was very fluid. It had gosh, how many metres? You want a fact, don't
:24:01. > :24:06.you, 16 metres. There we go. Eight panels that were flared. A lot of
:24:06. > :24:11.movement. That plunge here and the plunge on the side and that high
:24:11. > :24:16.thigh was just about the right side of being dangerous. And a nice
:24:16. > :24:21.glimpse of flesh through. But not too much. Subtle. Tasteful. We like
:24:21. > :24:26.it a lot. And what fabric is used to create that effect? We were
:24:26. > :24:30.discussing this earlier, first we thought it was tule but it's not,
:24:30. > :24:35.it's something with much more drape to it and it's a power mesh.
:24:35. > :24:40.There's something called power mesh?! You don't have any?!
:24:40. > :24:46.It's a stretch Jersey, but under a microscope, you would see tiny
:24:46. > :24:50.holes and it's light because if you have 16 metres of fabric it's heavy
:24:50. > :24:55.but it was light. She wore it so well. Top marks for her. What about
:24:55. > :24:59.Anita, our devil woman? A little glimpse of her outfit from our head
:24:59. > :25:04.designer last week. Bruno said on Saturday, don't trust the Scarlett
:25:04. > :25:10.woman with the devil in disguise. Did she pull it off? I think she
:25:10. > :25:15.did. With the skirt, because it wafts and has got so much volume to
:25:15. > :25:21.it, you can put a food wrong and you wouldn't really see it. That is
:25:21. > :25:25.a traditional kind of bottom. To me, the top was actually at odds, the
:25:25. > :25:31.top of the dress to the bottom of the dress, but she pulled it off.
:25:31. > :25:39.Yes. The details on the top half then? We were saying the top was
:25:39. > :25:43.reminiscent of the Queen -- McQueen in his recent collection. It was a
:25:44. > :25:48.sequin-based mesh and then over the top, these small and delicate
:25:48. > :25:52.stones that were put on it. Not all over b, not on the bottom, this
:25:52. > :25:56.idea that you don't want to flatten the whole look. Give me a fashion
:25:56. > :26:04.fact about her dress? A fashion fact - 5,000 crystals on that top
:26:04. > :26:09.part of the dress. Fact! The hem took the longest, half a day.
:26:09. > :26:15.for the hem. This is a great picture of it. It's been wired.
:26:15. > :26:18.It's very time-consuming. A lot has gone into that one frock, but she
:26:18. > :26:22.didn't go traditional with the horns? You know what I think, she
:26:22. > :26:27.did do that eye lash thing and I think it would have been too
:26:27. > :26:31.deliberate to do the horns, so she's done her own - she's great
:26:31. > :26:38.actress so didn't need the horns to sell the point - she has these
:26:38. > :26:43.cornet toe horns in the bag there so those of you who want them go
:26:43. > :26:48.and ask for a cornet fascinator. Well done to Anita. Chelsee in her
:26:48. > :26:52.dress, a bit of a drama at the end, a possible wardrobe malfunction
:26:52. > :26:56.which happens to the best of people. How do the designers ensure that
:26:56. > :27:00.doesn't happen, that you don't have those moments of malfunction on the
:27:00. > :27:07.dance floor? Well, you can never ever get it completely right. In a
:27:07. > :27:11.dress like this, which is barely there to be honest, I guess you
:27:11. > :27:14.could have put a corset inside and mounted the stretch of velvet on
:27:14. > :27:19.top. No-one would have been the wiser for the viewer. That might
:27:19. > :27:24.have made her feel a bit more secure. I think the dress on its
:27:24. > :27:27.own really was a great success. But as far as Chelsee is concerned, if
:27:27. > :27:31.she felt vulnerable, it may have affected her dance, so corset with
:27:31. > :27:37.boning would have been the idea. that's what I want every day,
:27:37. > :27:41.corset and boning. Sub structure. I've got mine on! We all need it.
:27:41. > :27:45.Talk more to me about the detail. I'm loving the heart on the front
:27:45. > :27:54.of the dress? Yes, it's very graph if I can. The idea was it was fun,
:27:54. > :27:58.bubbly. Again, the heart is Moschino and the heart goes off,
:27:58. > :28:05.it's A symmetric and it's echoed in the lacing, it was not meant to be
:28:05. > :28:15.conventional, it's meant to be cookie like Chelsee herself. Even
:28:15. > :28:18.
:28:18. > :28:25.the plunge is A symmetric. It's haematight. What is that? That jet
:28:25. > :28:31.stone. Not quite a jet black colour. I think it's an ironoxide. Another
:28:31. > :28:36.amazing fact. I love hearing that. Thank you both. You've been divine.