:00:18. > :00:21.It is Tuesday night. On tonight's show at the weekend the Queen of
:00:21. > :00:26.drama was cast in the bottom two. Thankfully Anita and Robin were
:00:26. > :00:31.saved. They are here to tell all. Alex and James have got their
:00:31. > :00:35.breath back and will be here for a chat. Karen Hardy will be running
:00:35. > :00:42.her eye over Saturday's performances in Choreography Corner
:00:42. > :00:52.and I will be looking at this weekend's outfits with Melissa
:00:52. > :01:22.
:01:22. > :01:27.Obadash. This is Strictly Come Please welcome your host, it's Zoe
:01:27. > :01:36.Ball. Welcome to names to Strictly Come
:01:36. > :01:39.Dancing: It Takes Two. It was an eventful weekend full of of of of
:01:39. > :01:43.swabling judges. The big shock of the weekend was Anita and Robin
:01:43. > :01:53.being in the bottom two. I will be chatting to them after this
:01:53. > :01:53.
:01:53. > :01:57.Ah, sexy mamma, queen of drama, you can tango.
:01:57. > :02:01.You drew me into the story. But overall, I loved the drama.
:02:01. > :02:05.I didn't think you were respond to go Robin's lead and that's what
:02:05. > :02:13.needs to happen. You smouldered. For me that's what
:02:13. > :02:18.Argentine tango is about. It is about cre creating a mood.
:02:18. > :02:21.I love the Argentine tango and I would like to stay a sexy mamma
:02:21. > :02:29.forever. I am a proud teacher.
:02:29. > :02:35.Two nines was fantastic. Fingers crossed for next week at
:02:35. > :02:37.Wembley. Phew. Please welcome Anita and
:02:38. > :02:41.Robin. On Sunday, your highest score of
:02:41. > :02:46.the series, but you found yourselves in the bottom two. Did
:02:46. > :02:51.your heart sink when you found that news out after such a great score,
:02:52. > :03:01.Anita? I went from yeah, up there, two nines, our best ever to what
:03:02. > :03:04.
:03:04. > :03:11.happened? It was like somebody said, "Anita Dobson you are not in in
:03:11. > :03:14.Kansas anymore.". I was upset for Audley. Suddenly, you realed it is
:03:14. > :03:16.you or somebody else. You feel dreadful that the other person has
:03:16. > :03:22.to go. It is an awful situation to be in really.
:03:22. > :03:26.Why do you think that happened? How come you ended up in the bottom two,
:03:26. > :03:30.happened there? It is to do with where you are in the leaderboard. A
:03:30. > :03:35.lot of people thought, "They are safe. They don't need to be voted
:03:35. > :03:39.for." You need to vote for your favourite. It is down that. People
:03:39. > :03:44.think you are safe and didn't vote. As a performance on Saturday night,
:03:44. > :03:48.did you love it? Did you enjoy it? It was incredible. I loved
:03:48. > :03:53.everything about it. I loved the music which Robin found. I loved my
:03:53. > :03:55.outfit. I loved the choreography. I loved the fact that it was just
:03:55. > :03:59.about the two of us and not so much about the two of us and not so much
:03:59. > :04:03.about selling it out there. As soon as we started and the shoes and as
:04:04. > :04:07.soon as I started, I was just in it. I forgot everything else. It was
:04:07. > :04:10.fab. Bruno, said he was stunned, shocked
:04:10. > :04:16.and appalled that you were in the bottom two. Our viewers online
:04:16. > :04:21.agree. Adrian posted, "What were the great British public thinking
:04:21. > :04:25.putting Anita in the bottom two? I was ready to spit feathers." What
:04:25. > :04:31.did the other celebrities make of it? When they said it was us,
:04:31. > :04:37.everybody, all our team-mates went, "What?" You could hear a gasp.
:04:37. > :04:43.They came over to us and put their arms around us. It was really quite
:04:43. > :04:49.moving. If I had been more able to appreciate it at the time and not
:04:49. > :04:53.in shock. Len gave you a higher mark than he gave to Harry. That
:04:53. > :04:56.must have boosted your confidence? I was thrilled he was our champion
:04:56. > :05:00.that night. I really felt that we kind of instilled the feeling of
:05:00. > :05:06.the dance dance. So yeah, I was thrilled.
:05:06. > :05:09.Another thing the fans were commenting on. Someone posted,
:05:09. > :05:18."Hasn't Anita Dobson got a cracking set of legs on her? She really
:05:18. > :05:23.worked the tango.". David wrote, "Anita might be 62, but she dances
:05:23. > :05:27.like a 16-year-old." Did you have any idea that you were a sexy pin-
:05:27. > :05:32.up? I had no idea and I accept that role readily.
:05:32. > :05:38.. Robin is gutted he lost that title. There is chemistry between
:05:38. > :05:41.the two of you which goes to prove that the Dobbin dialect is working
:05:41. > :05:51.wonders. We have had many, many different,
:05:51. > :06:01.
:06:01. > :06:06.weird and wonderful words for It is really oozy.
:06:06. > :06:11.Lumpy, lumpy, lumpy. I'm missing it.
:06:11. > :06:20.You know how I use big words, sexy, sexy.
:06:20. > :06:26.I thought you had swallowed a dictionary page!
:06:26. > :06:31.I just said it! LAUGHTER
:06:31. > :06:35.My favourite is goy, goy. You are doing the samba. A lot of
:06:35. > :06:41.people dread that because it can be tricky. Robin, why? It is probably
:06:41. > :06:45.one of the most most challenging dances for the male and female
:06:45. > :06:49.celebrities. There is the timings so you have got everything mixed to
:06:49. > :06:53.go. There is so many timing variations and I'm I'm trying to
:06:53. > :06:57.put all in the routine. We had a great week this week.
:06:57. > :07:01.He plans all the technical things and you can cope with it Anita and
:07:01. > :07:06.it is brilliant to see? It is it is challenging and he is pushing me
:07:06. > :07:11.and that's why I'm here to learn and I will only learn if I do my
:07:11. > :07:14.best. What is your goal this week? What
:07:14. > :07:18.can you do to keep yourselves out of the bottom two? It is Wembley.
:07:18. > :07:25.Instead of perform to go a few people in the studio, we are going
:07:25. > :07:31.to make it as big and as huge for all 6,500. It is Brazilian. It is
:07:31. > :07:35.the carnival so you have got to get the crowd behind you. Your man,
:07:35. > :07:41.Brian, has played at Wembley a lot and now it is your turn Anita
:07:41. > :07:44.Dobson. How do you feel, Anita Dobson? If I get to Wembley, I will
:07:44. > :07:50.wear this jacket. What are you going to do at Wembley
:07:50. > :07:56.in. I want to have as much fun as I can and let everybody know I'm so
:07:56. > :08:00.happy. I'm still here. Still dancing with this boy, wasn't he
:08:00. > :08:06.amazing on Saturday? I'm just blessed. I have got another week
:08:06. > :08:10.and I'm going to share that with the whole of Wembley, the world!
:08:10. > :08:13.I'm so glad you stayed in, Anita and Robin.
:08:13. > :08:16.Here at Strictly Come Dancing: It Takes Two we aim to find out every
:08:16. > :08:20.detail about our professional dancers. We encourage them to dish
:08:20. > :08:26.the dirt on each other, but who are they discussing here?
:08:26. > :08:29.Can you guess the dancer from these clues? This dancer has a Spanish
:08:29. > :08:32.mother and Hungarian father. This dancer used to work in a
:08:32. > :08:37.bakery for a leading supermarket chain.
:08:37. > :08:41.This dancer loves golf and he even played a round with Sir Bruce.
:08:41. > :08:49.We look up to him as the father father figure and some might even
:08:49. > :08:52.say grandfather. This dancer's biggest fear is to be
:08:52. > :09:00.paired up with someone who doesn't think he is the greatest dancer in
:09:00. > :09:03.the world. He is the modern day day Fred stair.
:09:03. > :09:07.I have a small suspicion. On Saturday, there was talk of
:09:07. > :09:13.freckles and passes. If you didn't understand hat judges mp talking
:09:13. > :09:23.about, don't panic, Karen Hardy is here to explain all in Choreography
:09:23. > :09:28.
:09:28. > :09:32.Please welcome Karen Hardy. Hello Hardy!
:09:32. > :09:38.Our celebrities were desperate to get through the weekend so they
:09:38. > :09:42.could go to Wembley. Has the choreography stepped up a level?
:09:42. > :09:47.The choreography always improves every week. If you imagine Picasso
:09:47. > :09:52.when he does the pencil pencil outlines of what he wants to create,
:09:52. > :09:55.well that's the choreography, what we saw this week was great
:09:55. > :10:00.colouring, great textures, I loved it. It was up with everything.
:10:00. > :10:04.We're doing the colouring in. We're going to start with our boy who is
:10:04. > :10:06.top of the leaderboard after this weekend, Harry and Aliona and their
:10:06. > :10:13.weekend, Harry and Aliona and their tango.
:10:13. > :10:17.Len said it was a very clever routine, but he caused a gasp when
:10:17. > :10:21.he said it lacked passion. For the record I thought it was
:10:21. > :10:25.fantastic. I thought it was amazing. I got sucked up into the whole
:10:25. > :10:30.performance of it, the razzmatazz, the show. It was incredible. But
:10:30. > :10:40.I'm going to explain more in detail where I think Len is coming from.
:10:40. > :10:44.
:10:44. > :10:49.This dance has the character of sen sueality, sensality. What Len is
:10:49. > :10:52.coming from here, every competition, you have a selection of judges and
:10:52. > :10:57.each judge has a different thing that they are looking for, a
:10:57. > :11:03.different element, but every dance must have two simple levels.
:11:03. > :11:06.Character and technique. Did he have both of those? He had
:11:06. > :11:10.fantastic technique, but it was the character that Len is talk being.
:11:10. > :11:17.It needed to be more real. However, I am going to say it one more time,
:11:17. > :11:27.I thought it was amaze. OK, we got the -- amazing. OK, we
:11:27. > :11:28.
:11:28. > :11:34.got the point. Holly and Brendan. There were advantages and
:11:34. > :11:38.disadvantages. The advantages are imagine Stephen Spielberg
:11:38. > :11:43.overviewing the movie. Artem was able to look back at his
:11:43. > :11:49.choreography, but the gamble was, would Holly connect with Brendan?
:11:49. > :11:52.Would she be able to get close? As we have seen, she did. It worked
:11:52. > :11:56.brilliantly. OK. They will be on the show tomorrow so we will fin
:11:56. > :12:04.out if Artem is going to dance at Wembley or if Brendan will be
:12:04. > :12:10.standing this again. Watch this space.
:12:10. > :12:14.Jason and Kristina. Bruno said Jason used intricate choreography
:12:14. > :12:19.to his advantage. What did he mean? This is normally a simple dance.
:12:19. > :12:22.Look what we got, under arm turns, shadowing positions, he is going
:12:22. > :12:26.under, she is going under, lots of foot patterns at the same time.
:12:26. > :12:30.There was attention to detail in a very simple dance. Now, the only
:12:30. > :12:38.thing for me, it got to a point where I thought, it is starting to
:12:38. > :12:41.look a little bit overchoreographed. I I didn't know there was a thing.
:12:41. > :12:49.It just needs to be simple sometimes. Simple is enough, but
:12:49. > :12:58.big points because he attempted the fleckle.
:12:58. > :13:01.How was it? First of all, he had a go at it. It creates a momentous
:13:01. > :13:05.movement. We would place ourselves in the middle of the floor and go
:13:05. > :13:10.round and round and do a check, it means change direction and it means
:13:10. > :13:17.we fly around in the opposite direction. Now we got half a
:13:17. > :13:21.fleckle here which is good. To be honest, no one really had a go at
:13:21. > :13:24.it. They should be given big points anyway just for attempting it
:13:25. > :13:29.because it is a difficult step. Maybe he is working up to a whole
:13:29. > :13:35.fleckle in a couple of weeks. Chelsee and Pasha, our girl did
:13:35. > :13:43.good. Craig said it almost ticked all his boxes. Did it tick your
:13:43. > :13:46.botionz? -- boxes? Chelsee always does well for me. It was very
:13:46. > :13:54.complex and difficult, but just one thing, I don't know why they did
:13:54. > :13:58.that. The whoosh under the legs? Where did she go? What did she do
:13:58. > :14:04.that for? I got poured into this emotional dance, the starting on
:14:04. > :14:09.the piano, it was beautiful. Don't laugh, but a foxtrot should be like
:14:09. > :14:13.a monkey swinging through the trees. It was lovely and then it is like
:14:13. > :14:20.she swung through the trees and landed somewhere, I don't know. But
:14:20. > :14:24.it just goes to show that through Pasha trying to get them to Wembley,
:14:24. > :14:28.they have got to take care that even the slightest thing could
:14:28. > :14:35.disrupt the performance and that for me, as much as it was clever,
:14:35. > :14:38.probably needed it in a jive or something like that and more
:14:38. > :14:46.romantic and emotional. I know where you're coming from.
:14:46. > :14:50.Good. Robbie and Ola. Bruno said he loved
:14:50. > :14:58.Ola's choreography. What effect does the mixture of of steps have
:14:58. > :15:03.on the whole performance? We talk in the American smooth the Fred
:15:03. > :15:08.stair and Ginger Rogers. This is very Latin and then we have got the
:15:08. > :15:12.three lifts. This is what I love from Robbie, look at that. It is
:15:12. > :15:15.all about recovery in this dance because one minute, you are out
:15:15. > :15:19.doing a line to the side. Then she is up in the air. You have got to
:15:19. > :15:23.recover to that ballroom line because that's the pure essence of
:15:23. > :15:29.this dance. You have heard Len say before, "I would have liked more in
:15:29. > :15:33.hold." Well, it is no good going into hold if it collapses or you
:15:33. > :15:37.are worrying about the lift. This was a great performance because his
:15:37. > :15:42.personality was back. Welcome back, Robbie. Don't do that to us again.
:15:42. > :15:45.He was back. But at the same time, the American smooth is quite a
:15:45. > :15:49.difficult dance and I think they handled it fabulously.
:15:49. > :15:57.Well done, Robbie. Karen you have retained your title
:15:57. > :16:02.as Queen of choreography for another week. Karen Hardy.
:16:02. > :16:07.Alex and James will be here, but let's see their jumping jive.
:16:07. > :16:11.It was so full of verve and gust toe, I thought it was terrific.
:16:11. > :16:15.The performance was extremely confident. There is no real
:16:15. > :16:18.accuracy or precision in the steps. Your confidence is growing. You
:16:18. > :16:28.just need to refine some of your steps.
:16:28. > :16:30.
:16:30. > :16:36.You had the enthusiasm of a leader. Come on!
:16:36. > :16:39.Tough dance, the jive. You went went for it 100%.
:16:39. > :16:44.It is good they give us constructive criticism because next
:16:44. > :16:54.week we can go away and work on those things. There was no playing
:16:54. > :16:57.
:16:57. > :17:03.it safe, baby. There was three of Give me an A, give me an L, give me
:17:03. > :17:07.an E, give me an X! Wendy said it was, "Fun, frisky and
:17:07. > :17:11.fabulous.". Thank you, Wendy. Alesha said your confidence is
:17:11. > :17:16.growing. Were you any less nervous than you have been in the past?
:17:16. > :17:21.Does it get easier? I think it does just because I now realise that
:17:21. > :17:24.even if you got right to the end and there is more chance of hell
:17:24. > :17:28.freezing over, you know, I think we have to understand now there are
:17:28. > :17:33.only so many weeks left in the competition and we are never going
:17:33. > :17:36.to be able to do this again. So the best tact I think is to enjoy every
:17:36. > :17:41.Saturday night. Brilliant. You are doing that.
:17:41. > :17:45.We enjoy watching. The judges were in agreement that it was lively,
:17:45. > :17:50.but Craig said that there was no real accuracy or precision on the
:17:50. > :17:54.steps. James Jordan, discuss. I mean, he spoke about the kicks
:17:54. > :18:01.and flicks about pointing the toes which is actually incorrect. I
:18:01. > :18:05.won't go into too much detail. But obviously if Craig wants a jive-off
:18:05. > :18:09.on kicks and and flicks and sees if his are better than mine, I'm up
:18:09. > :18:13.for that, but you shouldn't point your toes in the kicks and flicks.
:18:13. > :18:16.On the night I just nodded because I didn't want to argue again
:18:16. > :18:21.because otherwise it would affect Alex's score.
:18:21. > :18:25.You hadn't mentioned the point of the toe all week.
:18:25. > :18:27.No No, because you were doing them correctly. Don't try and change
:18:27. > :18:35.something that you weren't doing wrong.
:18:35. > :18:39.If he said, "Your chassis were skippy." I knew they were, but we
:18:39. > :18:43.worked on them and they were still skippy, but the kicks were lovely
:18:43. > :18:47.so he is wrong. I'm not going to mess with him!
:18:47. > :18:50.Good luck this week! I am in one of those moods.
:18:50. > :18:54.I am too actually. Everything is wrong, I am always
:18:54. > :19:03.right, isn't it? It is, James, yes. Just agree with him.
:19:03. > :19:07.It is easier. You did some acting. Is Is Strictly bringing out the
:19:07. > :19:16.thespian in you, Alex? I find it ease easier when the dance has
:19:16. > :19:21.character to it. There is me being all weird with the doll, the Manic
:19:21. > :19:25.Cheerleader. Going back to the paso doble, I found it easier when we
:19:25. > :19:30.had a story. I find it easier when I know what I'm doing in the dance.
:19:30. > :19:35.That coupled with the fact that I'm enjoining myself more brings out
:19:36. > :19:41.the actor. Did you love the cheerleader's outfit. It was really
:19:41. > :19:45.comfy. We were loving mini Jordan. Our
:19:45. > :19:49.viewers noticed that he carried on his role throughout the show on
:19:49. > :19:54.Saturday night. He was clapping along to Jason. Here we go. There
:19:54. > :20:00.he is. Clapping along, having a lovely time. He got friendly with
:20:00. > :20:04.Russell Grant! He got extremely excited when the
:20:04. > :20:10.phonelines opened. Yes, some of the viewers didn't see
:20:11. > :20:14.the resemblance in Saturday's show. One viewer posted, "Is Alex Jones
:20:14. > :20:20.dancing with a Boris Johnson dolly?"
:20:20. > :20:25.Well, I mean, he has got a point. Boris Johnson? You can see. He is
:20:25. > :20:31.back. Is it difficult dancing two James
:20:31. > :20:35.Jordans, Alex? At least this one doesn't talk as much.
:20:35. > :20:40.This one is less argumentative. He has the potential, I was going to
:20:40. > :20:42.say, to be a better dancer. No, I'm only joking.
:20:42. > :20:48.Yeah, see new training tomorrow morning.
:20:48. > :20:53.You are doing the tango this week. I'm so excited. James, what is
:20:53. > :20:59.going to be the hardest technique to master? Technique? The hardest
:20:59. > :21:03.thing in ballroom is the posture as you would know. Once you have mass
:21:03. > :21:06.terd the pos -- mastered the posture, the steps are easier
:21:06. > :21:09.because it is a walking dance. As long as you have the right
:21:09. > :21:15.character and everything, tension in the legs, flexing to the knees
:21:15. > :21:20.more, it is an easy dance. Is it an easy dance, Alex? No. I
:21:20. > :21:25.mean, you know, we have done some work on the tango and the quickstep
:21:25. > :21:29.and jive were manic and they were hard work. Harder work for some
:21:29. > :21:32.than others, but the tango, I suppose, it is a different ballpark
:21:32. > :21:36.now because we have to be serious and quite sexy.
:21:36. > :21:44.Yes. Why do you look at me as if I can't
:21:44. > :21:49.do sexy? That looked good. Keep that up.
:21:50. > :21:53.Yes. You are going to have no trouble. How are you feeling about
:21:53. > :21:58.performing at Wembley Arena. 6,000 people are going to be there. Is
:21:58. > :22:01.that going to be terrifying? Yes. I mean, it will and it won't be
:22:01. > :22:05.because I think it will be different to to being in the studio.
:22:05. > :22:11.It will be bigger and I think we'll have to be a little bit more
:22:11. > :22:14.animated, but sometimes having a crowd there is a good thing because
:22:14. > :22:18.it cheers you up a bit. Imagine those people that get to
:22:18. > :22:23.see me in the flesh, 6,000 of them. Honestly.
:22:23. > :22:30.My peachy bottom. I will be dancing with mini James
:22:30. > :22:36.in a minute. The hard thing is because it is so much bigger than
:22:36. > :22:41.the rehearsal space, it is an unknown quantity. Will our dance
:22:41. > :22:48.work on the stage? We are training training in a studio which is small
:22:48. > :22:52.and we go to Wembley and the studio is 40 meters by 40 meet ertion and
:22:53. > :23:00.-- meters and I'm choreographing it thinking, "I don't know if it is
:23:00. > :23:04.going to work.". Alex and James. Earlier, we asked if you could
:23:04. > :23:11.guess who our professional dancers were talking. It is time to find
:23:11. > :23:17.out if you were right. Did you guess? Well, did you guess?
:23:17. > :23:26.It is only me. It is only me! It was only Anton du Beke. Did you
:23:26. > :23:34.guess? Of course. How could you not get it right?
:23:34. > :23:44.Strictly Costume Department had a few surprises. Here a reminder of
:23:44. > :23:57.
:23:57. > :24:02.Please welcome fashion design designer, Melissa Obadash and Una
:24:02. > :24:09.O'Hagan. Thank you very much. Melisa, not
:24:09. > :24:18.only do you design swim wear, but dresses. There is similarity
:24:18. > :24:26.between the swim wear and Strictly costumes? Yes, I designed Alexandra
:24:26. > :24:32.Burke's tour. It took me a month sewing the things on to the frocks.
:24:32. > :24:36.I have done things for Cheryl Cole. People have to appreciate it does
:24:36. > :24:44.take a lot of work. They are one off pieces and you know, you have
:24:44. > :24:50.to also look at how much Chrisals and bling goes into one piece.
:24:50. > :24:55.Let's start with Chelsee. She was doing the the foxtrot. It was a
:24:55. > :24:59.different look for her. Melisa, what did you think? I think she is
:24:59. > :25:06.adorable. Because she is pretty, we have done
:25:06. > :25:10.less fabric on the bottom half. Her body could be turned into a
:25:10. > :25:14.swim suit if you cut off the skirt. If it had little snaps and we could
:25:14. > :25:20.snap it off. For her body type, I would have done less fabric on the
:25:20. > :25:26.bottom half. It is dripping in Chrisals. What --
:25:26. > :25:31.crystals, what can you tell us? Actually, it is 800 crystals. The
:25:31. > :25:37.crystals were delicate. They were packaged up separately so they
:25:37. > :25:42.didn't scratch. They are very delicate. The metallic champagne
:25:42. > :25:45.colour and reminded me of bands and strips and the way it contoured her
:25:45. > :25:49.body as well. I always wondered how to say it and
:25:49. > :25:54.now you said it and I will have to remember. What makes it perfect for
:25:54. > :25:58.the foxtrot? Is it the layers? you are dancing, you want movement
:25:58. > :26:03.because it adds more to the whole show. So I think, you know,
:26:03. > :26:09.connected to her wrists or hands, the gloves, it is all about flowing
:26:09. > :26:14.and elegant. They are very soft because they are
:26:14. > :26:17.chiffon and then you go into the skirt, a big circular skirt,
:26:17. > :26:25.pleated and underneath you have the wired hems so that doesn't get
:26:25. > :26:31.stuck on her leg. You can see it here. So one spin is going to look
:26:31. > :26:36.really huge. It is stunning when you see it in action.
:26:36. > :26:42.Seven metered square of fabric. Let's talk about Holly. She was
:26:42. > :26:47.doing the rumba and Vicky showed us little sketches and how it does
:26:47. > :26:51.turn out. Melisa, that is effectively swim wear, isn't it?
:26:51. > :26:54.know a lot of people that would wear that as a swim suit. I would
:26:54. > :27:00.take off, I'm not a pink person, but she looks great. I would
:27:00. > :27:07.probably take off the pink part and continue the Bank of England
:27:07. > :27:12.continue the bling. You can get inspirations from any of these. I
:27:12. > :27:15.can look at this and say, "That would be a great one off piece for
:27:15. > :27:20.Beyonce on stage.". Just to drop that name.
:27:20. > :27:28.I will go to Lady Gaga if we have Quite a lot of contrast between the
:27:28. > :27:33.two materials. Yeah, absolutely. Again so much work gone into it.
:27:33. > :27:39.This is cut on the bias. It suits Holly very well. Her body shape.
:27:39. > :27:44.She is athletic and they would have sewn it by hand under the bust.
:27:44. > :27:50.They felt it was more flattering to her body type.
:27:50. > :27:54.She can get away with anything. Some people are lucky and they can
:27:54. > :27:57.get get away with anything. Let's talk about Russell? He was my
:27:57. > :28:01.favourite. What a number. We have got his suit
:28:01. > :28:09.in the studio. We wanted to try it on and they
:28:09. > :28:13.they wouldn't let let us. Enough bling? The colour, the bling, the
:28:13. > :28:19.sequins must be over the floor in the studio. It suits his character.
:28:19. > :28:23.He couldn't come out in like a nice black suit, it doesn't suit him.
:28:23. > :28:28.That suits his personality. That suit is Russell. Will we see
:28:29. > :28:32.this look on the catwalk? I am sure Tom Ford has been watching and he
:28:32. > :28:41.has his sketchpad in front of him and he will get inspiration and do
:28:41. > :28:47.a version. It might be black and not gold.
:28:47. > :28:52.love the idea of Russell Grant influencing Tom Ford. Thank you
:28:52. > :28:55.very much. A huge thank you to all my guests