:00:09. > :00:13.It's Tuesday. On tonight's show: Relax, not Alex and James. Their
:00:13. > :00:16.tango put them top of the leaderboard. Can they stay there?
:00:16. > :00:22.Karen Hardy will be here to check out the moves in Choreography
:00:22. > :00:32.Corner. I will be looking at the weekend's outfits with Amanda
:00:32. > :01:03.
:01:03. > :01:09.This is Strictly: It Takes Two. Please welcome your host, Zoe Ball!
:01:09. > :01:13.APPLAUSE Hello! Welcome to It Takes Two.
:01:13. > :01:17.After a weekend of human cannonballs, flying judges, great
:01:17. > :01:21.dancing and fabulous outfits we have an awful lot to get through so
:01:21. > :01:25.let's not waste a second. First up, Alex and James. James spent last
:01:25. > :01:29.week trying to get Alex to be more assertive and on Saturday she
:01:29. > :01:35.didn't disappoint. They will be here in a moment. Let's take a look
:01:35. > :01:42.at their tango. It was atmospheric. There was drama. You had a great
:01:42. > :01:52.use of steps. Most importantly, it was really believable. I believe we
:01:52. > :02:02.may be seeing some improvement! APPLAUSE This is what I like, a
:02:02. > :02:07.
:02:08. > :02:12.proper tango, danced beautifully. Relaxed. Fabulous! 9! LAUGHTER
:02:12. > :02:17.Buzzing! Sort of overwhelmed as well. I thought my Strictly
:02:17. > :02:23.experience would come and go without a nine - now we've got
:02:23. > :02:27.three! Please welcome Alex and James. APPLAUSE Alex, have you had
:02:28. > :02:33.a chance to watch that back yet? That is the first time I have seen
:02:33. > :02:37.that. I still feel the same. I am actually speechless. It is only a
:02:37. > :02:42.few weeks ago you were standing there with a fan in your hand. Then
:02:42. > :02:46.you go out at Wembley and do the most amazing tango. How far you
:02:46. > :02:51.have come! Well done. Did it feel brilliant? It did. It was
:02:51. > :02:58.terrifying. When you are backstage you could hear this roar of the
:02:58. > :03:01.huge crowd! Then I think it's one of those things, unless you are a
:03:01. > :03:08.rock star - which I am clearly not - you are not going to do that
:03:08. > :03:14.again. You had to enjoy it. I can't remember it. I did enjoy it.
:03:14. > :03:17.have been... I told you to enjoy it! Did she do you proud? I said
:03:17. > :03:23.enough to Tess on Saturday night but she did. From where she's come
:03:24. > :03:27.from, Bambi, first few weeks, and then to be able to go out in front
:03:27. > :03:34.of 6,500 people at Wembley and create her best performance - for a
:03:34. > :03:42.teacher, I was very, very proud of you. You were properly moved?
:03:42. > :03:50.was dust in the air! Yeah, yeah! is a softie. I've an image to keep
:03:50. > :03:58.up! We have a lovely message for you. This is from Vivienne Jenkins.
:03:58. > :04:07.She left this message - "Dawns bendigedig y gorau hyd yma. Very
:04:07. > :04:17.good! APPLAUSE I got it. A wonderful dance, your best yet.
:04:17. > :04:18.
:04:18. > :04:22.Well done you two. What did you say?! Craig said he had seen such
:04:22. > :04:29.an improvement in Alex, you got very emotional, James. In what way
:04:29. > :04:33.do you feel that she's improved as a dancer? In every way! Honestly, I
:04:33. > :04:38.don't think the public have really got to see how bad she was the
:04:38. > :04:41.first few weeks in training. I know it sounds... Listen, I know it
:04:41. > :04:47.sounds horrible, but we have had this conversation. I surprised
:04:47. > :04:53.myself with how rubbish I was. Girls like to think surely...
:04:53. > :04:59.do it! No. No. We have done lots of interviews about it. That cha-cha,
:04:59. > :05:04.I can't watch it. It still wasn't bad. It was terrible! People think
:05:04. > :05:10.I joke when I say I went home on the third day after training and I
:05:10. > :05:15.actually had a little cry. James Jordan! It was that bad? It was.
:05:15. > :05:20.She's lovely. But I was thinking, "I don't know what to do!" I felt
:05:20. > :05:25.terrible. There was nothing I could do about it. Look at you now.
:05:25. > :05:32.of the leaderboard! With Chelsee and Pasha. I never thought that
:05:32. > :05:41.would happen. They are like gladiators. You were saying, James,
:05:41. > :05:49.that it was quite good you going through and the gladiators the top
:05:50. > :05:55.Fab Four? ANina, -- Anita, Robbie, then it was us, Russell was put in
:05:55. > :06:02.the bottom two. They knew what we have all been feeling for - I'm not
:06:02. > :06:07.saying it is good - well, I am! are bubing your hands! Holly was
:06:07. > :06:14.saved -- You are rubbing your hands! Holly was saved. They had a
:06:14. > :06:19.taste of what everyone else had been feeling. We think we may have
:06:19. > :06:23.sussed you out, by spending too much time on the golf course!
:06:24. > :06:33.is playing up. Instead of concentrating on the dancing, he is
:06:34. > :06:34.
:06:34. > :06:41.playing on his phone! Double-bogey! What's that mean? 2-Over par.
:06:41. > :06:47.little bit of golf. One hole. hole. No! One more. No, not one
:06:47. > :06:51.more. You playing golf? No! I'm going to have a look at the music
:06:51. > :06:55.for next week. No, you are not. I can see in the mirror that golf is
:06:55. > :07:00.on the screen. He's danced 20% of the time and played golf on his
:07:00. > :07:05.phone for the other 80%. I have had to nag him a bit. There is no
:07:05. > :07:11.technique or skill involved. There is. Dragging him up, pulling him to
:07:11. > :07:16.dance. Less golf, more dancing. One? Not golf now. No. One more
:07:16. > :07:20.hole. We need a high score on Saturday, not on the golf. I'm 13-
:07:20. > :07:30.under. 13-foot under the floor now if you carry on! I will club him
:07:30. > :07:33.
:07:34. > :07:37.over the head tomorrow if he carries on. LAUGHTER Fantastic.
:07:37. > :07:42.That brought it out! You have the Charleston this week. What a lot of
:07:42. > :07:46.fun. Are you going to be fit enough? I'll be fine. 84-year-old
:07:46. > :07:49.James here might struggle. I don't know. It is the one dance we said
:07:49. > :07:55.from the beginning I hope we have a go at the Charleston. And so this
:07:55. > :07:59.is brilliant that we are. Yeah. again, you know, he's not the
:07:59. > :08:05.fittest. I know. You have to get him in training. Do a warm-up in
:08:05. > :08:09.the morning perhaps for him. And also, it will suit Alex - he is
:08:09. > :08:15.miffed! I think so because of her personality. She is quite quirky
:08:16. > :08:19.and scatty which is - I'm getting my own back now! Which is all about
:08:19. > :08:23.the Charleston. And I think it could be a great dance for you. At
:08:23. > :08:29.the end of the day, we will have fun. Alex keeps saying, or she said
:08:29. > :08:33.from week one, it is the one dance she really wanted to get to do but
:08:33. > :08:40.Russell Grant did say that he just wanted to get to Wembley. We don't
:08:40. > :08:44.want that curse. Yes. We don't want that curse. Yes. Your wife, Ola,
:08:44. > :08:49.and Chris Hollins have the record with straight tens for their
:08:49. > :08:54.Charleston. Are you confident that you can beat your own best in the
:08:54. > :09:00.Charleston of 38 with Pamela Stephenson? It is hard to say. I
:09:00. > :09:06.really hope - why are you shaking your head? Let's be realistic!
:09:06. > :09:10.Chris, we have seen some great Charlestons this year, like Pasha
:09:10. > :09:16.and Chelsee. But when you compare it to Chris and Ola's it was iconic.
:09:16. > :09:22.It was. It was one of my favourite dances. The music, his personality,
:09:22. > :09:27.it just suited him. I do think it is going to suit you, but straight
:09:27. > :09:32.tens? OK. Aim for some more nines. If we get another nine, we will be
:09:32. > :09:37.happy. A nine. Nine is nice. Wonderful. We will take nines all
:09:37. > :09:41.day long! I know. Your face when you got the nines - also I must
:09:41. > :09:47.mention the swing-a-thon. We have that added element of jeopardy in
:09:47. > :09:52.the weekend's show? Which James hadn't mentioned until today!
:09:52. > :09:55.forgot to tell her! What were you expecting her to do? I was worried
:09:55. > :10:01.about her fitness! Good luck with your Charleston and the swing-a-
:10:01. > :10:03.thon and well done on Saturday. Well deserved. Alex and James.
:10:03. > :10:08.APPLAUSE Now, Strictly wouldn't be strick strick without them, but
:10:09. > :10:12.there is not a huge amount known about our professional dancers.
:10:12. > :10:16.Their -- Strictly without them, but there is not a huge amount known
:10:16. > :10:21.about their professional dancers. Who are they talking about here?
:10:21. > :10:27.Can you guess the dancer? This dancer is passionate about skin
:10:27. > :10:32.care and the beauty industry. They used to manage a day spa. This
:10:32. > :10:37.person has an unhealthy obsession for fake tans. This person's
:10:37. > :10:44.catchphrase is "this is the best thing ever". She is all legs and
:10:44. > :10:49.speaks funny. She is very, very tall! Who do you think it is? Find
:10:49. > :10:54.out later in the show. Mmm, I wonder who could it be? We will
:10:54. > :11:01.reveal all later. On Saturday we had six Latin dances to add to the
:11:01. > :11:04.Wembley party spirit. Six times the usual Strictly size was the
:11:04. > :11:14.dancefloor. Karen Hardy had it covered. It is time for
:11:14. > :11:19.
:11:19. > :11:25.Choreography Corner. I love your intro music! Karen Hardy! APPLAUSE
:11:25. > :11:32.She does like to move it! Karen, what an incredible show on
:11:32. > :11:35.Saturday? It was amazing at Wembley. It went to a whole new level. With
:11:35. > :11:39.what they brought to Saturday night entertainment, fantastic. Loved it.
:11:39. > :11:43.We loved it. How difficult is it to choreograph for that huge space?
:11:43. > :11:49.The first thing to pick up about choreography is this one point that
:11:49. > :11:54.I want to do. I have taken a snapshot of the arena. Beautiful.
:11:54. > :11:58.Everyone keeps saying it is a big place. Most importantly, for the
:11:58. > :12:02.choreographers, our professionals, they had such an array of choice.
:12:02. > :12:06.They had the stop stage where the band were. They had the centre
:12:06. > :12:11.stage like the floor area, the circular area and on top of that,
:12:11. > :12:14.they had the entire dancefloor. They would have had very small tiny
:12:14. > :12:18.training rooms and only by the Friday where they would have gone
:12:18. > :12:22.for the rehearsals would the professionals have known will this
:12:22. > :12:30.choreography fit, will it work? Now, just to give you an idea of the
:12:30. > :12:34.size, length of that floor was four double-decker buses long. Wow!
:12:34. > :12:40.double-decker buses and the width two double-decker buses. You have
:12:40. > :12:43.to imagine little tiny steps, how would that fit? Well, what we are
:12:43. > :12:48.going to unfold and show throughout this section we will see who made
:12:48. > :12:53.the right choices and who didn't. like the sound of this. Chelsee and
:12:53. > :13:01.Pasha. Chelsee suffers a lot from nerves. What did you think of her
:13:01. > :13:05.section on her own? I loved it. You have Pasha, probably hearing her
:13:05. > :13:10.saying, "I'm nervous" but look what he does. I'm going to put you out
:13:10. > :13:16.there on your own! You will learn to get confident. Great walks. They
:13:16. > :13:20.were all the moves! She looked - she owned it? More importantly,
:13:20. > :13:24.Pasha again sending out the messages to the judges, "Don't
:13:24. > :13:27.leave my lady out, she is building her confidence, she is strong on
:13:27. > :13:32.her own." If anything had gone wrong, she wouldn't have had a clue
:13:32. > :13:38.what time she was on, where she was meant to go. Big brave move, very,
:13:38. > :13:40.very good. Jason and Kristina and their jive? How ambitious was
:13:40. > :13:47.Kristina's choreography? Every week she is lifting this choreography.
:13:47. > :13:51.We will take a look at the jive kicks. Direct, fast, but there is
:13:51. > :13:57.something more in there, there is the spring, the swing of the hips,
:13:57. > :14:00.so it's not about throwing the leg out there. He is absolutely
:14:00. > :14:04.learning everything about the dance. Not just the choreography and the
:14:04. > :14:07.timing. He is taking it deeper and deeper. Maybe everybody at home
:14:07. > :14:10.won't know why they loved the performances, but it is because of
:14:10. > :14:15.these extra things that the celebrities are able to master now.
:14:15. > :14:21.They are learning quickly. They are looking more like proper dancers?
:14:21. > :14:27.Right. Let's talk about Harry and Aliona. Len said full-on samba,
:14:27. > :14:32.Craig loved it. What was so good? What was so brilliant about this, I
:14:32. > :14:38.know just for the record, Len said samba instead of salsa, it is of
:14:38. > :14:42.course... I was confused then! know. It's the Latin world, it is
:14:42. > :14:45.the party world. This was brilliant. I want to explain why. What we
:14:45. > :14:49.always get with Aliona's choreography is that little bit
:14:49. > :14:55.extra. There is something extra. Love it. Look at this. When did she
:14:55. > :15:00.have time to teach him to unravel the dress? Not only that, he's got
:15:00. > :15:05.to panic about that and look what is coming next... One, two, three!
:15:05. > :15:10.Very, very difficult work. What if he had missed that piece of fabric
:15:10. > :15:14.to unravel? What if they had got caught up? What if, what if? With
:15:14. > :15:17.that piece of choreography, it was so on the edge but what I love is,
:15:17. > :15:22.she's always thinking about that little bit more, what else can I
:15:22. > :15:29.bring to it? If it is not costume, body action? A bit of drama.
:15:29. > :15:34.Building, building, I like it. lot! Robbie and Ola. He opened the
:15:34. > :15:38.show, what a bang! Incredible. But how difficult were the lifts that
:15:38. > :15:42.Ola had choreographed for Robbie? If ever I was going to pay someone
:15:42. > :15:47.to open a showcase spectacular, that I would choreograph, that
:15:47. > :15:51.would be it. I mean, to get 6,500 people standing, that is what you
:15:51. > :15:58.would want there. He went to the crowd, he performed to the crowd,
:15:58. > :16:04.and then he had to lift. I'm hoping he had three bowls of shreddies!
:16:04. > :16:08.That was incredibly difficult. I need to explain why. When we are
:16:08. > :16:14.dancing, we are exerting energy of course. So we are getting more
:16:14. > :16:19.tired. The added thing here was the adrenaline at Wembley with 6,500
:16:19. > :16:22.people screaming, knowing you are opening the show, he would have
:16:22. > :16:31.been physically on overdrive and exhaustion would have been kicking
:16:31. > :16:35.in. But there was a slight "urgh" because everything to do with lift
:16:35. > :16:39.work, it should be in-and-out. I just thought the three lifts they
:16:39. > :16:45.used were very difficult, but fantastic. What a way to open
:16:45. > :16:52.Wembley. I know. He sold it. He did. He was terrific. Let's talk about
:16:52. > :16:57.Anita and Robin. She will have an interesting week. Rent-a-pro
:16:57. > :17:03.Brendan is standing in. Robin has hurt his foot. What did you think
:17:03. > :17:10.about her samba? That floor is so big. You need that energy, you need
:17:10. > :17:14.to be able to move. Clever first of all, using steps like this. We know
:17:14. > :17:21.she can spin well. Once they started to move across the floor,
:17:21. > :17:26.someone like Robin is going to go, "Yes, I'm off!" But it would have
:17:26. > :17:31.been very, very hard for Anita to have kept up with that. They made
:17:31. > :17:35.it work. She's still an inspayration. I just think she is
:17:35. > :17:39.the most amazing woman. I would have possibly just kept her centre
:17:39. > :17:42.stage from beginning to end. I know there was this whole got to get the
:17:42. > :17:49.crowd, but it is interesting who it worked for and who it didn't.
:17:49. > :17:51.didn't think it worked for Anita? Good luck. Holly and Artem and
:17:52. > :17:56.their quickstep, Craig loved the pirouette on the stairs. How tricky
:17:56. > :18:01.is that to do? How tricky? Near on impossible! Already being in a high
:18:01. > :18:05.heel, already not knowing if it is going to work, and instead of
:18:05. > :18:13.walking up-and-down, let's turn on one foot at the same time. This is
:18:13. > :18:16.the shot of the night for me. I just love this. This was like a
:18:16. > :18:21.Hollywood entrance. Of all the dances you would have wanted to
:18:21. > :18:25.dance, it would have been a quickstep. For us, big floor, big
:18:25. > :18:34.movement, move across the floor. You can do a lot of travelling?
:18:34. > :18:38.can do a lot of travelling. But, I have explained how we have had the
:18:38. > :18:42.top stage, the centre stage and the main stage. He used all three. I'm
:18:42. > :18:46.not sure if that was the right move. It was a fantastic number. Playing
:18:46. > :18:50.it back, she didn't make as many mistakes as it sort of seemed on
:18:50. > :18:56.the night. Started off at the top, used the floor down the middle,
:18:56. > :19:02.used the centre of the floor and then ran round the outside of it.
:19:02. > :19:07.I'm not sure if he was trying to get those points or run a marathon!
:19:07. > :19:12.Maybe he was getting extra money for Children In Need. It was a
:19:12. > :19:18.first-class routine. I wonder if it was a step too far for Holly.
:19:18. > :19:22.nothing gets past you. I can't wait to see you next week. Thank you.
:19:22. > :19:31.APPLAUSE Now, this weekend Chelsee and Pasha will be tackling the
:19:31. > :19:41.Argentine tango. Vincent Simone has come back to the studio to explain
:19:41. > :19:46.
:19:46. > :19:56.Hello. This is me, of course, Vincent. Welcome to my step by
:19:56. > :19:57.
:19:57. > :20:01.steps guide of the Argentine tango. The story about the Argentine tango
:20:01. > :20:06.is the man is really chasing the woman, make sure that the woman is
:20:06. > :20:15.going to be his forever. And possess the woman until she gives
:20:15. > :20:21.up. The Argentine tango consists of some key moves, we have ganchos, it
:20:21. > :20:23.is when the men and lady, they look their legs together and they can be
:20:23. > :20:29.done in different position, different speeds and with different
:20:29. > :20:33.legs. We have the sacada, the displacement of each other's feet.
:20:33. > :20:43.It is another beautiful action. The man can do it to the lady as the
:20:43. > :20:45.
:20:45. > :20:48.lady can do it to the man. Next, the calesita, the man lifting the
:20:48. > :20:54.lady up slightly and the lady will be still on the spot and the man
:20:54. > :20:59.can walk around the lady. We have the planeo, which is a flashy
:20:59. > :21:03.figure. It is when the lady or the man standing on one leg pointing
:21:03. > :21:11.the other leg to the side and the other person will run quickly
:21:11. > :21:15.around making a big circle on the floor. If you want to be a great
:21:15. > :21:25.dancer, you need to let it go, you need to follow the music. You
:21:25. > :21:31.should be able to hear each other's heart beating. This year's
:21:31. > :21:35.Argentine tango I performed with Flavia was my favourite because it
:21:35. > :21:39.was super-fast, we couldn't go any faster than that and the fact we
:21:39. > :21:47.succeeded to get to the end of the routine and the number, it was a
:21:47. > :21:51.miracle! APPLAUSE Thank you, Vincent. I will be trying that at
:21:52. > :21:58.home in the kitchen later! I will have more step by step masterclasss
:21:58. > :22:01.very soon. Earlier on, we asked you if you could guess who our dancers
:22:01. > :22:09.were talking about. Time the find out if you are right. Who was
:22:09. > :22:13.everyone talking about? Did you guess? It's me! Natalie! In a
:22:13. > :22:16.moment, I will be indulging in some serious analysis of the weekend's
:22:16. > :22:26.outfits with top designer Amanda Wakeley. First, here is a quick
:22:26. > :22:35.
:22:35. > :22:39.reminder of what was top of the Please welcome award-winning
:22:39. > :22:45.designer Amanda Wakeley and fashion lecturer and It Takes Two favourite,
:22:45. > :22:49.Oonagh O'Hagan. APPLAUSE Hello. Thank you so much for joining me.
:22:49. > :22:55.Amanda, welcome to the show. You have designed for Scarlett
:22:55. > :23:00.Johansson and Kate Middleton has been out spotted in several of your
:23:00. > :23:05.frocks. What would you say - yes, it is impressive! What would you
:23:05. > :23:08.say is the key to a stand-out dress? For me, it's making sure
:23:08. > :23:13.that the dress doesn't wear the woman, the woman wears the dress.
:23:13. > :23:17.Right. Yes. I will write that down! What impresses you the most about
:23:17. > :23:22.the Strictly outfits? Just the level of construction in them is
:23:22. > :23:27.incredible. They are sort of serious performance garments. When
:23:27. > :23:32.you look at how the dancers dance. So the construction has to be
:23:32. > :23:37.brilliant. Let's talk in detail about that. We will talk about
:23:37. > :23:44.Chelsee's samba dress. What did you make of her Union Jack dress,
:23:44. > :23:48.Amanda? Did it suit the dance? thought really clever and in fact
:23:48. > :23:54.very flattering on her. It elongated her body. I thought the
:23:54. > :24:02.way that the seam was cut, the Union Jack coming down from that,
:24:02. > :24:07.was very clever. Oonagh, we have it here. We want fashion facts?
:24:07. > :24:11.The first thing to say is it is a stretched satin so that goes over
:24:11. > :24:15.layer. The thing that I think that is most important is you have the
:24:15. > :24:19.Union Jack, it is very well-known, and you are putting that on to a 3D
:24:19. > :24:24.object - Chelsee. That is very difficult. You will distort the
:24:24. > :24:28.image. It is a clever pattern cutter that has to do that so you
:24:28. > :24:31.still recognise it. That is the main important thing about this
:24:31. > :24:37.dress. Then on the construction side, you have little slits in the
:24:37. > :24:47.side so she can move in it. So those are the main things. I think
:24:47. > :24:55.
:24:55. > :25:03.then the crystals. Can you give us a crystal -- crystal count? 800
:25:03. > :25:08.last week. Over 2,000 this week. Those feathers, it is like the tail
:25:08. > :25:13.sweeps around behind her. It was great. Great for hip action. How
:25:13. > :25:19.was that done, Oonagh? It is strips of boa. You would start with two
:25:19. > :25:24.metres of it. Then they would tack those on. They don't want too many.
:25:24. > :25:30.I think it worked. It looked carnival. It is like a tail-feather.
:25:30. > :25:38.It shows the hip action. Well done, Chelsee. She looked so hot! Now,
:25:38. > :25:41.next Holly and her quickstep dress. Amanda, were you a fan of this
:25:41. > :25:46.unconventional style of quickstep dress? I prefer other styles on
:25:46. > :25:51.Holly. I loved her - it was her rumba dress the week before which
:25:51. > :25:55.was very flattering through the body and then that lovely gentle
:25:55. > :26:01.draping which was sort of quite cheeky, longer at the front and
:26:01. > :26:07.then that real sweep-up at the back that was very sexy. How was this
:26:07. > :26:14.one put together? You ready for my appalling joke? It is not Strictly
:26:14. > :26:19.a dress! That will teach you to make jokes! Tell us more. It is in
:26:19. > :26:24.two pieces. It is on a leotard base. Over this, you have a metallic
:26:24. > :26:30.fabric and then this nude fabric over the top. The whole point is to
:26:30. > :26:35.echo a twin-set cardigan, a little jumper. Then you have crystals on
:26:35. > :26:39.it. They are in a brickwork formation. Again to echo almost
:26:39. > :26:47.like knitwear and then going into the skirt you have all these layers.
:26:47. > :26:51.How many layers did she have? got five layers. It went georgette,
:26:51. > :26:57.satin and lots of organza layers and then green and blue and the
:26:57. > :27:07.blue to match Artem's outfit. When she spins, you can see it. Very
:27:07. > :27:08.
:27:08. > :27:12.good. I like it. No godets? godets. Let's talk about Alex. Much
:27:12. > :27:19.more traditional style dress for Alex, but with a little twist?
:27:19. > :27:23.Unusual. Generally, a tango dress is red and black. This obviously,
:27:23. > :27:29.the ivory and the black was rather beautiful with the violet around
:27:29. > :27:34.the hem. I thought clever because that illusion of a bareback and we
:27:34. > :27:40.know that the construction of that doesn't allow it. Very elegant.
:27:40. > :27:46.Come on, Oonagh, what have you got for us? Any godets? No. It's got
:27:46. > :27:52.eight panels in it. They have a slight flare to give it the volume.
:27:52. > :27:57.You have lots of layers. Around the bottom, you have 42 metres of this
:27:57. > :28:02.pleated crinoline. That crinoline keeps away from the legs so it
:28:02. > :28:08.doesn't get caught up. It has some wiring as well. Or boning. That
:28:08. > :28:13.keeps it away from the leg. Those are my fashion facts. Ladies, a
:28:13. > :28:16.pleasure. Amanda and Oonagh. APPLAUSE A huge thank you to my
:28:16. > :28:21.guests tonight. Join me tomorrow whenly be catching up with Chelsee
:28:21. > :28:25.and Pasha and Anita and Brendan and hopefully Robin will join them too.
:28:25. > :28:28.Ian Waite is back for a look at this week's training in Waite's
:28:28. > :28:33.Wednesday Warm-Up. See you tomorrow. Until then, it is good to see our
:28:33. > :28:43.couples are still having a good time having a good time. Good night.
:28:43. > :28:58.