All language subtitles for IDM_304e

HE SIGHS

This week we're heading
to the high street,

and our intrepid designers

are taking on three independent
retailers.

Oh, no, Madam.

No, no, no, no.

It's Shops Week!

Ten aspiring designers competing
for one life-changing contract,

to transform a luxury
hotel apartment in Cornwall.

Wahey! Last time...

Rochelle!

..the designers
went back to school...

Give me a B, give me an E,
give me an A.

..transforming their biggest space
yet.

Lights up, move on.

There were top marks
for Amy and Dean...

It looks amazing.

Banjo and Molly
didn't do their homework...

I don't feel that house identity.

But it was School's Out
for Abi and Rochelle...

I just wasn't seeing that deeper
understanding of design.

It's week four,
and six designers remain.

Hi, guys.

Hey! Here we go again.

At this halfway point
in the competition...

Final six!

..only Fran and Dean
have dodged Michelle's sofa.

I can't believe I survived
challenge three.

So now I'm just like,
"Bring it on!"

I didn't think I'd be here.

Michelle almost sent me packing.
But I'm back and I want to go big.

The pressure is relentless,

and each week you realise
how talented everyone is.

But just got to get my game face on
and move forward on this week.

Hello, guys. Hello, Alan.
Hello, Alan.

Is it me, or is it getting
really tense now?

I pulled a muscle the other day,
it was that tense!

Really? You pulled a muscle? I did.
Wow, that is so tense!

Now has everyone's tears dried?
Cos it was quite emotional,

wasn't it, last time?
Cos Banjo, Rochelle went.

She was your sister
from another mister, weren't she?

She's my baby girl!
Aww! Aww!

But she's with me in spirit.

She is, she is.

Hello! Hello. Wow.

Now, I'm sure Michelle
has a really easy challenge

for this week, just to give them
a little break, haven't you?

No. Oh.

But Alan,
we're nearly at the halfway mark,

I need to see if these guys
have got what it takes.

So I'm afraid, no,
I am upping the ante again

and I am taking you
to look at some shops in Salisbury.

Oooh!

This week the designers
will be heading

to the medieval city of Salisbury.

Here, three independent shops -
a homeware store,

a lingerie boutique,

and a bridal shop -

are all in need of an up-to-date
makeover to help them compete

in an age of online shopping.

Once again,
you're working in pairs.

And the shop which impresses
the judges the most

will see those two designers
through to the next week.

The remaining pairs
will have to battle it out,

and one of you will be going home.

Amy and Banjo,
you're in the bridal shop.

Getting married!

We'd better get a hat, Michelle!

Fran and Dean,
you're in the homeware shop.

Ooh!

Which leaves Paul and Molly
in the lingerie shop.

Oh!

Sexy!

Paul, you're blushing already
and you're not even in the shop!

No, I know!

But before you get going,
you'll have to pitch your plans

to the shop owner.
Now, the shop owners

might go for elements
of both of your designs,

or they might choose a lead
designer. It's really their call.

Good luck. Good luck. Thank you.
Thank you.

I hate, with a passion...
Really? ..lingerie.

Let's meet the owners
and see what they're like.

They can't be as tough
as those kids.

No!

Why is Shops Week so hard?

I think it's cos you've got
four clients, in a way.

There's the shop owner,
you've got the customers,

you've got the products
and then the context,

like, what's the vibe
of the neighbourhood, as well.

And all these four things

have got to come into play,
but in one space.

These shops have to have
a real impact, don't they?

Absolutely, I mean when you can
get everything at the click

of a mouse,
a shop has got to be experiential,

but that's also really exciting

cos they've got to offer
something very different.

It's like the dark arts, isn't it?

Why does someone
want to go in that shop?

It's about seduction, Alan.

Ooh! Oh, I don't know
how I feel about that!

Have you been on the gin?

Not yet!

First up, Molly and Paul
are pitching to lingerie shop owner

Annie and her daughter Carys.
This is very exciting.

We're really excited, yes.
The shop really needs a makeover.

It's a 16th-century shop
just along from the cathedral.

I just love what I do,
cos you just fit them

with the right size bra,
and they look so much better.

Yeah. It's basically a very sort of
catered, bespoke personal service.

Yeah, yeah, yeah.

With the role of lead designer up
for grabs, Molly's first to pitch.

I am absolutely ecstatic
to be working on your shop.

I'm thinking obviously
quintessential British,

floral, luxurious,
velvet kind of design.

So my general colour scheme is
a English heritage green throughout.

Green's my favourite colour.

Oh, perfect, mine too.
That's lucky! Yeah.

And then pops of blush pink.

I have this floral wallpaper,
which I think would make a statement

and I want to do a really bold,
interesting window display

that's going to entice people in.

We have a lot of passing traffic,
so actually it is

a really important part
of the shop. That's good, yeah.

Visual merchandiser Paul
is up next.

I had this idea of
sort of afternoon tea

and fondant fancies.

And that would be
the colour palette

that works throughout the store.
So pale pinks,

sort of lilacs, pale greens,
accent colours of gold.

It's a sort of beautiful
play on heritage

with contemporary.
Hanging bust forms

with satin hangers on ribbon
that you can then change props

like bottoms and, well,
bums and boobs. Boobs and busts!

Thank you. Yeah.

They're just so different,

but I think that, Molly,
I'd like you to lead the design.

I love the colour scheme.
I love the ambience of it.

It's just going to be,
"Wow, it's so different."

I am so excited to be lead designer.

It's crazy.
After being on the sofa last week,

I'm going to push myself.
I really hope this is my week.

We have a very similar
design aesthetic.

In this instance. Molly is
going to deliver the creative,

so actually it's a sort of marriage
made in heaven, really.

Looking for a New York
loft-style makeover

for their bridal shop is Helen
and her daughter Victoria.

We're a really small shop
in Salisbury, and it's tired.

We need something
to give it some pizazz back,

so we're dead excited about you
coming in to do the shop.

Banjo's up first.

The New York loft brief
really, like, led me down

like an exciting little path.

What I wanted to do
was a big kind of mirror

and that could be separating
a space,

so if they're coming out of one room
into the other,

you've got like
a dramatic moment.

Also bringing a little bit of
natural elements into the space.

I'd love to bring like an olive tree
in a beautiful old pot.

It's about being mindful
of our environment,

but also making it absolutely chic.

Print designer Amy is next
to share her ideas.

What I wanted to focus on was really
that kind of feel of maybe

some industrial. Mm-hm.

So whether it's something like
tall sleek rails

or even like scaffolding.

If we were to go for more
of a kind of monochrome look,

you know, black walls that would
make your dresses really stand out.

And then we've got some
more elements here of like

the platform to stand on.

My background is actually in print,
but it translates into wallpaper.

Wow.
So it's kind of all hand drawn.

That's just a wisteria print,

but I can do something
that's bespoke for you.

Oh, that's lovely.
Thank you very much. OK.

Do you know they're both amazing,

but as a business,
we need that space to work.

So my pick is Banjo,

because I love your idea on
the concepts of space,

but I really, really love
your idea of intricate design,

so I think we're getting

the best of both worlds
and I am very excited.

I've been appointed lead designer,

but to have a partner like Amy
who's going to add

the icing on the cake

to those big things
that I can put into the space.

So it's a little bit of
a dream team,

don't want to speak too soon!

Last, but not least,
Fran and Dean are pitching

to homeware shop owner Susie.

The shop is divided into, you know,
a couple of different rooms

and the continuity
really is the important thing.

I'd like people to feel
that they're in the same shop

as they walk around. Yeah.

But the main thing is
the flexibility of the spaces.

We change our displays all the time,

and if you can come up with
some clever ideas

so that we can change
the zoning of it... Yeah.

..that would be amazing.

Dean is first to pitch.

Your shop front is white
at the front.

What I want to do is
see if I could modernise it.

Change the front look of your shop
to a different colour

to make it black. Just so it means
the stuff that's in your window

will really pop out.
What I also want to do

is give you new lighting,
so the things you want to focus on,

say your best-sellers,
if it's lighted the right way,

you can focus on that.
You mentioned changing your set-up.

What I wanted to do was colour block
each section.

By painting the walls?
Yes, by painting the walls

and painting some bits onto
your floor. Right.

So some of the colours I'd use
are like bright yellows,

I was looking at blues, reds,

something where your items
can really bounce off.

The shop for 38 years has been
painted white,

so I'm slightly scared
by the yellow.

Stylist Fran is keen to impress.

Firstly,
I looked at the external frontage.

I really like the white,
I think it's really fresh and clean.

Unlike Dean, I really like
kind of muted tones,

so I wanted to keep kind of neutral
with creams, greys.

Above the till point,
a hanging display for storage.

Where the backroom is,
I felt like this could be

a multi-functional creative space
for events

in the heart of the store.

So I want to build you
a raised table with some seating.

Above it you've now got
a new lampshade display.

That's what we're really missing,
actually, being able

to hang the shades. Yeah.

It was fascinating listening
to all your ideas.

I can't believe how many ideas
you've got.

But I'd like to choose Fran
to be the lead designer.

I feel much safer with Fran's ideas,

but I'd really like you
to listen to Dean,

particularly with the lighting.
But do try and challenge me,

because, you know, I do need that
after 38 years!

I will. We will.

The pitch went...

I think I lost her a bit
with the tones of the colour.

Yeah, I'm a bit disappointed
because obviously I don't like

being second fiddle,

but I'm a team-mate
and I know how to support.

The control freak in me

is very happy that I'm
going to be lead designer.

We're dealing with a real shop,
someone's livelihood.

It's such a massive responsibility,

so it's a bit scary
and it's a bit intimidating,

but I'm going to give it my all.

Clients convinced, it's time
to transform some shops.

Welcome to Salisbury!
I can't believe how gorgeous it is.

What a beautiful place.

With a budget of £3,000...

Oh, it's narrower than I thought.
Yeah.

..the designers
have just two days...

There's going to be a lot
to do re merchandising.

I'm sweating just thinking
about it, literally.

..to give their boutiques
a completely new look.

What could possibly go wrong
in a 400-year-old building?!

It's theatre,
it's retail theatre, darling!

And to help bring
the retail theatre to life,

the designers each have a team
of highly skilled tradespeople.

Morning!

At the lingerie shop...

OK, so we've got loads
to do today, as standard.

I'm taking care of more
of the painting and things

and then Paul's doing
a lot of carpentry and that.

The ceiling is going to be green,
so that will come down towards

just before the picture rail.
Then from the picture rail down

it will be pink all the way round.
Right.

Lead designer Molly is going bold
on paintwork and big on props.

This is going to go in the window
just as like a lovely prop,

so we can create a sort of visual
that does look like,

like a bedroom, because one side
of the shop is going to be kind of

lighter, fresher,
more like a garden.

And then the other side of the shop
is going to be kind of more dark

and ambient where they do
all the bra fitting and stuff.

And that's meant to be like
a boudoir, bedroom kind of feel.

So it's kind of like the day
and the night,

that's kind of the theme.

Molly's ambitious design starts
with the window displays.

The left window will feature
a country garden scene,

and the right side, a boudoir.

Inside, Molly has chosen
a bold floral wallpaper

to highlight key areas of the shop.

The left-hand room will be painted
pink with a green ceiling

and feature quirky signage.

The right side of the shop,
where bra fittings take place,

will have a new,
larger changing room,

a black armoire
and a vintage love seat.

So I found these gorgeous
old vintage suitcases online

and I'm just going to spray them
black and they're going to go

in the window as like
a sort of picnic basket.

So it's sort of like we've taken
our trunk along with our

sort of crockery in it and we're
going to have a little picnic.

That's the plan.

I feel like this week is my real
chance to sort of push myself

and we're going really big
and really bold and really floral

and really Molly! And I've
literally thrown everything at it.

So it's really ambitious, but I'm
hoping it all comes together.

At the bridal shop...

What I'm hoping for
the middle of the entrance space

is a kind of a New York loft,
industrial mirror wall.

..Banjo is starting work
on his centrepiece.

And so we've got like 27 by 27
mirror squares,

beaded in between.

Oh, so it sort of looks like
a mirrored window?

Yeah, and then I want it floating
a little bit out from the wall.

Do you want it floating, floating?

I want it levitating,
can you do that? Levitating, yeah.

Bringing New York Loft style
to downtown Salisbury,

Banjo's created a mirrored wall
focal point for the bridal shop.

He's chosen charcoal grey
for the paintwork

to complement vintage furniture
and plants.

Amy has designed scaffold
dress rails to adorn the walls,

as well as bespoke wallpapers
for the store entrance

and changing area.

Amy's big design idea involves
a pile of old scaffold poles.

I really believe in
the scaffolding design.

I think it's perfect
for a bridal shop.

The dresses are so heavy,
it makes sense to have

a really robust railing here.

Seeing it against
all the plaster exposed,

I think it might be a bit scary,
but I think in the end

that will be the industrial finish,

but the lovely dresses are like
the soft part of the shop.

At the homeware shop...

Come on, matey.

..Dean's getting to grips
with 40-year-old lights.

Fran, I have one light off!
Woohoo!

I know.
Just another nine more to go.

And Fran is transforming
the back of the shop

into an event space.

We've got our kind of central
community table. OK.

Which will be placed in
the middle of the room,

so that when they do have
an event, that's got to flip up.

I'm trying to create a space that's
a part of the community as such.

A place that not only
do you go to shop,

but also a space
you can enjoy yourself in.

Enticing the people
of Salisbury into the homeware shop

starts with a fresh new
window display.

Inside, using a muted colour palette
of white, grey and cream,

Fran wants to create
a calming environment.

A hanging storage unit
above the till

will be a central focal point.

And accents of grey and white
wallpaper will unify the front

and back of the shop.

The back room will be transformed
into an event space

with an extendable table and
specialist lampshade testing area.

As lead designer this week,
there's a lot of responsibility.

I really love the shopkeeper.
She reminds me of my mum.

She set it up with her mum.

It's really important to her,
and I've really taken that on board,

so I'm hoping I'm
going to be able to deliver.

Sounds like I'd better jump
on my bike and check in

on those designers.

# Ridin' along on my push-bike,
honey

# When I noticed you... #

Oh, here I am
in gorgeous, sunny Salisbury.

Oh, look at that cathedral!

Has anyone seen ET?

Don't worry if you can't find him,
he'll phone home.

All right, darling,
who ordered the scaffolding?

Amy, it's me, throwing my voice!
And that's my missing piece!

Oh, shall I bring it in?
Yeah, come in.

Look at me doing manual labour!
Look at you go. I'm impressed.

Oh.

I know they're heavy,
so I appreciate that.

Working on that tan and those guns!

I know, hello! Scaffolding...
Yeah. Why?

Because those dresses are heavy.
Yeah.

So by putting this in it just takes
so much weight, it's great.

And it gives that industrial, like,
New York loft feel.

Last week Sophie and Michelle
adored your common room -

you must be buzzing, they loved it.
So glad about that.

Honestly, I feel like
I put my heart and soul

and probably a bit extra in there
last week.

So, still got so much to prove,
though, cos I think every week

I need to be learning
and I need to be showing Michelle

that I can try different things.
So this is a new one.

Yeah. Well, keep it up, my love,
and I'll see you a bit later.

Thank you, Alan. See you Alan, bye.
See ya, darling.

Bye!

As Amy gets to grips
with her scaffolding,

at the lingerie shop...

Do you want us to square this arch
across on this line?

..Paul and Molly are pondering
an important design detail

for their new-look changing room.

I love the arch as it is at
the moment and I think if we make

a feature out of the middle bit,
perfect. Yeah, yeah.

So it kind of does that kind
of love heart thing in the middle.

But even like this, look, this
it's like the same curvy situation.

So you want to give it a cleavage?
I do, yeah.

Cos this is the bra department.

While Molly and Paul
are going for bust,

over at the homeware shop...

This looks really good, Dean.

..new branding is going up
in the windows.

So, standing back
looking at the shop,

if you looked at pictures before,
can you see much of a difference?

I feel like I can see
enough of a difference. Yeah.

We're using their new logo
and rebranding the front.

It will be brighter,
lighter, more energy.

I think it will be enough.

He's like the complete opposite
of what I'm trying to achieve

in there. He's like Mr Black.
Likes everything dark.

This is the complete opposite.
It's light, it's airy, it's neutral.

It's clean, it's cream.
Yeah, we're like yin and yang.

He'll come my way, it'll be fine!

What happens if we just painted this
front section a different colour?

OK. I just want it
to be as impactful as we can

with the design
so that we're not on that sofa.

Is there anyway we can bring
the blue inside,

or bring a different colour in?
No, but there's loads of colour

in the window. Yeah.

I'm not changing anything
to the design when you come in.

It is what it is at this point.

It went from, "Are we doing enough
on the exterior,"

to, "Are you doing enough
in the whole design?"

And I was a bit like,
"Er, bit late for that."

For me I kind of wanted to make sure
that I got that off my chest

to say, "It looks samey,
can we put something more to it?"

And the palette is very...bland
for me.

It's very creams and then white
and then grey,

and for me, I want some yellow,
I want something vibrant.

While the king of bold paintwork
tries to make his mark,

I'd better check Molly and Paul
haven't got

their knickers in a twist
at the lingerie shop.

Hello, Molly.

Hello, lovely Alan.
Oh, I have this for you, good sir.

Oh, thank you!

So what's this?
What are you doing?

This is my lady garden.

Lovely! What a lovely lady garden
you've got and all.

Yeah, it's going in the door
when you walk in.

We've got this British
botanical garden theme running

the whole way through it. So hence
the flowers and the floral wallpaper

and the birds in the window.

How did you feel when
you got the lingerie shop thing?

I loved it. It's fiddly with like
the merchandising and stuff,

but the interior, I love it.

And we've seen these colours before,
haven't we, pink and green?

You did it in Manchester
and also in the hotels week.

Is it your signature look?
It basically came from

I've got this really rich, dark
botanical wallpaper

and it's sort of a black background,

but then it's got pink and green
in it. So I just wanted

to sort of pull them out.
Well, listen, I'll leave you

to your lady garden. Thank you.
It needs a bit of pruning.

See you later.
See you, Alan. Thanks, love.

Down the road,
Banjo's feeling inspired.

I'm kind of thinking of like
this really cool chick

that lives in New York.

She's like on her tenth wedding.

She's like a bit of a man-eater,
delusions of grandeur.

Like, she wants a space
that's fit for a queen.

She wants to walk in,
get a glass of bubbles,

come in to a bridal dressing suite
with her,

with all her fans and her, you know,
little people that run after her.

And she wants to try it on
and feel like a princess.

It's halfway through day one.

At the lingerie shop...

Perfect.

..Molly's floral wallpaper
is going up...

..and Amy's scaffolding-rail design
is taking shape.

And when those railing base flanges
turn up we can put them in,

but, yeah, I just need them, like,
obviously as soon as possible.

But they're missing
some crucial elements

to secure the scaffolding
to the floor.

That is the scaffolding company
for the parts that were missing.

There's been an issue
at the delivery hub,

so it's not going
to get delivered today. What?

I just literally...
No scaffold, worst fear realised.

It's not an ideal situation.

Like, I like having all
the ingredients before we start,

so like that was my biggest fear
realised.

That's what I lost sleep over
last night.

Tell him send another lot
straight away. Yeah.

Right now, cos if they don't
arrive tomorrow,

like, we've got...
We haven't got a shop. Yeah.

While Amy tracks down
the missing pieces of her design,

over at homeware, Dean's still
painting things white.

Dean, it's so white.

It is. I thought,
Dean's going to hate this!

It's different from what
I would normally do.

I think for me I love more colour,
more boldness. It's very not me.

Yeah. Not being the lead,
you've got to do as you're told.

Come on, you've got to
put your blooming foot down!

You must have done something
in here. I did, I sorted out

the lighting to make it
even brighter.

And was it white before
when you painted it white?

Yeah, well, this is not white,
Alan,

this is actually a pinky white.

Honestly, it's burning my retinas.
It's so bright!

Can't you add a little bit of Dean?
A bit of colour in.

I'm trying to add a bit.
Does Fran scare you that much?

I want to add colour.
She agreed to compromise,

she changed the front
to a grey colour.

Oh, so there's grey out there.
You pushed for grey.

I pushed for black, Alan,
but obviously it's not

the colour I wanted. I'm going
to have a look at your grey.

I'll get my sunglasses on,
sounds wild.

See you later, Dean! See you.

We're halfway through
the competition

and now is the time to shine.

Design is often about giving
the client something

they didn't know they needed.

Is this the time now
to pare it back?

Meanwhile...

You all right? It's just like, ah,
God, what if they don't arrive?

I know.

..Amy's scaffold rails are still not
attached to the floor.

We need them to be here, basically,

so it's like, if it's not here
then that is a massive flaw.

Do you want me to look for
alternatives for half an hour

just now, to see what
I come up with?

Yeah, you do that. It's a priority.

There's, like, no bridal shop
without scaffolding.

Railing base flanges, do you know?

It's like the feet
of when you put up scaffolding.

We just have to wait and see
and hope someone turns up

with some little bits of metal.

As day one draws to a close...

Yeah. Sorry, ladies.

..the designers are busy making
their shops ship-shape.

Ah!

Oh, there was a spider.

I just want to get as much paint on
day one as physically possible,

because it's going to give us plenty
of time to do everything else.

Today I've questioned myself
quite a lot.

Dean kind of flagged up
whether the exterior wasn't enough

and then maybe the interior
wasn't enough.

But I've looked through the design.
On paper, I really love it.

I've put so much time
and effort into it.

Dude, I'm so tired I can
barely walk.

I really want Susie to love it,
the shop owner.

It's almost like
the judges are secondary

and maybe that's not
the aim of the game.

There's so many things on my mind
to get done tomorrow.

The windows are stressing me out
a little bit

because there's loads to do there.

We haven't actually merchandised
anything yet either,

so at the end of day tomorrow,
we're actually physically hanging

each individual bra and pants set,

that's the bit
that's going to take all the time.

Day two, baby.

Just get on with it.

Let's crack on. Yeah.

It's the final day of the shop
refits in sunny Salisbury.

In just 24 hours,
the judges arrive to scrutinise

the designers' efforts.

This is a wow piece. A wow piece,
100%. Oh, I love it.

Really nice. Really, really good.

At the lingerie shop...

We've got the first changing room
that needs doing

and then the ceiling
and the walls and the wallpapering.

..there's plenty to do.

And then the second coat on
the walls that are already done.

OK, I think I need another decorator
in here,

so I'm going to pull him off there
because that room is looking

really nearly done, whereas
this is like nowhere near.

And lead designer Molly
is feeling the pressure.

I do feel a little bit stressed
right now.

It's always just the painting.

There's just so much to do.

Cos it is such an old building,

cutting in around these difficult
beams, it's really fiddly.

There's so many different surfaces
and door frames and skirting boards

and things that I haven't really
thought about,

but they're all so important.

And obviously I want everything
to be like dried and done

so we can start doing the windows
and dressing and all that stuff.

Around the corner...

So basically this is just like
a heavy load-bearing spinner.

..Amy's in a spin about
her latest design feature.

Is it for someone to stand on?

Yes. Exactly, so if the bride
is on the podium,

she can spin to look at
her awaiting fans, I guess.

I've not seen that before,
is that a thing?

Just watch all these really
glamorous shows

and they have these kind of like
amazing 360 cameras,

so I'm basically trying to do
a cheap version. Yeah, yeah.

As the carpenter brings
Amy's 360 vision to life,

sign fitters have arrived at
the lingerie shop.

Hey! Magic and drama has arrived,
brilliant.

What we're going to is big
theatre curtain either side there,

big theatre curtain
either side there

and then two half curtains
either side.

I did the, all of the designs
for the windows,

but Paul is sort of facilitating
how it actually happens.

Paul said, "Why don't we do vinyls?"

They give real depth to the window,

real theatre,
so a good call from Paul.

They're special.
They make it so different.

Yeah, yeah, yeah. No doubt, yeah.

It's the kerb appeal that we need.

Up the road, Fran's made a start
on her window display.

How's it getting on?
It's going to take time.

Yeah? Yeah. A lot of time,
but it's getting there.

I'm liking the scaffold boards
on top of the breeze blocks.

Yeah, it just adds
that contemporary,

still feels a bit more current.

I think we need to have
a little chat about

what we're going to do more and what
we've got left to do. OK, yeah.

Biggest fear at the moment
is that it just looks a bit meh

and I haven't done enough,
and it looks boring.

I kind of get what you've been
saying, like colour and stuff,

and I feel like we need something
else in that middle section.

Yeah. Why don't we do like a big
bold blue stripe across the top?

Do we need to get some more
paint, though? Yeah.

All right, I'll be back in a minute.
All right, thanks, babes.

Down at the bridal shop...

Banjo!

..there's been a special delivery.

Ahh!
Good news!

Oh, are they what I think they are?
I hope so. Shall we open...?

Flanges. Praise be.

Be a flange, be a flange,
be a flange.

Yes, yes, yes, yes, yes. Yes!

Ah, I'm so glad.

I've never been more excited
to see a flange. Me neither.

With that drama resolved,

there's another show in town
I need a front-row seat for.

Paul. Eh?

Am I late for the performance?

I thought Judi Dench had moved in.
I love the theatricality of it all.

Do you like it? Yes!

All I'm worried about is though, if
people are trying on bra and panties

next door with that curtain
in the window,

they might think they're in
downtown Amsterdam. Do you think so?

Please don't put a red light
in the window.

No, no, no. Do you feel though, with
all this, it's department store,

you've got theatricality,
you've got gold,

you've got English country garden,
is that too much?

I don't think so, no.

We hope not, because
London department stores,

I mean, they're famous
for their window displays.

Yes, yeah, Liberty's, Selfridge's,
everything, yeah, yeah.

So that's why we've really,
really gone to town. A bit of drama.

A bit of drama. Well, I'll leave you
to it because it's only a few hours

and then it's curtains up

and then the performance begins.
I'm going to go now.

Woo!

At the bridal shop...

Mirror, mirror on the wall.

..Banjo's centrepiece
is now in position.

She's gorgeous.

Time to take a peek.

Banjo, Amy.

Alan. Hi, Alan.

How great does that window look?
Amazing. Nice, isn't it?

Yeah, how much did it cost
to make again?

150, all in.

And it's like a Crittall window,
isn't it?

And what's this giant peppermint
doing here?

This is our lazy Susan for lazy
brides who don't want to spin.

OOh! You want A spin? Can you take
me for a spin? Yeah, try it, Alan.

Oh, I thought you'd never ask.
You can do it, in the middle.

Oh. You haven't
thought this through. Ah!

We have.
No, just go with it.

Go with it, go with it.

Stop it!
My special day, I feel amazing.

You're checking out your butt
in the mirror. Oh, OK.

So you're just checking out
what you're working with.

I'm actually moving the air.
If you move the air...

I'm quite good on this, aren't I?

Yeah, a bit like Bambi, but...

Oh, thank you.

Ah!

I nearly died in Salisbury.

You know that you've only got
one inch. Oh, you don't want that.

Do you need a hand down, milady?

Yes, I do. Oh, phew.

Honestly, that's messed up my head.
Anyway, I'll see you later.

Bye, guys.

And I'm not the only one
whose head is spinning.

At the lingerie shop,
the windows are still not dressed.

I'm still painting,

and I'm still stressed

because there's still lots
to be done.

I feel possibly the fact that we've
done such bold colours in each area,

you know, to make such an impact

is arguably, like, detrimental
at this moment in time.

I'd like to be painting the black
screen that could be assembled

and placed in the corner.

I would like to be painting
the armoire,

and more importantly, I'd like
to be dressing the windows,

which still haven't been done.

The question is,
do I sort of leave the paint

and focus on the windows
because they have to be done?

Yeah, I think I have to do that.
It's got to be done.

We have to start on the windows.
Oh, right.

I did the window design
and the scheme and the look.

I want it to be really bold

and there's a lot to go
in the windows.

We've got parasols,
we've got a screen,

we've got a bed head,
a garden floor.

Six different colour of flowers

and basically they all
want to be intermingled.

Yeah. Yeah. Go.

At the bridal shop...

We chose magnolia as the flower

just because it's quite
a classic bridal flower.

..Amy's revealing her trump card.

Have you designed this?

Yeah. This is like
hot off the press.

That's fantastic.

This is, it's very old,
very delicate.

We are going to showcase tiaras
in here.

We are going to have our bespoke
champagne bottles.

It's the first impression, this.
This is what you see.

And this whole thing is about
the experience for the bride.

GLASS SMASHES

BLEEP! BLEEP!

It's now a mosaic glass cabinet.

With stock going in at the homeware
shop, it's time to check in on Fran.

Fran, there's a man down there
complaining

someone's nicked his door.

Oh!

So where did you get that again?

In a skip. A skip?

It's the shabby chic kind of
salvaged, reclaimed, sustainable.

I'm loving all those words.
Amazing.

Yeah? There's a lot
of buzzwords there.

Yeah. No, no, it's good, it's good
you're thinking like that.

Basically, the idea is
it's going to be mounted on the wall

and then I've made
these padded sections,

so they'll go in
where the windows are

and this could then be red or green,
so it's kind of versatile.

So there is going to be
a bit of colour in here,

because it's not your typical Fran,
it's very white.

Very neutral. Very neutral,
and we're used to, you know,

your murals, you've got flashes of
colour, bold stripes, impactability.

Well, we're going to do a big bold
stripe across this section here.

Ah, you see, now I'm happy.

You feel happier?
Now it's the Fran I knew and loved.

And we... I just wondered if
it was a bit of a gamble for you.

Yeah. Yeah. Yeah, they might not
even finish it.

Let's just hope it all works.

Gamble responsibly,
that's what I always say.

If you need any more pithy remarks,
I'm your guy.

I'll give you a call.

OK. Bye then.

Bye!

They're gambling with time
down at the lingerie shop...

Two hours, two hours, two hours.

Well, I mean I'm basically breaking
my BLEEP at the moment.

Ah, ribbon, ribbon, ribbon.

..as they try to get Molly's
many props into the windows.

It's always these last couple
of hours that are the most frantic.

Let me go out. Just for my own mind.

I'm not feeling it. So the fact that
they're just in little orange pots

is just kind of not really quite
what I had in mind.

So I think they'd be better
if they were in the black trays.

Paul will hate me.
You're going to hate me.

Yep. I don't... They are going to
look better in black trays.

Definitely. Yeah, but they won't
space out if we put them

in black trays. I know, but for...

Do we have black gaffer tape?

Can we tape the bottoms of them?
Can we spray the bottoms of them?

I'll have to spray
all the bases black.

We'll have to spray them black.

Up the road, the paint's arrived,

but there's a last-minute hiccup
for Fran.

OMG.

BLEEP!

I've got a really big issue.

Yeah? This is the table dedicated to
the shop owner's mum.

What are we going to do?!

How did that happen? I don't know!

This, like, whole process
is just so challenging.

Extreme stress and pressure,
which this is,

it just kind of escalates to a point
where I'm like, I can't deal.

I do want to do really well
and I do want to go through

and I do, I do want to win,

but if I think about it too much,

it's just too big.

It's the final push
for our designers.

Go left and up a bit,
so it's... That there.

Time is running out.

One hour left, guys. One hour left.

The shops are just moments away from
being inspected by Michelle,

and this week's guest judge is

the Queen of Shops herself,
Mary Portas.

Here we are in Salisbury.

Home of a cathedral that houses
the Magna Carta,

and yet in the digital age,

we need something quite modern
from our shops.

It's a really interesting time,
Michelle.

Digital sales have gone up by 48%.

But what's come out of this is our
understanding of how important it is

to connect, to chat, to actually be
on a physical high street.

So I'll be looking at,
where can someone sit,

where can they chat?

I want to feel... This feels warm
and cosy and gorgeous.

A lot of nostalgia
is playing out now,

but it's how you balance nostalgia
with modernity.

First to be judged
is the bridal shop.

It's like 20 minutes to go

and I'm not even sure if this idea
is going to work.

..but Banjo still has to make
a living window sculpture.

This is the first thing that
Mary Portas is going to look at.

No pressure.

Never been this close
to a bust before.

Merchandising is like 101 for shops
and Mary Portas's thing,

so we've got to...
We've got to get them in now.

Wow, they are going to be glad
we put in scaffolding.

I don't know how they survived
without it so far.

These are heavy.

That's 25 kilos. That's a cheese.

Ah! Ah!

We set out for like
a chic New York loft style

and I think we've nailed it.

It's airy. It's contemporary.

It's got a really beautiful
monochrome colour scheme

and I hope the judges
will kind of see the experience

we've tried to create.

We put our heart and soul
in the shop this week

and if we end up on the sofa, you
know, we tried our absolute best.

More than anything, I hope it reads
as like a cohesive space.

This is beautiful. Very simple,

and I would feel confident
if I'm a bride that this is

a shop that understands
modern brides of today.

Yeah. Even the flower arrangement
echoes that as well, doesn't it?

Simple, effective,
lovely, lovely, lovely.

It's not a kind of
great big display.

Let's go and have
a look inside, though.

It's always a relief
when you walk into a shop

and it continues
the story from outside.

I love the key clamp. I think
this makes it feel more modern,

because you can fall into
that chintzy,

slightly naffy feeling with a bride.

The only thing when you've got
such a strong colour scheme

as black and white, is that you just
do it relentlessly everywhere.

Oh, God, of course. And they've
lifted it with the beautiful

kind of the greenery,

which I'm very happy
to see is all real. Lovely.

But there's some nice notes as well,
kind of throwing in kind of the rug,

because I think there's such
a great temptation to have gone

black and white here as well.

I love the fabrics
and I love the juxtaposition

of that soft fabric against
the graphicness of that mirror.

Yes, and look, it's even storage.
They've made it useful.

Not just pretty, but also useful.
Love a bit of that. Love useful.

This very much looks like
Amy's handiwork.

She's a print designer,
so in all of her schemes so far

she's designed something bespoke.

I love this space.

The seating area and that space
for them to just sit back,

look at her
and make her feel central.

So here I am. Oh, Michelle,
you look beautiful, darling.

Oh, thank you. Do you think
it's froufrou-y enough?

I need more poofs.

This is an opportunity
for social media,

their friends will be taking photos
of it,

get the brand name
at the top of that wall.

I'm feeling that I need something
a little bit different,

so I'm going to try it on
in this changing room.

And now you need to tell me
if I'm going to... Yeah, yeah.

I'm going to sit down.
I'm sitting down.

I'm mother of the bride.
Oh, my God, this moves.

What is this?
What are you on?

I don't know, but it keeps moving.
What is it you're doing?

What is that? I'm on a lazy Susan.
I'm on a bridal lazy Susan.

What does that do?
No, Michelle, this isn't serious,

but let's shift it around. Thank God
you're only a size whatever

cos that could be... Oh, God, this
is an accident waiting to happen.

I think that is a design idea
that's maybe not needed.

That one is maybe not needed.
Out the door with that one.

At the lingerie shop...

Right, fabulous, lampshade.

Down a tiny bit more. About there.
Fabulous.

..the time spent
dressing the windows

has put Molly and Paul behind.

Bloody hell.

Oh! BLEEP!

Come on!

Excuse me.

It's a last-minute panic
to get stock out on the shelves.

Ten minutes? There's nothing on the
mannequins in the windows in here.

So fiddly, my God!

You remember when I made that
comment. Yeah, I'm literally,

that is running through my mind,
my love.

Oh, my God, my head, ah!

He's not wrong about it being
very fiddly.

Oh, my God.

Bit of mess. God, she's heavy.

It's going to look a bit bad
from the inside but...

Well, that's, yeah.
That is what it is.

We're done.
Yeah, we are. Right, shall we go?

Obviously there's always things
you can go back and tweak,

but there's so many elements
of my design that I'm proud of.

So the windows,
I think they're kapow,

they're impactful,
they're beautiful.

They really catch your eye.

And then you've got
the beautiful wallpaper.

I think all the colours work
really lovely together.

I just think it's all came together
really well.

I just hope they love it.

What we've achieved is,
it's incredible.

Absolutely incredible.
It's my finest work.

Our finest work.

There is nothing you can critique
about that store apart from...

No, there's nothing you can
critique. It's magnificent.

This is a pretty full window.

It's a statement, that's for sure.

There's so much going on here.

You've got a kind of sticker
appliqued here.

Then there's wallpaper,
then there's the product,

but then we've got real flowers,
we've got fake flowers.

It's like oh, OK.
Yeah, yeah, yeah.

It's sort of, each individual thing
is quite nice, maybe,

but altogether feels
a little confused.

Yes. Is she lingerie?
Is it home accessories?

Could be either. Could be either.

Yeah, good point.
Let's see what's going on in here.

Well, I see the pink and the green
from that lampshade in the window

has sort of come in here.

Oh, there's just so much going on.

It's a continuation of the window,

so at least they're being
consistent, but I find it

one of those shops
where I'm not quite sure

where I'm supposed to look
and what the sort of statement is.

Yeah, I like the use of colour
and I like the green,

I like the pink where it balances
and the flowers

and the print they've chosen. And it
does have the vintage feel about it,

which, you know, works so well
with lingerie.

I just wish they'd merchandised
this better

and been very commercial

and understanding
the customer flow.

But it does feel very spacious.

That's sort of a plus point,
isn't it?

That I feel quite happy to sort of
hang out here,

but I'm supposed to be shopping.

You're not going to be
buying anything, Michelle.

There's some really charming little
things, like all these illustrations

that Molly has done, and yet

I would love to have seen those
sort of bigger.

I'm not sure they needed
to be framed.

I'd almost love them to have just
been painted straight on the wall.

That's beautiful, that cabinet,

but they've lost the product
within it

and it's just not singing.

Oh, I like this side a lot more!

Well, it's got a lot more
merchandise out in it.

It feels tighter in here.

Yes, I feel this totally works.

But when I look this way,
the back of the window is...

It's kind of like they've failed
to remember that gets seen as well.

It's dark, they don't need that.
They don't need that.

Open it up.

I can feel a signature
for this brand,

but it's over-propped
and they are not doing anything

for the merchandise and the
commercial side of the sales.

That's, that's where they fall down.

At the homeware shop,

with the table fixed
and a new blue stripe,

Fran and Dean are on a mission
to get the stock looking great.

We killed it.

You did it. You did it.

I don't even know if it's any good.
I'm like...

If I say it's good, Fran,
it means it's good. Yeah.

One thing we keep with
each other, we keep it real.

And if it didn't look good,
my concern was at the beginning,

remember I kept saying about colour?

I just don't know
if it's going to be enough.

It's enough - it's more than enough.

I'm really proud.

I think mentally and emotionally
it's been really challenging.

It's been really hard,

so I'm glad that I've kind of
held it together long enough

to pull it together.
Cos it is, I think it's good.

Now homewares has got to grab you
from the window, hasn't it?

I just don't feel enticed in enough
by it.

When I come in here, I feel that
this is a business

that's been around a long time
and has had a bit of an update.

That's how it feels to me.

I can see this little touch here
where they've used the brown paper

at the end, which I love. Actually,
probably that's where they should

have taken the whole business
so much more.

But the new interventions that
they've done, like this lovely

glossy white top on the counter,
just lifts the whole thing.

Yes. I love the blue stripe.
I really love this area here.

That whole area to me really works.
Yes.

And I feel that when we walk
into this section,

this starts to become
a bit more successful.

And the fact that
they've got that table,

it feels like, "Come in,
we will talk design with you."

Events this month. Oh, that's nice.

Late-night shopping with
complimentary cheese and wine, oh!

There's lots of kind of
really clever little signage.

Looking over here I can see, like,
how to choose your lampshade,

and I think, you know we've got
a nice big fold-up table, so this,

this could all become
a quite sort of active space.

There's clarity on what's supposed
to happen here.

And I love Lampshade Laboratory.
Yeah.

You know, it takes ownership,
it takes confidence.

This is a laboratory
and you can explore

and we'll show you
the best lampshades

to go with your lamp base.

I like that, that just moves it up
into a confident place.

Certainly I think we've got two
designers here that individually

have done some really strong designs

and they have strong signatures.

I do not see that here.

But I think we need
a lot more information

to really understand what's
happening in this space. Yeah.

Before the designers head back
to Michelle's studio...

Oh, wow. Oh, Mum,
it looks so much better.

..the owners get to see
their shops transformed.

Just love the wallpaper.

Green curtains, favourite colour.
Fabulous.

Wow, this is incredible.

And I love this stripe.

Oh, my goodness.

Wow.

Wow. Gorgeous.

Oh, my God, it's beautiful.

Ah... Oh...

You getting emotional?
I am. It is so lovely.

It's beautiful.
They did an amazing job.

I was so scared,
and it is so beautiful.

Back in Brighton,
at the design studio...

God.

Hi, friends. Hi, guys.

..it's time to find out
which designers are safe

and who is at risk of going home.

Bit nervous. I just can't breathe,
but other than that I'm great.

That sickly feeling
that you're like "Oh..."

Hi, everyone.
ALL: Hi, Alan.

So how are you feeling?

Terrified, bag of nerves.

Terrified?!

I'm sure you're desperate to know
what the judges thought

about your designs. Yeah.

The judges felt all three shops
showed a marked improvement,

but there was one shop they felt
stood out from the rest.

They delivered a tight
and well-considered design

from the external signage
to the interior finishes.

Amy and Banjo, congratulations,
you're through.

You can go now.
Well done, guys.

Well done. Congratulations.

Well done, guys. Well done, guys.

Unfortunately, the rest of you
will be on the sofa

and one of you will be going home.
Good luck.

Thanks, Alan.

OK.

It's just too much.

It is too much.

Oh, Dean!

So, Fran and Dean,
the first time they're on the sofa.

Well, I know, I think it's
about time they had a little bit

of feedback. It wasn't the Fran
we knew and loved.

It's got two designers
with really strong signatures

and we just didn't really see that,
but was that a strategic move

because they delivered exactly
what the shop owner wanted.

But we felt that we could have seen
something so much more exciting.

Yeah, I think for me
it was really disappointing

because the homewares market
is so grown.

It's exciting.

Competition is getting really fierce

and there just wasn't enough
magnetism in there.

What about Paul and Molly?

Now, you couldn't say their shop
didn't have any drama.

I did like the colour scheme.

I did enjoy it and I could see that
there was confidence in that,

but I thought too much propping

and actually not using that propping
to merchandise.

And it wasn't finished, Michelle,
was it? No.

It looked like
they'd left and abandoned ship.

It was also sort of a shop
of two halves.

I think the right-hand side of the
shop sort of felt quite theatrical.

I loved the changing rooms,
the arches,

the lovely kind of olive drapes,

and there was enough product.

On the other side, it's like
they'd just ran out of time.

There was a lot of styling,
not enough substance or rigour

to why everything was where it was.

This shop, it was over complicated,
it was overstylised.

The other shop needed to do more.

Yeah. And the dilemma we have
is which is the greater sin?

Hello. Hello.

Hi! Hello. Hey.

Fran and Dean,
welcome to my office.

First time. Quite exciting.
I was like, I should be excited

by the invite, but really...
Thank you, but no thank you. Yeah.

So let's dive in, OK?
So, Molly, what do you think it was

about your design
that the shop owner loved?

I just think they wanted something
really quintessentially British,

pick out the character
of the building.

I just think it was really bold
and a proper massive renovation

in comparison to what they had.

Paul, you're not short of ideas -
how did you fit into that, then?

I focused very much on the delivery.

I did the carpentry schedules,
the windows,

got little bits of upholstery
into the fitting rooms

and things like that.
Talk to me a bit about the window,

because the window, there was
a lot going on in there.

And yet clearly you understand
the importance of that. Yeah.

We wanted to create
these very dramatic windows

that would echo the interior.

I don't think it was focused enough
for me to be drawn to it

and I didn't actually know
it was a lingerie shop.

I was like thinking,
"Now what is this?" Oh, OK.

And as I came into the shop,
there was no merchandise there.

You had another display there,
it was quite empty

and sometimes I felt that the visual
drowned out the merchandising.

So I loved how you kind of had
the bravery to chop into

the original shelf and put that
lovely little cabinet in.

Beautiful. And no product.

What was that about?
How did that happen?

Ah, so that was where we know
we went wrong.

We did try and prioritise paint
this, get that done and finish that,

but to be honest with you,
we basically ran out of time.

Here's my big question for you then.

What was it that you prioritised

that meant that you didn't
put the stock out?

Simply painting every wall.
Like, even that green,

I know it's really technical, but we
did like three coats of that green.

It was just the window displays
took a very long time as well.

We thought it was planned well,
but it wasn't planned well enough.

But who was leading?

Well, I did the whole vision
didn't I, Paul?

I mean, everything in
the window bar the vinyls was mine.

Every colour palette, every piece of
furniture, every piece of lighting.

The whole entire shop design,
that was all me.

Let's move on.

OK, thank you.

In your team, what I'm interested in
is the dynamic

of how you two worked together,

because you both have
very strong styles. Yeah.

I've seen really amazing designs
from you.

Cos my gut feeling, though,
is you just played it safe.

Do you think? They wanted
quite a neutral colour palette,

so they could allow the product
to sing.

So it was pared back, but I took
those colours from their branding.

Dean had flagged up,
you know, what about colour?

So we added in that blue that was,

which was last minute
and a bit worrying.

I think that blue stripe
highlighting the till area

was without doubt one of
the strongest areas of the shop.

Because I know you had
a difficult brief.

There was things she didn't
want to touch, don't move this,

she's got all that product as well.

I would have thought,
how do we extend the audience here?

This is a growth area,
and it felt too similar,

that it was still speaking to
the same audience.

I felt like we extended our reach
into the community.

In the back of the room,
we had that long table,

which you could flip up and extend.

We liked that, didn't we, Michelle?

We wanted them to be able
to say,

"we're at the heart of
our local community.

"We are rooted in our independent
shops on this high street."

Fran, I mean, you played safe,
but the client loved it.

Arguably, the product was king.

Molly, you were the lead
on your shop.

The job of a shop is to be
the backdrop to the stock.

It is not something that should
overwhelm what's already there.

You went for theatre,
it was too much.

And so I'm so sorry, for that reason
you will be the person

that will leave us this week.

But I have to add a caveat to that,

that you have grown
and grown every week.

Yeah. You really had,
and this was the toughest one.

And you've done a brilliant job

and it really is getting harder
and harder to pick between you.

Love you. Thank you. Thanks.

No, no, no, no, no.

I'm so gutted.

I actually feel that Molly
should be here, and I shouldn't.

Aww... Yes, with all your experience
I think you've been lucky.

Yeah. Yeah. But to Molly's credit,
she owned it.

Yes, she did. Yeah, yeah. Mm.
She said it was my design,

I led, I chose the colours,
I chose the theme.

It's been amazing,

and I'm really proud of
what I've achieved.

I've learnt so much
and I've met so many amazing people.

It's shown me that I am
a strong designer,

and I am going to push
this career so much.

I love Molly. She's just grown
and grown every single week,

soaking it all up like a sponge.

And shops really is one
of our hardest challenges

because it's as much about design
as it is merchandising,

and she just fell
a little bit down on that.

Next time...

HE SCREAMS

..the designers put the glam
into glamping.

It's like watching
a Diet Coke advert.

Faced with their smallest space
yet...

I need more hands
and I've only got two.

..they must go big on bespoke...

Nobody seems to realise
there's a hidden genius here.

..to show the judges
what they're made of.

All you're doing is looking at
the dead magpie.