Original subtitles

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.