After my tailoring class with Thomas in London late last year, I headed over to Paris for a few days to catch up with friends and check out the fabric stores.

My favorite view...

First stop is always to the amazing General Diff's in Paris - where of course, I found so much I wanted (and the exchange right was SO good!) but I eventually left with only five carefully considered fabric's instead - coupe de fil boucle and lace, guipure and one yard of silk velvet.

Before having a lovely afternoon browse with a friend in Colette to check out their newest finds.. Oh to be a buyer at their store!

and stopping way to many times at Helmut Newcakes GF bakery....

Before finishing with afternoon tea at the Ritz...

However, my main reason for being in Paris in what turned out to be fortuitous timing indeed, was that I would be there just as Susan's Paris tour was about to start.

I've often said that the day I spent with Madame Picco in 2014 was an extraordinary experience and when Susan asked earlier last year if I would like to join her Paris tour again for their planned visit that day, I was obviously thrilled.

It's such a rare opportunity to meet with somebody who not only has worked for such well known and prestigious Couture house's, but is also willing to share the iconic and complicated draping and sewing techniques used at Gres and I was so deeply appreciative to be a part of the day again.

Colette Picco is a Haute Couture specialist, who began as an apprentice to Pierre Balman, left to work as a seamstress for Mme Grès and was promoted over the years to head draper remaining there for 22 years. Eventually working for Nina Ricci until retirement.

She is wonderfully vibrant and enthusiastic, and has become the last living historian of the Gres Couture house and curator of some truly remarkable original items.

While there in 2014, we spent the day creating a small sample section of pleating for the bodice of a dress or top, using dress forms, paper and curved needles. This is the only way to achieve the secure and tiny pleats on the jersey and while it was incredibly tricky and technical, it was also so inspiring as I had never imagined that fabric could be molded and manipulated in such ways before.

In 2015, the year following my visit, Mme Picco started to teach the skirt portion of the draping instead and I could not have been happier than to spend the day learning these techniques, for while the skill set remains similar to the bodice, the steps are some what different.

The skirt is made up of panels, and depending on both the width of a fabric and the measurement of the waist/hip etc can include upwards of six to ten yards...

The guide that is used to measure out the pleating (see Susan's detailed article on the bodice in Threads 173) is one and an eighth inches wide...

and the pleat should ideally be no wider than 1/8". Unbelievably Mme Grès could condense up to three yards of her specially designed fabric down to approx 3" or less.

Each panel once complete are joined on selvedge and the seaming hidden within the pleating.

I've recreated the very roughest example of how the skirt is constructed because I was concentrating so hard on the techniques that I completely forgot to take pictures past the first step while I was there!

Measuring the Jersey....

Pinning the pleats...

A stitch to secure each pleat...

Use a fell stitch to hold a strip of stay tape in place at both top and bottom...

Trim fabric close to tape...

Snip corners off seams on the wrong side of the fabric to reduce bulk....

Before attaching a strip of self fabric bias tape if wearing as a skirt...

Stitch below tape...

Fold over and finish insides with catch stitch or stitch in ditch...

or attach to a bodice...

SO, In theory, I've worked out if I dedicate one day a week solely to creating a simple bodice and skirt using these techniques, I should be close to finishing in a year?! although apparently some garments from the couture house could often take 300 hours or more and so i'll more than double that number I think!

I have no excuses as Mme Picco was very kind and gracious while we were there, and took time to explain to Susan and I exactly how this bodice was achieved, (not how you'd think!) so I do at least have some working idea...

As well as gifting me an original boning section, which I am trying to have replicated. It's very lightweight and flexible, an amazing design and by far my most treasured sewing notion!

I've bought the fabric, and plan to begin prep in March, aiming to create a dress somewhat based on this mini beauty below.

Lets see how just how much of a hot mess I can create!

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And one last picture, below is an original pin cushion from the House of Grès with their black Haute label and Couture labels.

And for anyone interested in a more modern interpretation, there was a wonderful article in The Kinsky about Herve Leroux (better known as Herve Lèger) and his pleated design process and new company....