March: second muslin, incorporating the changes. Better. The armhole was right. The side seam sat correctly. The hem was cleaner. But the bias of the skirt front panel was pulling slightly off grain, which would cause the finished garment to walk — the skirt would gradually twist to the left over the course of a day. I know exactly what causes this and how to correct it. I corrected it.
April and May: third and fourth muslins. By the fourth one I knew the pattern was right. I had a complete, accurate pattern for my body, for this silhouette, that I had tested across four iterations and trusted entirely.
June: I cut the silk. This took a full weekend. Silk crepe is not a forgiving fabric. It moves, it frays, it tracks grain inconsistencies that cotton would hide. I cut the pieces individually, with fresh pins, on a single layer because cutting double layers creates error. Every piece was labeled with grain direction and seam allowance. I used pattern weights instead of pins through the fabric in most places. I was careful in a way that is only possible when you have time and you’re not being paid.
July: I began constructing the body of the dress. The silk seams were sewn with a very fine needle and a thread weight that matched the fabric. French seams where possible. The construction went slowly because slow was what it required. I pressed every seam as I sewed it. Pressing is not optional; it builds the garment, establishes the final shape, and once skipped cannot be recovered. My ironing board was set up next to my sewing table for the entire month of July.