★★★★★3 days ago
Chevron done right
That zigzag print is sharper in person than online — crisp black points against the ivory, no muddiness where the colours meet. Knotted it at the throat for a gallery morning and it sat exactly where I wanted.
Named for the desert crossroads
Palmyra was the caravan city where Rome met the East — colonnaded, luminous, a meeting of two worlds. The Palmyra scarf answers in a graphic chevron that reads as both Roman key-fret and oasis palm.
Conceived by Hugo Caesar Tassi for the Iulia edit, the Palmyra takes the herringbone of a colonnade's shadow and prints it in concentric chevron borders — near-black Basalt laid over soft Avorio ivory, framed by a clean dark selvedge.
Square and supple, it is the one accessory that travels everywhere: knotted at the throat over a slip, looped through the handle of the Ostia tote, or wound at the wrist. A single graphic gesture, kept deliberately monochrome so it sits with everything in the imperial palette.
Hand-rolled in twill silk-look
The Palmyra is finished the old way — a hand-rolled hem rather than a flat machine edge — so it falls and knots like a far costlier square.
Woven in a twill silk-look polyester chosen for its fluid drape and quiet sheen, the cloth holds a knot without creasing and catches the light along the diagonal twill grain. The rolled edge gives the scarf weight at the border so it ties cleanly and hangs true.
Printed to a faithful black-and-ivory chevron and pressed in Rome, it is made to be worn for years, not a season — folded into a porphyry box with the HCT seal, ready to be reached for first.
