
Case in point: Caledonia, a printed linen with lush rose-laden branches, birds, and butterflies. (Schuyler chose the name Caledonia, a Latin term for Scotland, because the fabric looks like something one might find in a crumbling British country manor house.) The motifs and composition are rather classic—in fact, the design was adapted from a centuries-old Indian document—but the colorways are unconventional. In one option, Schuyler juxtaposes an intense imperial blue with rich plum and coral-pink, and in another, she combines a nuanced teal with deep-peony-pink and brown on cream.

“The antique design that inspired Caledonia was funkier and less stuffy than other old-school patterns with a certain naïveté that I liked,” says Schuyler, explaining that she wanted this unceremonious quality to pervade her entire line. Additional prints in the collection include, Overlea, a leafy pattern taken from one of her Mom’s scarves; Celandine, with a large, lively poppy motif; and Cordoba, a paisley with undulating vines that reminds Schuyler of a garden.
“A lot of men are liking the line, which is interesting to me,” she says, “The way these florals are drawn, their scale and their saturated coloration, I hope eliminates any kind of treacly factor.”