In the Andean highlands between 600 and 1000 CE, Wari imperial workshops produced tunics so labor-intensive they functioned as currency of state power — a single *unku* could contain up to eighteen miles of handspun cotton and camelid yarn, woven in interlocked tapestry so dense it reads almost as inlay rather than cloth. Worn only by the highest elite, these garments encoded rank through repetition: the same staff-god face, abstracted toward geometry, marching down the body in strict vertical columns. This design system channels that logic — saturated gold-brown, maroon and indigo blocked into rigid columnar registers, every ornament gridded, nothing free-floating. The palette sits deliberately dark and dense, refusing the pastel wash of colonial-era reproductions in favor of the high-status, saturated dyes the weavers actually commanded.