My first attempt at a handsewn garment was somewhere around 1994 when I was working on a houppeland with a train and long hanging sleeves.  Overkill?  Yes.  Also, I never finished but one sleeve by hand and then moved on to finish the rest by machine.  I just did not have the patience at the time, nor did I actually care enough to sew the whole thing by hand.

Over the next decade or two, I attempted several more times to hand sew items.  I was using a running stitch to sew two pieces of fabric together and each time the stitch was a fraction of a millimeter to the side of the row, it drove me bonkers.  I felt it made a lumpy, gappy area (even though it likely was just fine to anyone else).  Eventually, as I started down a path towards more historical accuracy, I decided I needed to hand sew at least a few items of my Viking kit.  I was also researching more and more and learned something that changed my entire  perspective.

I commissioned several types of period and reproduction needles.  I found that they did not function at all well for the type of running stitch that I was used to.  My mundane preference is for a long, slim needle on which I can gather up several neat stitches at once and then pull the needle through the cloth and align the next series.  I could NOT do this with the period needles.  Instead, I found myself executing a stab type stitch, where the needle comes up from behind the cloth, gets pulled completely through it, and then passed from the front to the back again.  This takes three times as long as my former process and was three times as frustrating.

Fortunately, I was also doing more research at this time, and learned that in Viking Age textiles, types of oversewing were more common than running stitch by far.  That proverbial lightbulb went off and I realized that both hemming and joining seams like this works very well with a period needle, AND was much faster than stabbing at the cloth.

What does this look like?  I made illustrations below to show the items that are often called oversewing, overcast, whip stitch or hem stitch.

In the illustration on the left, you can see the hem is folded up and fixed down with the oversewing stitch.  The inside of the textile will show a row of diagonal stitches while the outside has only tiny parallel stitches on it.  If your thread matches the cloth and you work small, this sewing can be fairly invisible on wool textiles.

The next illustration is of an oversewn seam.  The two textiles to be joined have their seam allowances folded over (and I sew these down with a hem stitch first, but that is not noted  in the image for clarity).  They are held together and the needed passes through the very edge of the folds creating a joining seam.  When finished, the fabric can be opened flat and pressed.  This creates seam that is quite strong.  Again, on the inside you see a row of diagonal stitches and on the outside it will appear to be a row of parallel stitches.  In the photo of a linen Dublin Cap below, you can see that I used oversewing for the hems and for the seam.

The best part of this?   I can execute this type of seam very easily with a period needle, and my stitches tend to be less wonky than my running stitch.

Now, how is this relevant to early Celtic costume?  These stitches are the same ones used at Hallstatt and Dürrnberg.  These two sites provide a wealth of extant textiles for Celtic Central Europe because of the preservation conditions found in the salt mines.  For Hallstatt, Karina Grömer states that three quarters of the textiles used oversewing (hem and overcast stitches).  Two additional pieces employed a Trailing Stitch (which uses the same type of stitch, but they are so packed together that you cannot see the fabric between the stitches). 

Running Stitch is only used once to sew two textiles together.  There is one example of Bronze Age use of Stem Stitch (or potentially back stitch) and two from the Iron Age.  Blanket Stitch/Buttonhole  Stitch is more common in the Bronze Age than the Iron Age in Hallstatt.

Grömer also notes that the stitching at Dürrnberg is similar in proportions to the Hallstatt finds.

Can I just say that this all makes me really happy?

Also, there are two finds from Dürrnbeg that use "wide feather stitches".  This is very similar to the Huldremose Skirt found in Denmark.  I plan to test this out on the peplos I am currently sewing!
​

References

Peter Bichler, Karina Grömer, Regina Hofmann-de Keijzer, Anton Kern and Hans Reschreiter. Hallstatt Textiles, BAR International Series, 2005.

Grömer, Karina. "Austria: Bronze and Iron Ages", Textiles and Textile Production in Europe: From Prehistory to AD 400. Oxford, Oxbow Books, 2012. 27-64

Grömer, Karina. "Textile Materials and Techniques in Central Europe in the 2nd and 1st Millennia BC" (2014). Textile Society of America Symposium Proceedings. 914.

Grömer, Karina, Anton Kern, Hans Reschreiter and Helga Rosel-Mautendorfer. Textiles from Hallstatt, Archaeolingua, 2013.
​
Susanna Harris, Helga Rösel-Mautendorfer, Karina Grömer, and Hans Reschreiter.  “Cloth cultures in prehistoric Europe: the Bronze Age evidence from Hallstatt”, ARCHAEOLOGY INTERNATIONAL 12.

Stollner, Thomas. Durrnberg-Forschungen: Der prahistorische Salzbergbau am Durrnberg bei Hallein I & II, 2002.
 
 

I have a long rant coming about the need to better share information within the SCA, but until I have time to post that on the main blog, I am going to just start sharing more here as well (and on the FB group I have set up for Early, Early Period Central Europe which is HERE).

The Egtved Girl is a rather famous find with an intact blouse and an incredible string skirt.  It has gotten a lot of attention in recent years and a lot of new material has been written about it.  My list of resources for the find to date is below.

If you are unfamiliar with the find itself, you can learn more here: en.natmus.dk/historical-knowledge/denmark/prehistoric-period-until-1050-ad/the-bronze-age/the-egtved-girl/

Egtved Girl Bibliography 
 
Barber, E.J.W. Prehistoric Textiles, Princeton University Press, 1991. 

• History of cloth from Neolithic to Bronze Ages, has detailed information, in particular, on the string skirt.

 
Bender Jørgensen, Lise.  “Ancient Costumes Reconstructed: A New Field of Research”, NESAT 5 (Textilsymposium Neumünster: Archäologische Textilfunde), 1993. 

• Article on the use reconstructing historic clothing with Egtveg as one of several brief examples.

 
Bender Jørgensen, Lise.  Forhistoriske Textiler I Skandinavien, 1986. 

• This book has analysis of textile finds and types by region and period.  Egtved is listed, but not detailed, though the over-all analysis of the period is worth reading.

 
Bender Jørgensen, Lise, Joanna Sofaer and Marie Louise Stig Sørensen.  Creativity in the Bronze Age: Understanding Innovation in Pottery, Textile, and Metalwork Production, February 2018. 

• This book has chapters on textile production as well as the article “Creativity in Bronze Age tailoring: women's blouses from Denmark”.

 
Bergerbrandt, Sophie. “Ginderup – Textiles and Dress from the Bronze Age Gleaned from an Excavation Photograph”, Archaeological Textiles Review No. 54, 2012. https://www.atnfriends.com/download/ATR54samlet.pdf 

• Article uses Egtved grave as a comparison to another find.

 
Bergerbrandt, Sophie. “New research challenges the origin of the ‘Egtved girl’”, ScienceNordic, August 2019.  https://phys.org/news/2019-08-egtved-girl.html 

• Rebuttal to the University of Copenhagen research on origins of this individual.

 
Bergerbrandt, Sophie. “Revisiting the ‘Egtved Girl’”, Arkeologi og kulturhistorie
fra norskekysten til Østersjøen, May 2019. 

• Additional origins analysis.

 
Bergerbrandt, Sophie, Lise Bender Jørgensen, and Sølvi Helene Fossøy.  “Appearance in Bronze Age Scandinavia as Seen from the Nybøl burial”, European Journal of Archaeology, Volume 16, Issue 2, 2013. 

• Egtveg blanket used in comparison to those from other burials.

 
Brandt, Luise Ørsted. “Species identification of skins and development of sheep wool”, PhD Thesis, The SAXO Institute, 2014.

• Analysis of prehistoric wools includes discussion of Egtved.

 
Demant, Ida.  “Making a Reconstruction of the Egtved Clothing”, Archaeological Textiles Review, Number 59, 2017.  https://www.academia.edu/35631058/ATR59_Making_af_reconstruction_of_the_Egtved_clothing_pdf 

• Highly detailed information on how the author reproduced the garments.

 
Felding, Louise.  “The Egtved Girl: Travel, Trade & Alliances in the Bronze Age”, Adoranten, 2015.  https://www.academia.edu/27390143/Felding_L_2016_The_Egtved_Girl_Trade_Travel_and_Alliances_in_the_Bronze_Age_Adoranten_2015_Scandinavian_Society_for_Prehistoric_Art_Tanums_HallristningsMuseum_Underslos

• Research article on origins.  Has descriptions of grave items.

 
Frei, Karin Margarita, Ulla Mannering, Ina Vanden Berghe, and Kristian Kristiansen.  “Bronze Age Wool: provenance and dye investigations of Danish Textiles”, June 2017.  https://www.researchgate.net/publication/317347024_Bronze_Age_wool_Provenance_and_dye_investigations_of_Danish_textiles 

• Dye analysis for early some Bronze Age textiles.

 
Frei, Karin Margarita, et. al.  “Tracing the dynamic life story of a Bronze Age Female”, Scientific Reports 5, 10431, May 2015. https://www.nature.com/articles/srep10431

• Full study on origins, a rebuttal was published later.

 
Gleba, Margarity and Ulla Mannering. Textiles and Textile Production in Europe from Prehistory to 400AD, Oxbow Books, 2012. 

• Has a chapter on ancient Danish textiles.

 
Hald, Margarethe.  Ancient Danish Textiles from Bogs and Burials, National Museums of Denmark, 1990. 

• Comprehensive (if dated in some areas) work that covers finds ancient finds in Denmark. Discussion for this find includes details about the blouse (referred to as a “poncho” in this work).

 
Hald, Margarethe. Ed Traad Gennem Tekstilkunst, 1942.  https://ctr.hum.ku.dk/research-programmes-and-projects/the-margrethe-hald-archive-digitalization-and-dissemination/MH_En_Traad_gennem_dansk_Tekstilkunst-compressed.pdf 

• Older article by Hald on ancient Danish costume.

Harris, Susanna. "From the Parochial to the Universal: Comparing Cloth Cultures in the Bronze Age", European Journal of Archaeology, Volume 15, Issue 1, 2012

• This find is discussed as part of the research on the evolution of textiles​

 
Nielsen, Karen-Hanne. “Meljøj – An Unheeded Parallel to Skrydstrup”, NESAT 2 (Archaeological Textiles, Report from the 2nd NESAT symposium), 1988. 

• Egtveg items to compared to other finds.

 
Nosch, Marie-Louise, Ulla Mannering, Eva Andersson Strand and Karin Margarita Frei. “Travels Transmissions and Transformation”, Counterpoint: Essays in Archaeology and Heritage Studies in Honour of Professor Kristian Kristiansen, BAR International Series 2508, 2013.  Discussion of Bronze Age textiles and tools from Denmark. 

• Only one brief mention of Egtved but has applicable information.

 
University of Copenhagen.  “The Bronze Age girl was not from Denmark”, Phys.org, May 2015.  https://phys.org/news/2015-05-bronze-age-egtved-girl-denmark.html

• Discussion on origins of the girl in the string skirt, later rebutted.

 

 
 
 
 

If you heard me screaming today it was because I went to the post office and found an amazing gift in the mail!!!  A good friend, Lady Suphunibal in the SCA (Elegantly Eccentric Designs), makes stunning jewelry sent me an incredible gift!  She fashioned a bronze necklace for me based on some extant pieces from Dürrnberg.  I am blown away at how incredible this is.

I know you all want to come join us in the Iron Age now, right???

Before you ask, she did already tell me she will take commissions on these!  (It is my understanding that all proceeds go to expanding her book collection in effort to further her Punic studies.  Take a class from her next time you are at Atlantia U or Pennsic if you want to know more!)

​The first example I have is Grave 205 (Source: Der Dürrnbergbei Hallein, Die Gräbergruppen Kammelhöhe und Sonneben).  This grave dates to the La Tene A period and contained a child/infant and a teen/young woman.

The second example I have is Grave 118 (Source: Der Dürrnberg bei Hallein, Die Gräbergruppe im Eisfeld).  This necklace has similar piecing and has the addition of beads and baubles (not uncommon on early Celtic neckrings from this region).  This grave had a teen/young woman and two adults of indeterminate sex.  Dating for the young woman is La Tene A2.

This summer she also crafted some rings and a bracelet based on the Dürrnberg finds as well.  (Sorry for the blurry photo, my hands are shaky today.). Definitely worth your time to check out her shop (she does incredible Roman pieces as well)!

Last summer I put together the first of my Ugly Skirts for Bronze and Iron Age wear.  It's not actually "ugly", though it kinda is, by design.  Let me put it mildly that the Huldremose Skirt is NOT a flattering thing by modern standards if made to historic specs.  

Ugly or not, I love it.  And it lead to another, and another.  All in effort to experiment with some very early clothing ideas that I have.  (Eventually, I will post about the Ugly Skirts to date.)

I also have a fascination with Fugly Beads, because seriously, there was some bizarre stuff in early finds!  

I also realized that I want to have a space online where people can discuss and share early continental Celtic finds.  I have learned that too many people think of "Celtic" as being synonymous for Irish and Scottish (and they also tend to some how think all of the latter is 17th century and beyond, lol) and that most discussion groups revolve around the isles (and periodocity of kilts, ugh).

Ugly Skirts and Fugly Beads (name is likely to change at some point), caters to those interested in Central and Northern Europe from the Bronze Age till approximately year 1 BCEish.  The jewelry finds from these periods are AMAZING, and we have textiles here!  Lots of them compared to some places!  Gaul is welcome too, as well as the Eastern Hallstatt region, but the idea is to focus on the early Celtic, Germanic and Nordic cultures that get little air time in the SCA.  If these things are your geek, please come join us!

https://www.facebook.com/groups/1619238801586051

After the neck ring was finished, I decided to start cranking out cobalt glass beads in the studio.  Cobalt glass is beautiful and is ubiquitous in the ancient world.  It seems that every culture both had, and coveted more of, this type of glass.  (And fortunately, mundanely it is one of the least expensive colors of soft glass that exists.)

While looking though finds from graves near the salt mines of Dürrnberg, I noticed a couple of necklaces comprised of only cobalt glass and amber and I found them very striking.  They appear at other sites as well, including some from Switzerland.  Realistically, both bead types are so prevalent that I have to imagine this type of jewelry is not at all uncommon (and both plain amber and plain cobalt necklaces show in in graves as well).  I decided that I would craft one based loosely on grave 193#2 from the Römersteig grave group.
​

I started crafting my cobalt glass beads and also started researching vendors for the amber.  I ended up going with Baltic Amber Masters, from Estonia.  The beads in his shop were perfect for my project, being not perfectly spherical in shape ​but still catching the light beautifully.  I contacted him about a custom order (as the necklaces he had had more beads than I currently needed for this project) and he showed me several options from stock and even tossed in a few larger beads as a gift.  I absolutely recommend this vendor.

In the extant piece the cobalt glass beads ranged from .95-1.1 cm and the amber was .65-1 cm.  The amber I was able to order ranged up to 1.3 cm, and I made my cobalt beads in a range that compliments that size.  My clasp is an S-hook and ring, even though no clasp was found in the grave to my knowledge.

The necklace below is not Celtic but rather is for a friend who has some early Greek clothing for Pennsic.  The beads, including SO MUCH COBALT GLASS, are all of types from Greece or Egypt from about 600-300BCE.  Several of them also show up in Celtic graves from the period as well.

Last summer I made an a skirt suitable for someone in Northern, and possibly, Central Europe that could possibly have been worn from 200ish BCE to 200ishCE.  There are a lot of ifs and ishes in that because it was purely an experimental item, based on multiple finds, for me to just test the waters to see if I wanted to go that far backwards in time.

By the time I finished the skirt, I had decided I was more interested in Central Europe than Northern (despite the time I took to look at some books about the Jastorf Culture) and realized I wanted to take a fresh look at early Celtic material culture.  I started to research early Celtic beads (admittedly with no attention being paid to regions, but some attention paid to time period) and I crafted a necklace of glass beads that appealed to me.  I make no assertion that this necklace is appropriate for a single specific time and place, but I am very fond of it now and am happy that I made it.

I ordered a mass of books from Germany for my textiles research for early Celtic clothing in February.  They have been held up in US Customs since March 23.  That means I had to find some other way to occupy my time given that leaving the house/property is not much of an option right now.  So in addition to starting a garden, I decided to craft a new-to-me Celtic necklace.

While the iconic torque/torc, with its decorated finials, is the the symbol of the Celtic age to many, far simpler neck rings were also in fashion, and where possibly more common in certain times and places.  (Note here that the term neckring and torc are also used interchangeably, but I am opting to make a personal distinction here with my terminology to hopefully avoid some confusion.)

While reading through the volumes of material that I have collected about the graves from Hallein near the Dürrnberg Saltmines in Austria, I found that an incredible number of the graves contained very simple neckrings in bronze.  They seemed to be fashioned out of wire and often had some method of closure on them, whether it was ends that hooked together, or hammered ends that had holes punched in them (some even had traces of chain in one side), or other mechanisms.

In addition to the neckrings, several of the graves had very interesting triangular pendants in bronze.  They were not all identical but were all roughly an inch across.  Some had finials at the corners, others had a decorative “bump” in the center of each leg.  In some cases it appears that they were part of a necklace, and in others it is unsure.

I have also collected the data from the Durrnberg finds regarding frequency of decorated neck rings, types of closures, and where the triangular pendants have been found, but I need to compile it into a document digestible to those who do not read my rambling shorthand.  At some point I hope to upload that information here.
​

I have been following the Kern Schoolhouse find in Switzerland for sometime and asked on a SCA group on FB for Celtic (and other early period studies) if anyone knew if the data was yet published or had additional info besides the obvious (the press releases, the City of Zurich page, anything that ran in main stream media), and there was silence.

This is a very different, and less populated, world than that of Viking reenactment.  Post a question like that on a Viking group and you would likely a number of people who have either already pulled the article, or who know the exact publication date and have it on order, or whom at least know who the authors of the pending project are (so they can stalk them until publication).  Kelticos used to be the go-to place for information, but it seems that forum is less updated than it was back-in-the-day (at least on the types of material culture in which I am most interested).  It is also blocked from my lunchtime-research due to being an insecure site.  Sigh.

The silence on the subject was still was surprising to me.  In a way it is a little frustrating (though absolutely no one's fault), but also a little exciting to dive into a less populated pool.  

​But back to Kern: 

City of Zurich (this has the links for the dig photos as well as the artifacts): www.stadt-zuerich.ch/hbd/de/index/ueber_das_departement/medien/medienmitteilungen/2019/juli/190705a.html

The initial media release on the project: www.stadt-zuerich.ch/hbd/de/index/ueber_das_departement/medien/medienmitteilungen/2017/170505a.html

The Smithsonian piece is here:  www.smithsonianmag.com/smart-news/iron-age-celtic-woman-was-buried-hollowed-out-tree-trunk-180972773/

LiveScience:  www.livescience.com/66056-iron-age-celtic-woman-burial.html

There are a number of other news articles on this find, but I am excitedly waiting for the in-depth analysis of the textiles!

​When I first started out in the SCA, many people were doing “Early Celt”, especially for Pennsic.  I was told the most accurate thing to do was to get homespun cotton (a type of quilting cloth) in plaids and make bogdresses for this look.

Of course, no one ever addressed the fact that “Early Celt” covers a vast range of time and geography.  Over a thousand years and more than a dozen modern countries.  Most amusedly so, I was presented with the idea that the ultimate attire for the well-to-do “Early Celt” was not only a plaid, but a patchwork garment (preferably with the pieces made of plaid textiles).  One image gets used over and over, even now, to illustrate what many believe to be the quintessential Celtic look.

I am only going to briefly address my thoughts on patchwork/piecework clothing in early history.  I am also not going to make any sweeping statements that this was “never” done, but it is not something for which I have seen much evidence, especially for a status garment.  (We do have items like the Bernuthsfeld tunic, which has been extensively repaired to the point that it is nearly entirely patchwork at this point.).  My rationale for “patchwork” garments not being much of a fashion is pretty extensive.

• The time commitment to sewing and weaving in early periods is exceptional.  It takes months to craft the cloth for a single garment.  While you would use every scrap of that cloth, many things would be woven to fit a need (and not create waste).  Scraps could also be used for other purposes as well, or small pieces for hats, mittens, childrens’ clothing, bags, etc.  All are necessary items.
• Piecework is another time sink.  Hand sewing so much cloth would detract from the time needed to spin and weave to cloth other members of the family.
• Piecing changes the drape of the cloth and adds bulk.  Status clothing, even this early, could made from be exceptionally fine textiles.  Why would anyone want to change the beautiful drape that is a product of so much labor by chopping it up and piecing it?
• I think images like this were merely a fantasy of what chequered cloth referred to in historical record could mean.
• I also strongly suspect that the Brehon laws of Ireland come into play here, but this is something that should be considered in context of time, place, and culture. 
  
  

So patchwork/piecework is clearly out of the scope of my research.  But I am curious about the actual prevalence of woven-patterned textiles for this period.  As I have mentioned before, my focus for research is the La Tène Period, and specifically in Central Europe.  As part of this work, I am compiling archaeological textile catalogs into one source so that I can better view them as a whole (instead of being spread across multiple documents).

Fortunately, I already have great resources such as Karina Grömer’s work on Central Europe to help paint a better picture of period textiles.  In her paper “Textiles Materials and Techniques of Central Europe in the 2nd and 1st Millennia BC” she has the following absolutely fabulous chart.
​

This item beautifully illustrates the shift in trends from things like a dominance of twills during the Hallstatt period to the later prevalence of tabby textiles by the end of the La Tene period (450-1BCE).  This also shows us the relative rarity of embroidery (something that I addressed recently here http://awanderingelf.weebly.com/blog-my-journey/ancient-embroidery-or-the-lack-thereof ), and the thing most pertinent to this discussion, stripes and checks in textiles.
 
The popular image of the early Celt, especially in the SCA, is that of a person who wears plaid tunic, pants, and cloak.  Articles even often feature this image of ancient textiles as source for historic Celtic plaids.  The compilation is not “wrong” but it certainly lacks context when it is used.
 

According to Grömer’s chart, stripes and checks were a known technique in the Hallstatt period, but not an “important” one (it is not a dominant technique for the time).  This holds for the early La Tène period, but tapers off to the “single evidence” category after that. 

In Grömer’s other works, such as her book The Art of Prehistoric Textile Making, she discusses that during the La Tène period, the favor also shifts from warp stripes as a result of textile production becoming an industry, rather than merely domestic work to fill a family’s needs.

All of this results in me asking many questions, the foremost of which is exactly HOW much in the way of stripes or plaids should I be incorporating in a single costume.  I am hoping the La Tene textile chart I am working on will answer that once the rest of my books arrive from Germany, but for the time being, I decided to take a more critical look at some of the Hallstatt textiles, because I do already have that material on hand.
 
First let me state that the book Textiles from Hallstatt is nothing short of amazing.  I love this volume, and the work that went into it.  The book discuses textiles, textile production, costume and then has a catalog (with excellent photos and highly detailed information) on the textiles.  Each fragment is categorized in a number of ways, including by weave, presence of dye, if there are seams, if it is spin-patterned or woven as a color pattern and if it is cloth, band, or cord.
 
I am looking at this from a different perspective than the author who is doing the scientific work of categorizing the textile fragments.  I am viewing this as a reenactor trying to determine the most appropriate fabrics for a kit, and added an additional two categories.  In book’s definition of “Pattern”, textiles with different colored warp and weft threads are included (an example would a cloth with a completely yellow warp and brown weft).  This is definitely a way of creating visual interest in a garment, but it is very different than weaving in a color pattern that shows as a stripe or check.  Therefore, I created a separate category for those items.

The other change I have made is to separate out “speckeled” textiles.  Sometimes Grömer lists these as a Pattern, sometimes not.  These can be a result of using threads that include both light and dark fibres (giving a tweed like appearance) or it can be by using yarns of different shades, or perhaps a single yarn that is variegated due to several shades of brown being used to spin it.  Sometimes when woven, this will also produce a “speckled” textile (though I prefer the term “visually textured”), but sometimes the way the yarns align on the loom, it reads as stripes.  Because these always tend to be in the same color family, and are very random, I have listed them separately from more deliberately patterned stripes and plaids if the textile visually looks more patterned rather than just textured (which also often have much more contrast between colors). 

The idea of speckeled textiles is very interesting to me, especially those resulting in less-than-deliberate striping.  When ancient authors did mention patterned cloth were they only referring to brightly contrasted intentional patterning, or did this also apply to the naturally pigmented wool that could vary in shade and can appear striped when woven into a garment?  Authors  such as Johanna Banck-Burgess mentions some of the issues with ancient sources in her book Instruments of Power: Celtic Textiles, these include things such as linguistic issues within the sources and also the fact that some of the ancient authors never traveled to Gaul or elsewhere.  Further, many cultures in Europe at the time wore plaids or stripes, which only further muddies the waters here.
 
The purpose in this exercise is to determine how prevalent the use of deliberate colored stripes and plaids is among the Hallstatt textiles to later compare to the hypothetically lesser use of them during the La Tène period.  The book cites that 1/5 of the Hallstatt textiles were patterned.  For my survey, I have removed bands and cords from the list of textiles, as well as some of the fragments that were too disintegrated to determine if they were indeed previously cloth or cord.  I also am ONLY including items from the Iron Age body of work.  If two different textiles are sewn together, I count them separately.

Also important to note is the fact the patterned fabrics from this site are only two colors (bands might be three colors).  Some of the Durrnberg textiles are three (and I hope to determine what percentage of those are three verses two once the resources arrive).
 
My categories are as follows:

1. Monochromatic:  This cloth has the appearance of a solid color textile.  Included here are some textiles that might have a variation in shade but that still appears somewhat uniform from a distance.
2. Spin-Patterned:  Spin-patterning uses threads of both S and Z twist woven together to create patterns of stripes or checks that reflect light differently.  This category all uses a single color of yarn only.
3. Visually Textured:  This cloth uses fibres of varying shades in the threads that results in a speckeled or tweed-like appearance.  It is still monochromatic, but the result has more of a textured appearance than a solid-colored textile.
4. Variegated:  These textiles uses random light and dark threads of the same color (usually brown), or possibly variegated threads that are spun from several shades of the same color of wool.  Weaving sometimes results in a subtle, random stripe in the cloth.
5. Differing warp and weft:  The threads in these two systems are different colored.  In some cases there is a strong light/dark contrast as a result, in one olive textile, the result is more subtle.
6. Stripes/Checks:  This cloth is deliberately patterned with either stripes or checks of a contrasting color.
7. Spin-Patterning and Stripe/Check:  These textiles use both spin-patterning and deliberate contrasting stripes or checks as a design feature.

​The chart below shows the number of textiles in each category.

Further, if you add all of the monochromatic textiles (both plain and spin-patterned) as well as those that only present a tweed-like texture (rather than a monochromatic pattern), we are looking at 83.4% of the textiles being essentially solid-colored.  11.7% are striped/checked.  2.3% have different colored warp and weft and 2.3% have variegated stripes.
 
The vast majority of the textiles from this site are solid.  I look forward to seeing the Durrnberg material as well, to compare to this data (as well as that from other La Tene period sites).  I am, however, already starting to believe that while stripes and checks were in use by the early Celtic cultures, that they are not as prevalent as myth would have us believe.

The beads in the cover photo are all ones I made last summer for my Ugly Skirt kit.  I am VERY pleased with how they turned out and am working on improving my skills in recreating very early glass beads.

The yellow bead with the double row of blue and white eye beads is one that caught the eye of a friend who centers her focus on Carthage and Punic history.  She asked me to make some for her and that started me researching additional beads for her kit. 

And then I realized that they are the very same beads I need for mine, including fan favorites like derpy rams and big fugly beads like the aqua ones in the photo below that I was playing with last week.  

At least it will be easy to make sure all of these experiments find homes!