A quiet fact sits under the Viking Age's tablet-woven archive: for all the beauty in the finds, very few bands survive attached to clothing. Most of the Oseberg bands are mounted on tapestry wall-hangings; the Birka and Mammen brocade work comes from graves, often loose or border-mounted. The Kaupang band, from around 800 AD, is one of the very few exceptions that the reconstruction literature points at: it was found mounted at the top of a strap dress — garment evidence, in the flesh, for what the bands were for.

The reasons are preservation's, and they teach where to look. Bands mounted on hangings survive with the hangings' wool; bands worn at an edge ride on linen or silk garments that decay faster, and the band's own attachment survives only when the burial chemistry cooperates. The Kaupang band's dress-mount tells what a patterned band did on a person: a finished edge, worn at the shoulder line where a strap dress's loops attach — and by being ONE of the few, it corrects the assumption the tapestry borders otherwise create: the same craft served both the wall and the wardrobe.
The showiest archive entries carry a second technique: brocade — a decorative extra weft thread running across the surface of the band, on top of the woven structure. Birka's roughly sixty bands are mostly silk, brocaded with spun silver and gold wire; the Mammen band's brocade is distinctive in the literature for carrying spun gold plus an additional coarse-silk brocade thread, woven in a way that sets it apart from Birka's standard. On the drafts gallery's terms, the base band is the draft and the brocade is an overlay the weaver runs pick by pick — the structure is the same craft the tablet sim shows; the sparkle goes on top.
The practical inheritance: the brocaded finds show patterns can be added AFTER the weave by an extra weft, so a first band can be woven plain and decorated later — the craft's own layered history, as wear advice.
Cut some string this week. — the bench crew