Each of the three strips, of which the skirt is composed, is differently treated as regards pattern, with the exception of three narrow borders at either end, common to all the strips (Fig. 34a, a.b.c.) Above these borders in the left hand strip (Fig. 34) are a series of all-over patterns, arranged in stripes, constantly changing, of different depths and apparently having only one thing in common, a right-angled zig-zag as a basis of construction. Nearly all the ornaments in these all-over patterns are derived from the fret (Fig. 34a, b.c.d.e.f.) and they include the interesting group arrangement of three keys so common to Kachin designs (Fig. 34a, e). The central strip has a continuous zig-zag fret border on the left (Fig. 34) and a varying spot pattern on the right hand side of it (Fig. 34a, g.h.) whilst the right hand strip is decorated only by spot motives (Fig. 34b, k.l.m.n.o.) Swastikas, surrounded by
borders, occur frequently amongst the spot motives, as do also developments of the square and fret, both with and without borders. Some of these developments are shewn in Figures 34a and 34b. The designs on the cloth are carried out in black, white, terra-cotta, red, yellow, very dull green and dull blue, and notwithstanding their apparent irresponsibility, produce a rich, quiet effect. A double thread is used in working them, and the shortness of these threads, the wear they show and the irregularity to be found in the way they lie in parts of the work, indicate 'embroidery' as the method used in the production of the patterns rather than 'brocade weaving.'
An interesting feature in this cloth is the deliberate production of flaws (Fig. 34b, s.t.) in the patterns, which occur at several places in the central and right hand stripes; a distinctly naive compliment to bad pattern weaving.
