are also known for their technically complex textiles. The textiles were most likely woven by women at habitation sites from spun cotton and wool. The textiles would have been made using a backstrap loom. This is similar to the way textiles are woven in the region today. Textiles were woven with the common motifs earlier than they appeared painted on pottery. The dry desert has preserved the textiles of both the Nazca and Paracas cultures, which comprise most of what is known about early textiles in the region. Shawls, dresses, tunics, belts, and bags have been found through excavations at Cahuachi and elsewhere. Many textiles associated with the Nazca culture are garments that were included with grave goods found at burial sites. Almost every body found is wrapped (sometimes partially) in a textile as a part of burial ritual. These textiles are found with partial burials as well. Often piles of bones are found wrapped in a textile garment. The deposits of dresses and shawls contained both high-status garments (with feathers, painting, embroidery) and plain garments, suggesting different social roles or responsibilities. The "Paracas Textile" a beautifully preserved textile from the Early Intermediate period (300BC-100AD) is one of the finest textiles known. This textile, also known as BMT (Brooklyn Museum Textile), is in the collection of the Brooklyn Museum. The mantle measures 62x148 cm and it is worked in cotton and camelid fibers with several different techniques. The middle part is a very fine gauze weave, most probably woven on a back-strap loom in a typical four-selvage web with both warp and weft made of cotton. This central web is patterned with 32 repeating rayed heads in six different colors. The coloring was achieved by the painstaking warp wrapping method, where the warp is covered in sections with dyed camelid fleece. The plain weave over the wrapped areas create a double faced cloth, which are perfectly mirroring each other. The absolute symmetry of the design is broken on the long edges, where one side has extra spiral motifs and the other finished with stepped triangles. Folding the semitransparent cloth lengthwise would bring these edges together forming the stepped fret design, widely used element in both Andean and Meso-American designs. The three-dimensional edging is a colorful procession of 90 highly detailed colorful characters. The edging is worked in camelid yarn using the cross-knit looping method. Warriors or lords with war paraphernalia,