The common weaving technique for Ottoman silks was kemha, which is a type of lampas-weave. Lampas produces a thick, heavy textile, as the woven fabric is essentially two layers joined as one.
Lampas weave as defined by CIETA vocabulary of 1964 is ‘a figured weave in which a pattern, composed of weft floats bound by binding warp, is added to a ground fabric formed by a main warp and a main weft. The ground may be tabby, twill, satin or brocading wefts; they float on the face as required by the pattern, and are bound by the ends of the binding warp in ordinary tabby or twill which is supplementary to the ground weave’.
In less technical terms, lampas consists of two warps (a main warp and a binding warp), and at least two wefts (a main weft, and one or more pattern wefts). In the non-pattern-weave areas these form two separate layers of cloth, one on top of the other, like doubleweave. Unlike true doubleweave, the patterned areas interlace with each other to create one layer of cloth. Note that in this case, the ‘patterned area’ refers to the area of interlacement rather than a design element. In some cases the pattern area actually makes up the ground of the fabric – rather the inverse of what we think of as the pattern.
Kemha, in particular, is defined as compound satin with supplemental twill lampas. All of the extant examples I’ve seen that offer a close enough view to identify the weave (example 1, example 2) this looks to be the case. For those who like diagrams, the Weaving Library has a partial draft of a compound satin with supplemental twill lampas and what (I’m guessing) is a picture of the finished textile (even if it’s not the actual textile, the colours match – a red ground with white, blue-green, and orange-pink patterning wefts – so it’s good enough to get an idea). While kemha commonly utilized metallic threads, there are many examples that do not.
Read more about Silks from Ottoman Turkey at the Met Museum.