Nivi sari – styles originally worn in Deccan region; besides the modern nivi, there is also the kaccha nivi, where the pleats are passed through the legs and tucked into the waist at the back. This allows free movement while covering the legs.
Bengali and Odia style is worn without any pleats.[66] Traditionally the Bengali style is worn without pleats where the sari is wrapped around in an anti-clockwise direction around the waist and then a second time from the other direction. The loose end is a lot longer and that goes around the body over the left shoulder. There is enough cloth left to cover the head as well. The modern style of wearing a sari originates from the Tagore family. Jnanadanandini Devi, the wife of Rabindranath Tagore's elder brother Satyendranath came up with a different way to wear the sari after her stay in Bombay. This required a chemise or jacket (old name for blouse) and petticoat to be worn under the sari and made it possible for women to come out of the secluded women's quarters (purdah) in this attire.
Gujarati/Rajasthani – after tucking in the pleats similar to the nivi style, the loose end is taken from the back, draped across the right shoulder, and pulled across to be secured in the back
Himalayan - Kulluvi Pattu is traditional form of woolen sari worn in Himachal Pradesh, similar variation is also worn in Uttarakhand.
Nepali: Nepal has many different varieties of draping sari, today the most common is the Nivi drape. The Bhojpuri and Awadhi speaking community wears the sari sedha pallu like the Gujrati drape. The Mithila community has its own traditional Maithili drapes like the madhubani and purniea drapes but today those are rare and most sari is worn with the pallu in the front or the nivi style.[67] The women of the Rajbanshi communities traditionally wear their sari with no choli and tied below the neck like a towel but today only old women wear it in that style and the nivi and the Bengali drapes are more popular today. The traditional Newari sari drape is, folding the sari till it is below knee length and then wearing it like a nivi sari but the pallu is not worn across the chest and instead is tied around the waist and leaving it so it drops from waist to the knee, instead the pallu or a shawl is tied across the chest, by wrapping it from the right hip and back and is thrown over the shoulders. Saris are worn with blouse that are thicker and are tied several times across the front. The Nivi drape was popularized in Nepal by the Shah royals and the Ranas.
Nav-vari: this drape is very similar to that of the male Maharashtrian dhoti, though there are many regional and societal variations. The centre of the sari (held lengthwise) is placed at the centre back, the ends are brought forward and tied securely, then the two ends are wrapped around the legs. When worn as a sari, an extra-long cloth of nine yards is used and the ends are then passed up over the shoulders and the upper body. This style of draping is called as "Nav-vari sari" (Kashta in Konkani). Women in villages of Maharashtra still drape their saris in this manner. The style worn by Brahmin women of differs from that of the Marathas. The style also differs from community to community. This style is popular in Maharashtra and Goa. Nowadays this style has become very famous through Indian cinema and is trending in Maharashtrian weddings.
Madisar – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards sari.[68]
Pin Kosuvam - this is the traditional Tamil Nadu style
Kodagu style – this drape is confined to ladies hailing from the Kodagu district of Karnataka. In this style, the pleats are created in the rear, instead of the front. The loose end of the sari is draped back-to-front over the right shoulder, and is pinned to the rest of the sari.
Gobbe Seere – This style is worn by women in the Malnad or Sahyadri and central region of Karnataka. It is worn with 18 molas sari with three-four rounds at the waist and a knot after crisscrossing over shoulders.
Karnataka – In Karnataka, apart from traditional Nivi sari, sari is also worn in "Karnataka Kacche" drape, kacche drape which shows nivi drape in front and kacche in back, there are two kacche styles known in Karnataka - "Hora kacche" or "Melgacche" and "Vala kacche" or "Olagacche" which is today limited to parts of northern Karnataka, but is rarely worn as every day attire.
Kerala sari style – the two-piece sari, or Mundum Neryathum, worn in Kerala. Usually made of unbleached cotton and decorated with gold or coloured stripes and/or borders. Also the Kerala sari, a sort of mundum neryathum.
Tribal indigenous styles – often secured by tying them firmly across the chest, covering the breasts.
Kunbi style or denthli: Goan Gauda and Kunbis, and those of them who have migrated to other states use this way of draping sari or kappad, this form of draping is created by tying a knot in the fabric below the shoulder and a strip of cloth which crossed the left shoulder was fasten on the back.[69]
Historic photographs and regional styles[edit]

Lakshmi depicted in ancient variation of sari, 1st century BC

Women in choli (blouse) and antariya c. 320 CE, Gupta Empire

 

Kalpasutra manuscript c. 1375 CE

Green Tara depicted with sari, c. 11th century CE

 

Woman in Kerala Sari; Panappilli Amma Kalyani Pillai, consort of Ayilyam Thirunal Rama Varma Maharaja of Travancore, 1868 CE

 

Girl in Gujarati sari; in this style, the loose end is worn on the front

 

Woman in Tamil sari; in this style, the loose end is wrapped around the waist

 

Girl in Bengali sari; in this style sari is worn without any pleats

 

Kandyan Sinhalese lady wearing a traditional Kandyan sari (osaria)

 

Sinhalese girl wearing a traditional Lama saree

 

Girl in Pochampally sari, 1895 CE

 

Women in Nauvari sari

 

Women in Mysore sari

 

Women depicted in Karnataka kacche drape, Kannada manuscript 16th–17th century

 

Women in sari 1912

 

Girl in Nauvari sari a form of kachha Nivi worn in Maharashtra

 

Woman in Nivi sari & vaddanam

 

Konkani Woman in Saree

 

Newar bride and two women in sari, 1941

 
Nivi style[edit]
Maharani Ourmilla Devi of Jubbal in Nivi sari.
The Nivi style drape was created during the colonial era of Indian history in order to create a fashion style which would conform to the Victorian-era sensibilities present at the time in regards to fashion. Jnanadanandini Devi, sister-in-law of Bengali polymath Rabindranath Tagore, crafted the Nivi drape and borrowed the blouse and petticoat as a means of fitting in to the colonial-era society in which modesty was paramount while maintaining a distinct Indian identity.[70][71] During the colonial period of Indian history, dresses such as the sari were seen as "immodest", and as such Indian fashion changed to adapt to these new set of moral sensibilities in society. Styles such as the Nivi were created to blend foreign sensibilities and Indian dress styles together, in response to disapproval of wearing Western-style clothing in India. The blouse and petticoat are not as prevalent in the modern-day as they used to be during the colonial era, however.[72]
The nivi is today's most popular sari style from Deccan region.[7][8] The increased interactions during the colonial era saw most women from royal families come out of purdah in the 1900s. This necessitated a change of dress. Maharani Indira Devi of Cooch Behar popularised the chiffon sari. She was widowed early in life and followed the convention of abandoning her richly woven Baroda shalus in favour of the unadorned mourning white as per tradition. Characteristically, she transformed her "mourning" clothes into high fashion. She had saris woven in France to her personal specifications, in white chiffon, and introduced the silk chiffon sari to the royal fashion repertoire.[73]
Different courts adopted their own styles of draping and indigenising the sari. In most of the courts the sari was embellished with stitching hand-woven borders in gold from Varanasi, delicate zardozi work, gota, makaish and tilla work that embellished the plain fabric, simultaneously satisfying both traditional demands and ingrained love for ornamentation. Some images of maharanis in the Deccan show the women wearing a sleeveless, richly embellished waistcoat over their blouses. The Begum of Savanur remembers how sumptuous the chiffon sari became at their gatherings. At some courts, it was worn with jaali, or net kurtas and embossed silk waist length sadris or jackets. Some of them were so rich that the entire ground was embroidered over with pearls and zardozi.[73][74]
Nivi drape starts with one end of the sari tucked into the waistband of the petticoat, usually a plain skirt. The cloth is wrapped around the lower body once, then hand-gathered into even pleats below the navel. The pleats are tucked into the waistband of the petticoat.[75] They create a graceful, decorative effect which poets have likened to the petals of a flower.[75] After one more turn around the waist, the loose end is draped over the shoulder.[75] The loose end is called the aanchalpallupallavseragu, or paita depending on the language. It is draped diagonally in front of the torso. It is worn across the right hip to over the left shoulder, partly baring the midriff.[75] The navel can be revealed or concealed by the wearer by adjusting the pallu, depending on the social setting. The long end of the pallu hanging from the back of the shoulder is often intricately decorated. The pallu may be hanging freely, tucked in at the waist, used to cover the head, or used to cover the neck, by draping it across the right shoulder as well. Some nivi styles are worn with the pallu draped from the back towards the front, coming from the back over the right shoulder with one corner tucked by the left hip, covering the torso/waist. The nivi sari was popularised through the paintings of Raja Ravi Varma.[41] In one of his paintings, the Indian subcontinent was shown as a mother wearing a flowing nivi sari.[41] The ornaments generally accepted by the Hindu culture that can be worn in the midriff region are the waist chains. They are considered to be a part of bridal jewellery.[76][77]
Some different forms of clothing are also prevalent specifically in Northeastern India and other tribal areas of Mainland India.
Indigenous ethnic groups of Assam – This is actually a wrap around style cloth similar to other Wrap-around from other parts of South-East Asia and is actually very different in origin from the Mainland Indian Sari. It is originally a four-set of separate garments (quite dissimilar to the Sari as it is a single cloth) known Riha-Mekhela, Kokalmora, Chador/Murot Mora Gamusa. The bottom portion, draped from the waist downwards is called Mekhela. The Riha or Methoni is wrapped and often secured by tying them firmly across the chest, covering the breasts originally but now it is sometimes replaced by the influence of immigrant Mainland Indian styles which is traditionally incorrect. The Kokalmora was used originally to tie the Mekhela around the waist and keep it firm.
Manipuri - This style of clothing is also worn with three-set garment known as Innaphi viel, Phanek lower wrap and long sleeved choli. It is somewhat similar to the style of clothing worn in Assam.
Khasi - Khasi style of clothing is known as Jainsem which is made up of several pieces of cloth, giving the body a cylindrical shape.
Professional style of draping[edit]
A female hotel staff member wearing a sari as a uniform
Because of the harsh extremes in temperature on the Indian subcontinent, the sari fills a practical role as well as a decorative one. It is not only warming in winter and cooling in summer, but its loose-fitting tailoring is preferred by women who must be free to move as their duties require. For this reason,[citation needed] it is the uniform of Biman Bangladesh Airlines and Air India uniform for air hostesses.[78][79] An air hostess-style sari is draped in similar manner to a traditional sari, but most of the pleats are pinned to keep them in place.[80] Bangladeshi female newsreaders and anchors also drape their sari in this particular style.
Saris are worn as uniforms by the female hotel staff of many five-star luxury hotels in India, Sri Lanka, and Bangladesh as the symbol of Indian, Sri Lankan, and Bangladeshi culture, respectively.[81]
Prime Minister of Bangladesh Sheikh Hasina in an Ivory gold Jamdani sari
Similarly, the female politicians of all three countries wear the sari in a professional manner. Bangladeshi politicians usually wear saris with long sleeve blouse while covering their midriff. Some politicians pair up saris with hijabs or shawls for more coverage.
The women of the Nehru–Gandhi family like Indira Gandhi and Sonia Gandhi have worn a special blouse for the campaign trail which is longer than usual and is tucked in to prevent any midriff showing while waving to the crowds. Stylist Prasad Bidapa has to say, "I think Sonia Gandhi is the country's most stylish politician. But that's because she's inherited the best collection of saris from her mother-in-law. I'm also happy that she supports the Indian handloom industry with her selection." BJP politician Sushma Swaraj maintains her prim housewife look with a pinned-up pallu while general secretary of AIADMK Jayalalithaa wears her saris like a suit of armour.[82]
Most female MPs in the Sri Lankan Parliament wear a Kandyan osari. This includes prominent women in politics, the first female premier in the world, Sirimavo Bandaranaike and President Chandrika Bandaranaike Kumaratunga. Contemporary examples include Pavithra Wanniarachchi, the sitting health minister in Cabinet. The adoption of the sari is not exclusive to Sinhalese politicians; Muslim MP Ferial Ashraff combined a hijab with her sari while in Parliament.
Bangladesh[edit]
Bangladeshi actress Nusraat Faria wearing Jamdani sari in Dhaka, Bangladesh
Sari is the national wear of Bangladeshi women. All girls and married women used to wear sari as their regular clothes but nowadays most working women choose to wear shalwar kameez or western outfits instead.
However, almost all women wear sari as an on formal event and social gatherings. Women of certain occupation such as teachers wear sari to their workplace. Young girls also wear it on special occasions.
Sari is the national attire for women in Bangladesh, Although Dhakai Jamdani (hand made sari) is worldwide known and most famous to all women who wear sari but there are also many variety of saris in Bangladesh. There are many regional variations of them in both silk and cotton. e.g.- Cotton sari, Dhakai Banarasi sari, Rajshahi silk, Tangail sari, Tant sari, Tassar silk sari, Manipuri sari and Katan sari are the most popular in Bangladesh. Sari is considered as a dress code in news channels, educational institutions, workplaces and formal events etc. of Bangladesh and the uniform of the air hostesses of Biman Bangladesh Airlines.
In 2013, the traditional art of weaving jamdani was declared a UNESCO Intangible Cultural Heritage of Humanity.
In 2016, Bangladesh received geographical indication (GI) status for Jamdani sari.[83]
Sri Lanka[edit]
Sri Lankan women wear saris in many styles. Two ways of draping the sari are popular and tend to dominate: the Indian style (classic nivi drape) and the Kandyan style (or Osariya in Sinhala). The Kandyan style is generally more popular in the hill country region of Kandy from which the style gets its name. Though local preferences play a role, most women decide on style depending on personal preference or what is perceived to be most flattering for their figure.
The traditional Kandyan (Osariya) style consists of a full blouse which covers the midriff completely and is partially tucked in at the front. However, the modern intermingling of styles has led to most wearers baring the midriff. The final tail of the sari is neatly pleated rather than free-flowing. This is rather similar to the pleated rosette used in the Pin Kosuvam style noted earlier in the article.
The Kandyan style is considered the national dress of Sinhalese women. It is the uniform of the air hostesses of SriLankan Airlines.
During the 1960s, the mini sari known as 'hipster' sari created a wrinkle in Sri Lankan fashion, since it was worn below the navel and barely above the line of prosecution for indecent exposure. The conservative people described the 'hipster' as "an absolute travesty of a beautiful costume almost a desecration" and "a hideous and purposeless garment".[84][85]
Nepal[edit]
The sari is the most commonly worn women's clothing in Nepal where a special style of sari draping is called haku patasihh. The sari is draped around the waist and a shawl is worn covering the upper half of the sari, which is used in place of a pallu.
Nepal women in Sari during festival of Teej
Pakistan[edit]
In Pakistan, the saris are still popular and worn on special occasions. The Shalwar kameez, however, is worn throughout the country on a daily basis. The sari nevertheless remains a popular garment among the middle and upper class for many formal functions. Saris can be seen worn commonly in metropolitan cities such as Karachi and Islamabad and are worn regularly for weddings and other business types of functions. Saris are also worn by many Muslim women in Sindh to show their status or to enhance their beauty. [86] The sari is worn as daily wear by Pakistani Hindus, by elderly Muslim women who were used to wearing it in pre-partition India[87] and by some of the new generation who have reintroduced the interest in saris by
y wearing them with the traditional Muslim head wrap, called hijab, in many beautiful ways.[88]
Similarities with other Asian clothing[edit]
While the sari is typical to traditional wear for women in the Indian subcontinent, clothing worn by women in Southeast Asian countries like Myanmar, Malaysia, the Philippines, Cambodia, Thailand and Laos resemble it, where a long rectangular piece of cloth is draped around the body. These are different from the sari as they are wrapped around the lower-half of body as a skirt, worn with a shirt/blouse and resemble a sarong, as seen in the Burmese longyi (Burmese: လုံချည်; MLCTS: lum hkyanyIPA: [lòʊɰ̃dʑì]), Filipino malong and tapis, Laotian xout lao (Lao: ຊຸດລາວIPA: [sut.láːw]), Laotian and Thai suea pat (Lao: ເສື້ອປັດpronounced [sɯ̏a.pát]) and sinh (Lao: ສິ້ນIPA: [sȉn]; Thai: ซิ่นRTGS: sinIPA: [sîn]), Cambodian sbai (Khmer: ស្បៃ) and sampot (Khmer: សំពត់saṃbátIPA: [sɑmpʊət]) and Timorese tais. Saris, worn predominantly in the Indian subcontinent are usually draped with one end of the cloth fastened around the waist, and the other end placed over the shoulder baring the midriff.[4][5][6]
Ornamentation and decorative accessories[edit]
Display of traditional saris with gota patti embroidery for festive occasions at clothing store.
Saris are woven with one plain end (the end that is concealed inside the wrap), two long decorative borders running the length of the sari, and a one to three-foot section at the other end which continues and elaborates the length-wise decoration. This end is called the pallu; it is the part thrown over the shoulder in the nivi style of draping.
In past times, saris were woven of silk or cotton. The rich could afford finely woven, diaphanous silk saris that, according to folklore, could be passed through a finger ring. The poor wore coarsely woven cotton saris. All saris were handwoven and represented a considerable investment of time or money.
Simple hand-woven villagers' saris are often decorated with checks or stripes woven into the cloth. Inexpensive saris were also decorated with block printing using carved wooden blocks and vegetable dyes, or tie-dyeing, known in India as bhandani work.
More expensive saris had elaborate geometric, floral, or figurative ornaments or brocades created on the loom, as part of the fabric. Sometimes warp and weft threads were tie-dyed and then woven, creating ikat patterns. Sometimes threads of different colours were woven into the base fabric in patterns; an ornamented border, an elaborate pallu, and often, small repeated accents in the cloth itself. These accents are called buttis or bhuttis (spellings vary). For fancy saris, these patterns could be woven with gold or silver thread, which is called zari work.
Vaddanam or Kamarband is type of sari belt used to keep complex drapes in place.
Sometimes the saris were further decorated, after weaving, with various sorts of embroidery. Resham work is embroidery done with coloured silk thread. Zardozi embroidery uses gold and silver thread, and sometimes pearls and precious stones. Cheap modern versions of zardozi use synthetic metallic thread and imitation stones, such as fake pearls and Swarovski crystals.
In modern times, saris are increasingly woven on mechanical looms and made of artificial fibres, such as polyester, nylon, or rayon, which do not require starching or ironing. They are printed by machine, or woven in simple patterns made with floats across the back of the sari. This can create an elaborate appearance on the front, while looking ugly on the back. The punchra work is imitated with inexpensive machine-made tassel trim. Fashion designer Aaditya Sharma declared, "I can drape a sari in 54 different styles".[89]
Hand-woven, hand-decorated saris are naturally much more expensive than the machine imitations. While the overall market for handweaving has plummeted (leading to much distress among Indian handweavers), hand-woven saris are still popular for weddings and other grand social occasions.
Saris outside the Indian subcontinent[edit]
Aishwarya Rai in a sari at the London premiere of her film Raavan.
The traditional sari made an impact in the United States during the 1970s. Eugene Novack who ran the New York store, Royal Sari House told that he had been selling it mainly to the Indian women in New York area but later many American business women and housewives became his customers who preferred their saris to resemble the full gown of the western world. He also said that men appeared intrigued by the fragility and the femininity it confers on the wearer.[90] Newcomers to the sari report that it is comfortable to wear, requiring no girdles or stockings and that the flowing garb feels so feminine with unusual grace.[91][92]
The sari has gained its popularity internationally because of the growth of Indian fashion trends globally. Many Bollywood celebrities, like Aishwarya Rai,[93][94] have worn it at international events representing India's cultural heritage. In 2010, Bollywood actress Deepika Padukone wanted to represent her country at an international event, wearing the national costume. On her very first red carpet appearance at the Cannes International Film Festival, she stepped out on the red carpet in a Rohit Bal sari.[95][96]
Many foreign celebrities have worn traditional sari attire designed by Indian fashion designers.[97] American actress Pamela Anderson made a surprise guest appearance on Bigg Boss, the Indian version of Big Brother, dressed in a sari that was specially designed for her by Mumbai-based fashion designer Ashley Rebello.[98] Ashley Judd donned a purple sari at the YouthAIDS Benefit Gala in November 2007 at the Ritz Carlton in Mclean, Virginia.[99][100][101] There was an Indian flavour to the red carpet at the annual Fashion Rocks concert in New York, with designer Rocky S walking the ramp along with Jessica, Ashley, Nicole, Kimberly and Melody – the Pussycat Dolls – dressed in saris.[102] in 2014, American singer Selena Gomez was seen in a sari for an UNICEF charity event at Nepal.[103]
In the United States, the sari has recently become politicised with the digital-movement, "Sari, Not Sorry". Tanya Rawal-Jindia, a gender studies professor at UC Riverside, initiated this anti-xenophobia fashion-campaign on Instagram.[104][105][106][107]
While an international image of the modern style sari may have been popularised by airline flight attendants, each region in the Indian subcontinent has developed, over the centuries, its own unique sari style. Following are other well-known varieties, distinct on the basis of fabric, weaving style, or motif, in the Indian subcontinent
Handloom and textiles[edit]
Handloom sari weaving is one of India's cottage industries.[108] The handloom weaving process requires several stages in order to produce the final product. Traditionally the processes of dyeing (during the yarn, fabric, or garment stage), warping, sizing, attaching the warp, weft winding and weaving were done by weavers and local specialists around weaving towns and villages.
Northern and Central styles[edit]
Banarasi sari
Banarasi – Uttar Pradesh
Shalu – Uttar Pradesh
Tanchoi – Uttar Pradesh
Pattu - Himachal Pradesh
Chanderi sari[109] – Madhya Pradesh
Maheshwari – Maheshwar, Madhya Pradesh
Kosa silk – Chhattisgarh
Dhokra silk – Madhya Pradesh
Eastern styles[edit]
Tant sari for daily wear in Bangladesh
Sambalpuri sari
Jamdani sari of Bangladesh.
Silk sari from India (1970, Collection of PFF, Nauplio).
Tant sari – throughout Bangladesh and West Bengal
Baluchari sari – Bishnupur, West Bengal
Kaantha sari – throughout Bengal
Garode / Korial – Murshidabad, West Bengal
Shantipuri cotton – Shantipur, Phulia, West Bengal
Jamdani / Dhakai – Dhaka, Bangladesh
Rajshahi silk / Eri – Rajshahi, Bangladesh
Dhakai Katan – Dhaka, Bangladesh
Mooga silk – Assam
Mekhla Cotton – Assam
Sambalpuri Silk & Cotton sari – Sambalpur, Odisha
Ikkat Silk & Cotton sari – Bargarh, Odisha
Bomkai Silk sari of Odisha.
Bomkai sari – Bomkai, Ganjam, Odisha
Khandua Silk & Cotton sari – Nuapatna, Cuttack, Odisha
Pasapali sari – Bargarh, Odisha
Sonepuri Silk & Cotton sari – Subarnapur, Odisha
Berhampuri silk – Behrampur, Odisha
Mattha Silk sari – Mayurbhanj, Odisha
Bapta Silk & Cotton sari – Koraput, Odisha
Kotpad Pata sari – Koraput, Odisha
Tanta Cotton sari – Balasore, Odisha
Manipuri Tant sari – Manipur
Moirang Phi sari – Manipur
Patt Silk sari – Assam
Kotki sari – Orissa
Kotpad sari – Orissa
Western styles[edit]
Kota sari.
Paithanpattu - Maharashtra
Yeola sari - Maharashtra
Peshwai shalu - Maharashtra
Mahalsa sari - Maharashtra
Narayanpeth - Maharashtra
Khun fabric - Maharashtra
Karvati tussar sari - Maharashtra
Bandhani saris of Gujarat and Rajasthan.
Bandhani – Gujarat, Rajasthan, Pakistan, Sindh
Kota doria – Rajasthan, Pakistan, Sindh
Lugade – Maharashtra
Patola – Gujarat
Bagru – Rajasthan.
Southern styles[edit]
Mysore silk sari with golden zari.
Mysore silk – Karnataka
Kanchipuram Silk (locally called Kanjipuram pattu) – Tamil Nadu
Arani silk - Tamil Nadu
Ilkal sari – Karnataka
Molakalmuru sari – Karnataka
Sulebhavi sari – Sulebhavi, Karnataka
Venkatagiri – Andhra Pradesh
Mangalagiri Silk saris – Andhra Pradesh
Uppada Silk saris – Andhra Pradesh
Chirala saris – Andhra Pradesh
Bandar saris – Andhra Pradesh
Bandarulanka – Andhra Pradesh
Kuppadam saris – Andhra Pradesh
Dharmavaram silk sari – Andhra Pradesh
Chettinad saris – Tamil Nadu
Kumbakonam – Tamil Nadu
Thirubuvanam – Tamil Nadu
Coimbatore cotton – Tamil Nadu
Salem silk – Tamil Nadu
Chinnalampattu or Sungudi – Tamil Nadu
Kandangi – Tamil Nadu
Rasipuram silk saris – Tamil Nadu
Koorai – Tamil Nadu
Arni silk sari – Tamil Nadu
Chennai – Tamil Nadu
Karaikudi – Tamil Nadu
Madurai cotton saris – Tamil Nadu
Tiruchirappalli saris – Tamil Nadu
Nagercoil saris – Tamil Nadu
Thoothukudi – Tamil Nadu
Thanjavur saris – Tamil Nadu
Tiruppur – Tamil Nadu
Kerala sari silk and cotton – Kerala
Balarampuram – Kerala
Mundum Neriyathum – Kerala
Mayilati silk – Kerala
Kannur cotton – Kerala
Kalpathi silk saris – Kerala
Maradaka silk – Kerala
Samudrikapuram silk and cotton – Kerala
Kasargod – Kerala
Pochampally sari or Puttapaka sari – Telangana[110]
Gadwal sari – Telangana
Narayanpet – Telangana
Images[edit]

19th century example of weft-resist dye (patola) or double Ikat

A silk sari loom in Kumbakonam, Tamil Nadu

Galaxy of Musicians by Raja Ravi Varma depicting women in various styles of sari.

Silk weaving at Kanchipuram, Tamil Nadu

Wooden printing-blocks used for block-print saris.

Dyed silk yarns for sari.

Handloom Kanchivaram silk sari.

Handloom in Varanasi, Uttar Pradesh.

Handloom in Varanasi

  Saree draping.jpg
 

Weaving at work in Kanchipuram

Dyed silk yarns for weaving saris.

Double-Ikat handloom for Patola sari in Gujarat.

Double ikat (Patola) weaving

Weaving Jamdani sari in handloom, Bangladesh.

Weavers at work in Bangladesh.

Child wearing sari in Bangladesh.

Style of sari worn in Coorg.

handloom weaver at work.

Devadasis from Goa.

Sinhalese woman wearing a traditional Kandyan sari (osaria).

Weaving saris in Kancipuram.

Display of handloom saris.

Bangladeshi bridal handloom sari.

Picture shows sari draping style of North Karnataka by Raja Ravi Varma.

Bride in traditional Bengali sari

Woman in Karnataka kacche drape by Raja Ravi Varma.

Education Minister of Bangladesh Dr.Dipu Moni wearing sari with Hillary Clinton

Bangladeshi Prime Minister Sheikh Hasina in a Rajshahi silk sari at the Moscow Kremlin in 2013