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History of Sari-like drapery is traced back to the [[Indus Valley Civilisation]], which flourished during 2800–1800 BCE around the northwestern part of the [[South Asia]].<ref name="Boulanger" /><ref name="Ghurye"/> [[Cotton]] was first cultivated and woven in Indian subcontinent around 5th millennium BCE.<ref>Stein, Burton (1998). ''A History of India''. Blackwell Publishing. {{ISBN|0-631-20546-2}}, p. 47</ref> Dyes used during this period are still in use, particularly [[indigo]], [[lac]], [[Rubia cordifolia|red madder]] and [[turmeric]].<ref name="Harrapa">{{cite web|title=What did the Indus people wear and what material were their clothes made of? |url=http://a.harappa.com/content/what-did-indus-people-wear-and-what-material-were-their-clothes-made |publisher=Harappa.com |access-date=26 December 2015}}</ref> [[Silk]] was woven around 2450 BCE and 2000 BCE.<ref name=nat>{{cite journal |last=Abbott |first=Phill |title=Rethinking silk's origins : Nature News |journal=Nature |volume=457 |issue=7232 |pages=945 |doi-access=free |doi=10.1038/457945a |pmid=19238684 |date=19 February 2009}}</ref><ref>{{Cite journal |last1=Good |first1=I.L. |last2=Kenoyer |first2=J.M.| last3=Meadow |first3=R.H. |title=New evidence for early silk in the Indus civilization |journal=Archaeometry |volume=50 |page=457 |year=2009 |doi=10.1111/j.1475-4754.2008.00454.x |issue=3 |url=https://dash.harvard.edu/bitstream/1/14117751/1/287832.pdf }}</ref>
History of Sari-like drapery is traced back to the [[Indus Valley Civilisation]], which flourished during 2800–1800 BCE around the northwestern part of the [[South Asia]].<ref name="Boulanger" /><ref name="Ghurye"/> [[Cotton]] was first cultivated and woven in Indian subcontinent around 5th millennium BCE.<ref>Stein, Burton (1998). ''A History of India''. Blackwell Publishing. {{ISBN|0-631-20546-2}}, p. 47</ref> Dyes used during this period are still in use, particularly [[indigo]], [[lac]], [[Rubia cordifolia|red madder]] and [[turmeric]].<ref name="Harrapa">{{cite web|title=What did the Indus people wear and what material were their clothes made of? |url=http://a.harappa.com/content/what-did-indus-people-wear-and-what-material-were-their-clothes-made |publisher=Harappa.com |access-date=26 December 2015}}</ref> [[Silk]] was woven around 2450 BCE and 2000 BCE.<ref name=nat>{{cite journal |last=Abbott |first=Phill |title=Rethinking silk's origins : Nature News |journal=Nature |volume=457 |issue=7232 |pages=945 |doi-access=free |doi=10.1038/457945a |pmid=19238684 |date=19 February 2009}}</ref><ref>{{Cite journal |last1=Good |first1=I.L. |last2=Kenoyer |first2=J.M.| last3=Meadow |first3=R.H. |title=New evidence for early silk in the Indus civilization |journal=Archaeometry |volume=50 |page=457 |year=2009 |doi=10.1111/j.1475-4754.2008.00454.x |issue=3 |url=https://dash.harvard.edu/bitstream/1/14117751/1/287832.pdf }}</ref>


The word ''sari'' evolved from {{transl|sa|ISO|śāṭikā}} ({{lang-sa|शाटिका}}) mentioned in earliest Hindu literature as women's attire.<ref name=Mohapatra>Mohapatra, R. P. (1992) "Fashion styles of ancient India", B. R. Publishing corporation, {{ISBN|81-7018-723-0}}</ref><ref name="Sachidanand"/> The sari or {{transl|sa|ISO|śāṭikā}} evolved from a three-piece ensemble comprising the [[Antariya|{{transl|sa|ISO|antarīya}}]], the lower garment; the [[Uttariya|{{transl|sa|ISO|uttarīya}}]]; a veil worn over the shoulder or the head; and the {{transl|sa|ISO|[[stanapatta]]}}, a chestband. This ensemble is mentioned in [[Sanskrit]] literature and Buddhist [[Pali]] literature during the 6th century BCE.<ref>{{cite book|url=https://books.google.com/books?id=QO2BAAAAMAAJ&q=Stanapatta|page=35|title=Fashion Styles of Ancient India: A Study of Kalinga from Earliest Times to Sixteenth Century Ad|first=Ramesh |last=Prasad Mohapatra|publisher=B.R. Publishing Corporation|year=1992|isbn=9788170187233}}</ref> This complete three-piece dress was known as {{transl|sa|hunterian|[[poshak]]}}, generic term for costume.<ref>{{cite book| url=https://books.google.com/books?id=nckSAQAAIAAJ| page=84|title=Costume, textiles and jewellery of India: traditions in Rajasthan|first=Vandana|last=Bhandari|publisher=Mercury Books|year=2005|isbn=9780811810845}}</ref> Ancient [[antariya]] closely resembled the ''dhoti'' wrap in the "fishtail" version which was passed through legs, covered the legs loosely and then flowed into a long, decorative pleats at front of the legs.<ref name="alkazi" /><ref>Linda Lynton (1995) "The Sari: Styles, Patterns, History, Techniques.", p.170</ref><ref>Prof. Dipak Sharma (2012) "SOUVENIR of 2nd International Science Congress (ISC-2012).", p.282</ref> It further evolved into ''Bhairnivasani'' skirt, today known as ''[[gagra choli|ghagri]]'' and ''lehenga''.<ref>J. Correia-Afonso, (1984) "Indica, Volume 21, Issue 2", p.126</ref> [[Uttariya]] was a shawl-like veil worn over the shoulder or head, it evolved into what is known today known as [[dupatta]] and [[ghoonghat]].<ref>Chintaman Vinayak Vaidya, (2001) "Epic India : India as Described in the Mahabharata and the Ramayana", p.144</ref> Likewise, the {{transl|sa|ISO|stanapaṭṭa}} evolved into the ''choli'' by the 1st century CE.<ref name="Prachya Pratibha p.121"/><ref name="Agam Kala Prakashan p.118"/><ref>Roshen Alkazi, 1996 "Ancient Indian Costume", p.48</ref><ref>{{cite book |last1=Levick |first1=Melba |last2=Crites |first2=Mitchell |last3=Nanji |first3=Ameeta |date=2008 |title=IndiaColor: Spirit, Tradition, and Style |url=https://books.google.com/books?id=dApCPMobDlAC |publisher=Chronicle Books |page=47 |isbn=978-0-8118-5316-3}}</ref>
The word ''sari'' evolved from {{transl|sa|ISO|śāṭikā}} ({{lang-sa|शाटिका}}) mentioned in earliest Hindu literature as women's attire.<ref name="Sachidanand"/><ref name=Mohapatra>Mohapatra, R. P. (1992) "Fashion styles of ancient India", B. R. Publishing corporation, {{ISBN|81-7018-723-0}}</ref> The sari or {{transl|sa|ISO|śāṭikā}} evolved from a three-piece ensemble comprising the [[Antariya|{{transl|sa|ISO|antarīya}}]], the lower garment; the [[Uttariya|{{transl|sa|ISO|uttarīya}}]]; a veil worn over the shoulder or the head; and the {{transl|sa|ISO|[[stanapatta]]}}, a chestband. This ensemble is mentioned in [[Sanskrit]] literature and Buddhist [[Pali]] literature during the 6th century BCE.<ref>{{cite book|url=https://books.google.com/books?id=QO2BAAAAMAAJ&q=Stanapatta|page=35|title=Fashion Styles of Ancient India: A Study of Kalinga from Earliest Times to Sixteenth Century Ad|first=Ramesh |last=Prasad Mohapatra|publisher=B.R. Publishing Corporation|year=1992|isbn=9788170187233}}</ref> This complete three-piece dress was known as {{transl|sa|hunterian|[[poshak]]}}, generic term for costume.<ref>{{cite book| url=https://books.google.com/books?id=nckSAQAAIAAJ| page=84|title=Costume, textiles and jewellery of India: traditions in Rajasthan|first=Vandana|last=Bhandari|publisher=Mercury Books|year=2005|isbn=9780811810845}}</ref> Ancient [[antariya]] closely resembled the ''dhoti'' wrap in the "fishtail" version which was passed through legs, covered the legs loosely and then flowed into a long, decorative pleats at front of the legs.<ref name="alkazi" /><ref>Linda Lynton (1995) "The Sari: Styles, Patterns, History, Techniques.", p.170</ref><ref>Prof. Dipak Sharma (2012) "SOUVENIR of 2nd International Science Congress (ISC-2012).", p.282</ref> It further evolved into ''Bhairnivasani'' skirt, today known as ''[[gagra choli|ghagri]]'' and ''lehenga''.<ref>J. Correia-Afonso, (1984) "Indica, Volume 21, Issue 2", p.126</ref> [[Uttariya]] was a shawl-like veil worn over the shoulder or head, it evolved into what is known today known as [[dupatta]] and [[ghoonghat]].<ref>Chintaman Vinayak Vaidya, (2001) "Epic India : India as Described in the Mahabharata and the Ramayana", p.144</ref> Likewise, the {{transl|sa|ISO|stanapaṭṭa}} evolved into the ''choli'' by the 1st century CE.<ref name="Prachya Pratibha p.121"/><ref name="Agam Kala Prakashan p.118"/><ref>Roshen Alkazi, 1996 "Ancient Indian Costume", p.48</ref><ref>{{cite book |last1=Levick |first1=Melba |last2=Crites |first2=Mitchell |last3=Nanji |first3=Ameeta |date=2008 |title=IndiaColor: Spirit, Tradition, and Style |url=https://books.google.com/books?id=dApCPMobDlAC |publisher=Chronicle Books |page=47 |isbn=978-0-8118-5316-3}}</ref>


The ancient [[Sanskrit]] work, ''Kadambari'' by [[Banabhatta]] and ancient [[Tamil language|Tamil]] poetry, such as the ''[[Silappadhikaram]]'', describes women in exquisite [[drapery]] or sari.<ref name="Vijay Singh Katiyar"/><ref name="Parthasarathy">{{cite book |last=Parthasarathy |first=R. |year=1993 |title=The Tale of an Anklet: An Epic of South India – The Cilappatikaram of Ilanko Atikal, Translations from the Asian Classics |publisher=Columbia Univ. Press |location=New York |isbn=978-0-231-07849-8 }}</ref><ref>Emma Tarlo (1996) "Clothing Matters: Dress and Identity in India.", p.154</ref><ref>Govind Sadashiv Ghurye (1951) "Indian Costume.", p.154</ref> In ancient India, although women wore saris that bared the midriff, the [[Dharmasastra]] writers stated that women should be dressed such that the navel would never become visible.<ref name="google1">[https://books.google.com/books?id=NH1qr33kfXAC Encyclopedia of Indian Women Through the Ages: Ancient India – Simmi Jain].</ref><ref>{{cite book|last=Anant Sadashiv Altekar|title=The Position of Women in Hindu Civilization, From Prehistoric Times to the Present Day|year=1956|publisher=Motilal Banarsidass Publ|isbn=9788120803244|page=380|url=https://books.google.com/books?id=VYG4K0yYHQgC&pg=PA282}}</ref> By which for some time the navel exposure became a taboo and the navel was concealed.<ref name="Boulanger" /><ref>{{cite book|url=https://books.google.com/books?id=DoY-tEMgJ8UC&pg=PA434|title=Folkways: A Study of Mores, Manners, Customs and Morals|first=William Graham|last=Sumner|date=1 September 2007|publisher=Cosimo, Inc.|access-date=13 January 2017|via=Google Books|isbn=9781602067585}}</ref><ref>Linda Lynton, Sanjay K. Singh (2002) "The Sari: Styles, Patterns, History, Techniques.", p.40</ref> In ancient Indian tradition and the [[Natya Shastra]] (an ancient Indian treatise describing ancient dance and costumes), the [[navel]] of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari.<ref name="Bharata">Bharata (1967). The Natyashastra [Dramaturgy], 2 vols., 2nd. ed. Trans. by Manomohan Ghosh. Calcutta: Manisha Granthalaya</ref><ref name="BeckB">{{cite journal |last=Beck |first=Brenda |year=1976 |title=The Symbolic Merger of Body, Space, and Cosmos in Hindu Tamil Nadu |journal=[[Contributions to Indian Sociology]] |volume=10 |issue=2 |pages=213–243 |doi=10.1177/006996677601000202 |s2cid=143220583 }}</ref>
The ancient [[Sanskrit]] work, ''Kadambari'' by [[Banabhatta]] and ancient [[Tamil language|Tamil]] poetry, such as the ''[[Silappadhikaram]]'', describes women in exquisite [[drapery]] or sari.<ref name="Vijay Singh Katiyar"/><ref name="Parthasarathy">{{cite book |last=Parthasarathy |first=R. |year=1993 |title=The Tale of an Anklet: An Epic of South India – The Cilappatikaram of Ilanko Atikal, Translations from the Asian Classics |publisher=Columbia Univ. Press |location=New York |isbn=978-0-231-07849-8 }}</ref><ref>Emma Tarlo (1996) "Clothing Matters: Dress and Identity in India.", p.154</ref><ref>Govind Sadashiv Ghurye (1951) "Indian Costume.", p.154</ref> In ancient India, although women wore saris that bared the midriff, the [[Dharmasastra]] writers stated that women should be dressed such that the navel would never become visible.<ref name="google1">[https://books.google.com/books?id=NH1qr33kfXAC Encyclopedia of Indian Women Through the Ages: Ancient India – Simmi Jain].</ref><ref>{{cite book|last=Anant Sadashiv Altekar|title=The Position of Women in Hindu Civilization, From Prehistoric Times to the Present Day|year=1956|publisher=Motilal Banarsidass Publ|isbn=9788120803244|page=380|url=https://books.google.com/books?id=VYG4K0yYHQgC&pg=PA282}}</ref> By which for some time the navel exposure became a taboo and the navel was concealed.<ref name="Boulanger" /><ref>{{cite book|url=https://books.google.com/books?id=DoY-tEMgJ8UC&pg=PA434|title=Folkways: A Study of Mores, Manners, Customs and Morals|first=William Graham|last=Sumner|date=1 September 2007|publisher=Cosimo, Inc.|access-date=13 January 2017|via=Google Books|isbn=9781602067585}}</ref><ref>Linda Lynton, Sanjay K. Singh (2002) "The Sari: Styles, Patterns, History, Techniques.", p.40</ref> In ancient Indian tradition and the [[Natya Shastra]] (an ancient Indian treatise describing ancient dance and costumes), the [[navel]] of the Supreme Being is considered to be the source of life and creativity, hence the midriff is to be left bare by the sari.<ref name="Bharata">Bharata (1967). The Natyashastra [Dramaturgy], 2 vols., 2nd. ed. Trans. by Manomohan Ghosh. Calcutta: Manisha Granthalaya</ref><ref name="BeckB">{{cite journal |last=Beck |first=Brenda |year=1976 |title=The Symbolic Merger of Body, Space, and Cosmos in Hindu Tamil Nadu |journal=[[Contributions to Indian Sociology]] |volume=10 |issue=2 |pages=213–243 |doi=10.1177/006996677601000202 |s2cid=143220583 }}</ref>
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It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture the lower garment was called '[[Nivi (garment)|nivi]]' or 'nivi bandha', while the upper body was mostly left bare.<ref name="Sachidanand"/> The works of [[Kālidāsa|Kalidasa]] mention the {{transl|sa|ISO|kūrpāsaka}}, a form of tight fitting breast band that simply covered the breasts.<ref name="Sachidanand"/> It was also sometimes referred to as an {{transl|sa|ISO|uttarāsaṅga}} or [[Stanapatta|{{transl|sa|ISO|stanapaṭṭa}}]].<ref name="Sachidanand"/>
It is generally accepted that wrapped sari-like garments for lower body and sometimes shawls or scarf like garment called 'uttariya' for upper body, have been worn by Indian women for a long time, and that they have been worn in their current form for hundreds of years. In ancient couture the lower garment was called '[[Nivi (garment)|nivi]]' or 'nivi bandha', while the upper body was mostly left bare.<ref name="Sachidanand"/> The works of [[Kālidāsa|Kalidasa]] mention the {{transl|sa|ISO|kūrpāsaka}}, a form of tight fitting breast band that simply covered the breasts.<ref name="Sachidanand"/> It was also sometimes referred to as an {{transl|sa|ISO|uttarāsaṅga}} or [[Stanapatta|{{transl|sa|ISO|stanapaṭṭa}}]].<ref name="Sachidanand"/>


Poetic references from works like [[Silappadikaram]] indicate that during the [[Sangam period]] in ancient Tamil Nadu in southern India, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered.<ref name="Parthasarathy"/> Similar styles of the sari are recorded paintings by [[Raja Ravi Varma]] in Kerala.<ref name="Miller"/> Numerous sources say that everyday costume in ancient India until recent times in [[Kerala]] consisted of a pleated dhoti or ([[sarong]]) wrap, combined with a breast band called {{transl|sa|ISO|kūrpāsaka}} or {{transl|sa|ISO|stanapaṭṭa}} and occasionally a wrap called {{transl|sa|ISO|uttarīya}} that could at times be used to cover the upper body or head.<ref name="Sachidanand"/> The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in [[Malayalam language|Malayalam]]) is a survival of ancient clothing styles. The one-piece sari in Kerala is derived from neighbouring Tamil Nadu or Deccan during medieval period based on its appearance on various temple murals in medieval Kerala.<ref>Wall paintings in North Kerala, India: 1000 years of temple art, Albrecht Frenz, Ke. Ke Mārār, page 93</ref><ref name="Boulanger"/><ref name="Ghurye"/><ref name= Mukulika>Miller, Daniel & Banerjee, Mukulika; (2004) "The Sari", Lustre press / Roli books</ref>
Poetic references from works like [[Silappadikaram]] indicate that during the [[Sangam period]] in ancient Tamil Nadu in southern India, a single piece of clothing served as both lower garment and head covering, leaving the midriff completely uncovered.<ref name="Parthasarathy"/> Similar styles of the sari are recorded paintings by [[Raja Ravi Varma]] in Kerala.<ref name="Miller"/> Numerous sources say that everyday costume in ancient India until recent times in [[Kerala]] consisted of a pleated dhoti or ([[sarong]]) wrap, combined with a breast band called {{transl|sa|ISO|kūrpāsaka}} or {{transl|sa|ISO|stanapaṭṭa}} and occasionally a wrap called {{transl|sa|ISO|uttarīya}} that could at times be used to cover the upper body or head.<ref name="Sachidanand"/> The two-piece Kerala mundum neryathum (mundu, a dhoti or sarong, neryath, a shawl, in [[Malayalam language|Malayalam]]) is a survival of ancient clothing styles. The one-piece sari in Kerala is derived from neighbouring Tamil Nadu or Deccan during medieval period based on its appearance on various temple murals in medieval Kerala.<ref name="Boulanger"/><ref name="Ghurye"/><ref>Wall paintings in North Kerala, India: 1000 years of temple art, Albrecht Frenz, Ke. Ke Mārār, page 93</ref><ref name= Mukulika>Miller, Daniel & Banerjee, Mukulika; (2004) "The Sari", Lustre press / Roli books</ref>


Early [[Sanskrit]] literature has a wide vocabulary of terms for the [[ghoonghat|veiling]] used by women, such as ''Avagunthana'' (oguntheti/oguṇthikā), meaning cloak-veil, ''Uttariya'' meaning shoulder-veil, ''Mukha-pata'' meaning face-veil and ''Sirovas-tra'' meaning head-veil.<ref name="Govind Sadashiv Ghurye 1951 p.236">Govind Sadashiv Ghurye (1951) "Indian Costume.", p.236</ref> In the ''Pratimānātaka'', a play by Bhāsa describes in context of ''Avagunthana'' veil that "''ladies may be seen without any blame (for the parties concerned) in a religious session, in marriage festivities, during a calamity and in a forest''".<ref name="Govind Sadashiv Ghurye 1951 p.236"/> The same sentiment is more generically expressed in later [[Sanskrit]] literature.<ref name="Sulochana Ayyar 1987 p.152">Sulochana Ayyar (1987) "Costumes and Ornaments as Depicted in the Sculptures of Gwalior Museum.", p.152</ref> [[Śūdraka]], the author of [[Mṛcchakatika]] set in fifth century BCE says that the ''Avagaunthaha'' was not used by women everyday and at every time. He says that a married lady was expected to put on a veil while moving in the public.<ref name="Sulochana Ayyar 1987 p.152"/> This may indicate that it was not necessary for unmarried females to put on a veil.<ref name="Sulochana Ayyar 1987 p.152"/> This form of veiling by married women is still prevalent in Hindi-speaking areas, and is known as ''[[ghoonghat]]'' where the loose end of a sari is pulled over the head to act as a facial veil.<ref>Kusumanjali Prakashan, 1993 "The Natyasastra tradition and ancient Indian society", p.63</ref>
Early [[Sanskrit]] literature has a wide vocabulary of terms for the [[ghoonghat|veiling]] used by women, such as ''Avagunthana'' (oguntheti/oguṇthikā), meaning cloak-veil, ''Uttariya'' meaning shoulder-veil, ''Mukha-pata'' meaning face-veil and ''Sirovas-tra'' meaning head-veil.<ref name="Govind Sadashiv Ghurye 1951 p.236">Govind Sadashiv Ghurye (1951) "Indian Costume.", p.236</ref> In the ''Pratimānātaka'', a play by Bhāsa describes in context of ''Avagunthana'' veil that "''ladies may be seen without any blame (for the parties concerned) in a religious session, in marriage festivities, during a calamity and in a forest''".<ref name="Govind Sadashiv Ghurye 1951 p.236"/> The same sentiment is more generically expressed in later [[Sanskrit]] literature.<ref name="Sulochana Ayyar 1987 p.152">Sulochana Ayyar (1987) "Costumes and Ornaments as Depicted in the Sculptures of Gwalior Museum.", p.152</ref> [[Śūdraka]], the author of [[Mṛcchakatika]] set in fifth century BCE says that the ''Avagaunthaha'' was not used by women everyday and at every time. He says that a married lady was expected to put on a veil while moving in the public.<ref name="Sulochana Ayyar 1987 p.152"/> This may indicate that it was not necessary for unmarried females to put on a veil.<ref name="Sulochana Ayyar 1987 p.152"/> This form of veiling by married women is still prevalent in Hindi-speaking areas, and is known as ''[[ghoonghat]]'' where the loose end of a sari is pulled over the head to act as a facial veil.<ref>Kusumanjali Prakashan, 1993 "The Natyasastra tradition and ancient Indian society", p.63</ref>
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* [[Madisar]] – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards sari.<ref>{{cite web |url=http://tamilnadu.com/fashion/madisar-pudavai.html |title=Madisar Pudavai|publisher=Tamilnadu.com|date=5 February 2013}}</ref> The Parsi ‘gara’ is a quintessence of embroidery, art and history, and it has a Chinese link
* [[Madisar]] – this drape is typical of Iyengar/Iyer Brahmin ladies from Tamil Nadu. Traditional Madisar is worn using 9 yards sari.<ref>{{cite web |url=http://tamilnadu.com/fashion/madisar-pudavai.html |title=Madisar Pudavai|publisher=Tamilnadu.com|date=5 February 2013}}</ref> The Parsi ‘gara’ is a quintessence of embroidery, art and history, and it has a Chinese link
* Pin Kosuvam - this is the traditional Tamil Nadu style
* Pin Kosuvam - this is the traditional Tamil Nadu style
* [[Jnanadanandini Devi|Brahmika]] sari with introduced to Bengal by [[Jnanadanandini Devi]] after her tour in Bombay in 1870.  Jnanadanandini improvised upon the sari style worn by Parsi and Gujarati women, which came to be known as Brahmika style.<ref> Embroidered Tales of India's Parsi Community https://www.outlookindia.com/outlooktraveller/explore/story/70644/did-you-know-about-the-parsi-gara</ref>
* [[Jnanadanandini Devi|Brahmika]] sari with introduced to Bengal by [[Jnanadanandini Devi]] after her tour in Bombay in 1870.  Jnanadanandini improvised upon the sari style worn by Parsi and Gujarati women, which came to be known as Brahmika style.<ref>Embroidered Tales of India's Parsi Community https://www.outlookindia.com/outlooktraveller/explore/story/70644/did-you-know-about-the-parsi-gara</ref>
* [[Kodagu district|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.
* [[Kodagu district|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 [[Malenadu|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.
* ''Gobbe Seere'' – This style is worn by women in the [[Malenadu|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.
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