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This ancient form of bodice or choli are still common in the state of Rajasthan today.
Women traditionally wore various types of regional handloom sarees made of silk, cotton, ikkat, block-print, embroidery and tie-dye textiles.
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.
He says that a married lady was expected to put on a veil while moving in the public.
Early cholis were front covering tied at the back; this style was more common in parts of ancient northern India.
Gota Patti is popular form of traditional embroidery used on saris for formal occasions, various other types of traditional folk embroidery such mochi, pakko, kharak, suf, kathi, phulkari and gamthi are also commonly used for both informal and formal occasion.
The chiffon sari did what years of fashion interaction had not done in India. Its softness, lightness and beautiful, elegant, caressing drape was ideally suited to the Indian climate.
Different courts adopted their own styles of draping and indigenising the sari.
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".
Śūdraka, the author of Mṛcchakatika set in fifth century BC says that the Avagaunthaha was not used by women everyday and at every time.
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.