As the styles and designs of sarees differ from one state to another, the sarees of West India also have a distinct quality and style that are typical to the region. The sarees of this region have a noticeable character that mirrors the creativity and tradition of West India.

West India is the home to a huge population with diverse religious beliefs and cultures, most of whom have distinctive traditional textiles. The weavers of this region give stress on dyeing rather than weaving techniques and the three major forms of Indian resist-dyeing have been developed in this region. These are block-printing, tie-dye, and ikat, which culminates in the complex multicoloured patola. The extensive embroidery tradition of west India also emphasize colour, usually mixing many bright hues together with metallic thread (zari or jari) embroidery. The weavers often include sparkling embellishments such as tinsel, sequins and mirrors in the sarees to create an expressive glitz. Since the ancient tradition, this region has a tendency towards using vibrant hues and sometimes blending or combining them to create different and unique colour combinations.

Sarees of West India have a huge variety as the region showcases the traditional as well as fashionable sarees in abundance. One of the well acclaimed and coveted sarees of this region is the Chanderi sarees which is excellent for Indian summers as silk or fine cotton is used as raw material for this type of saree. The designs of these types of sarees are taken from Chanderi temples. This particular saree is identified for the usage of quality gold thread. Sometimes to give the sarees an additional charm and quality, gold checks with lotus roundels all over which are known as `butis`, are added with the rich gold border of the sarees. Another saree which is widely used in this region is the Tussar silk which is produced in Madhya Pradesh. This type of saree is also known as `kosa` saree. The weavers of Devangan community weave this type of saree. The natural shine and exclusivity of Tussar saree lie in the fibre used. Including these sarees, West India is the abode of Paithani sarees which derive the patterns and motifs from Ajanta Caves including peacock, lotus, and mango motifs. Intricate designs on pallu and border is a specialty of Paithani Sarees.

In addition to these, Block-Printed sarees of Rajasthan and Madhya Pradesh are worn by various rural and ethnic groups. These apparels are printed in specific colours and designs which are typical of their communities. The centres of this particular type of sarees are located in Sanganer, Bagru, Jaipur (Rajasthan) and Farukabad, Fatehpur, Allahabad (Uttar Pradesh) with smaller industries in Rajasthan, Madhya Pradesh and Gujarat, as well as New Delhi, Haryana, Srinagar. Rural and tribal groups, such as the Bhamiyo agricultural community and tribal Bhils and Bhilalas, traditionally wear indigo-dyed dark blue or black sarees and odhnis. On the other hand, higher caste groups favoured red or off-white with red and black printed designs. Borders and endpieces consist of repeated bands of undulating and intertwining vines (bet) of various sizes, which are given different names in different areas. The term buti is given to any small floral or vegetal motif. This design is usually scattered against a plain ground, while gad and rek refer to different types of blocks used during the printing process. Ornamental frills (jhaalar or jhut) are often printed along inner border and endpiece or pallu edges, mimicking woven patterns of the same type. Its silk fabrics are often of low quality but they make popular, relatively inexpensive silk saris. Apart from creating block printed sarees, the weavers and designers of West India create items basically sarees executing tie and dye technique.

As the western region has a rich embroidery tradition, much of which is created by ethnic groups like the Rabari and Sodha Rajputs. Sarees with metallic-thread embroidery are commonly found in the west, although most of this type of work is created throughout northern India. Three types of metallic-thread embroidery are found, two of which use gold-wrapped threads called either kalabattun or zari. One style (muka) requires thick zari to be coiled on the surface and couched with silk. These designs are predominantly used on heavier silks and satins. Another style, called kamdani and sometimes kalabattun, has metallic threads embroidered directly into the fabric with both the zari and ground cloth being finer and lighter than in `muka` work. This work is done on chiffon and georgette fabrics. Both types of embroidery are also termed as zardozi or zardoshi. West India is also known for embroidered tinsel sarees. These types of sarees are block-printed or silk-screened, but instead of the pattern being a dye, transparent resinous glue is printed onto the fabric. The artisans, who are involved in weaving these sarees and designing them, use flakes of mica or gold dust to add glitter in the sarees. In recent times, synthetic gold-coloured paints and particles are commonly used to create tinsel sarees. On the other hand, a thin white khari is silk-screened to form imitation Bandhani spots on coloured fabrics. Khari work is created in most block-printing centres of western India as well as in the Ahmedabad mills. Earlier, the wealthier women of this region used khari sarees sprinkled with gold dust. In recent times, tinsel sarees are associated with less affluent women.

The treasure trove of the sarees of West India will remain incomplete without the mention of Gujarati brocade sarees. The traditional brocade sarees have the distinguishable character for the buti which are seen woven into the field of the saree in the warp direction instead of the weft. Including this, floral designs woven in coloured silks against a golden ground fabric, are also found in different parts of West India. The Gujarati work usually had leaves, flowers and stems outlined by a fine dark line.

The sarees of West India showcase a wide variety in the variation of sarees and each type carry a distinct character that is typical of this region. The inhabitants of this region prefer to wear heavily decked sarees in occasions like marriage and social gatherings. The affluent women of this region prefer to wear heavily and intricately designed sarees to flaunt the status quo.