The six-yard khada dupatta required a whole nine yards of the heaviest gold borders to include both elaborate edges or pallows, with a particular order of gota masala stitched just so. The gala, the baghli, the aasteen, borders around neck, armholes and arms had to match the one attached to the chowhashia dupatta, a heavy fabric of gold checks, specially woven in Paithan and Banaras. On her wedding day, for the first time, a girl wore a kurti choli with the khada dupatta. The choli, her only undergarment, all handstitched and knotted in front with gorgeously bordered sleeves, over which came the sleeveless kurti with a heavily worked round neckline, provocatively slit in front. The Banaras brocade pyjama was colour coordinated with the kurti choli. The Untold Charminar, Syeda Imam.
There seem to be more than a few fusion sari/dhoti sari (X, X, X) ensembles of late – though a lot of them look less sari and more modern take on the Deccani or Hyderabadi khada dupatta. The khada dupatta is as long as a sari but requires a base of a long sleeved tunic or kurti and the pyjama. The way the dupatta is draped seems to vary though a few versions look like the sari drape on the upper part. Lighter, gauzy versions of the dupatta like in pic 3 were also prevalent.
A youtube tutorial on how to drape a khada dupatta, note that the drape differs a bit from today’s pictures.
This is possibly the version for a young girl which had a shorter dupatta and was worn with a cap.