1).  Banaras, Uttar Pradesh (25.2820° N, 82.9563° E)
Banaras is home to the iconic brocade saree. Built heritage of Banaras saree weaving settlement is intact to a large extent, with a large number of weavers still in their original homes and active looms. Designs and motifs are sourced from architecture. Weavers comprise almost 25 percent of Banaras city's population (about 110,000), who trace their presence in the city between three hundred and a thousand years. European and Indian royalty patronised the craft of Banarasi saree, and it flourished, absorbing influences from Islamic traditions and Hindu lore.

2).  Feeder town Mubarakpur, Uttar Prades (26.0900° N, 83.2900° E)
Cotton weaving started in Mubarakpur during 14th century. During Sultan Muhammad Bin Tughlak's era there were 4000 silk saree weavers in Mubarakpur. Mubarakpur is known for making pure silk Banarsi sarees with zari work. Ninety percent of the working population is stated to be engaged in the task of weaving sarees of pure silk and zari, working on handlooms. Presently there are about 20,000 families of weavers in Mubarakpur. Thus, this village is known as weavers’ village.

3). Paithan, Maharashtra (19.4800° N, 75.3800° E)
Paithanis comprise pure gold threads and yarns of silk spun in the 2000-year old traditional method. This form of weaving was developed in Paithan (Aurangabad district), historically called Pratishthana. The city was the capital of the Satavahanas of ancient India that ruled from 2nd century BC to 2nd century AD. Paithan, at one time, was visited by Greek traders, between 400 and 200 BC, during the Satavahana era, for the Paithani weaves. In the distant past, Romans imported this Golden Woven Fabric in exchange for gold of equal weight. The weaver’s houses have the largest room dedicated for weaving. In this the weavers work side by side to produce a saree. The open spaces also witness some spill over of the weaving practices.

4). Yeola, Maharashtra (20.0420° N, 74.4890° E)
This art form soon spread to the other places in Maharashtra namely Yeola, Pune, Malegaon and Nashik. One can even see motifs from Ajanta cave paintings. The art of Paithani survived under changing rulers. In fact it flourished under Aurangzeb. After decline of Mughal influence, the Peshwas' of Pune once again took Paithani under their wings by settling weavers in Yeola, a small town near Shirdi in Nasik district, now with approximately 1200 weavers.

5).  Koyyalagudem, Andhra Pradesh (17.1167°N 81.3000°E)
The village of Koyyalagudem is near Pochampally and is representative of the architectural tradition of this region.  The Plan of a weaver’s house developed from the livelihood needs of the inhabitants. Every member of the family is involved in the process of weaving and most of the time is spent in the weaving room, the largest of all the rooms. During construction, attention is given to details pertaining to functional needs, such as positioning of pits built into the floor of the house for placing of the weaving looms, and lighting requirement for the loom through window/ skylight. Wet areas for handling dyes are open-to-sky for sunlight. Similarly, details are incorporated for yarn preparation, such as a peg at the end of room for passing the yarn while weaving, niches at a low level for keeping weaving-related articles, and storage spaces for threads.

6). Pokampalli, Andhra Pradesh (17.3861° N, 78.6433° E)
Pochampally Saree or Pochampalli Ikat is a saree made in Bhoodan Pochampally, Nalgonda district, India. They are popular for their traditional geometric patterns in Ikat style of dyeing.The intricate geometric design find their way into the hands of skillful weavers and make it to the market as beautiful sarees and dress material.  The city is popularily known as the silk city of India. Weaver’s house contains both semi-open and enclosed spaces for saree weaving. The enclosed spaces have large openings in the wall so as to allow sufficient light and ventilation.

7).  Sualkuchi, Assam (26.1700° N, 91.5700° E)
Sualkuchi has a glorious history in production of muga and mulberry silk since at least fourth century BC and finds a mention in Kautilya's Arthashastra (referred to as Suvarnakunda of ancient Kamrupa). Of a naturally rich, golden colour, muga is the finest of India’s wild silks. The loom is a prized possession in every Assamese home. Weaving has been a way of life in the state since time immemorial.

8) Assam tribal weaver clusters:
The Karbi, Mishing, Rabha, Singpho and Tai-phake tribes have a strong textile tradition. The Mech tribe is silk-weavers in profession. The Dimasa tribes are renowned for their expertise in silk-culture and weaving-prowess and are the producers of Endi. Weaving among the tribal societies of Assam is a home craft using the back-strap loom or loin loom, which is simple and portable.
The vernacular houses Assam provide maximum flexibility and adaptability to the local environmental conditions as well as meet social and cultural requirements. The courtyard has multiple uses like drying of crops, winnowing, cloth weaving and children’s playing space.