She revolutionized the blouse. While actresses of the 1960s wore high-necked, long-sleeved blouses, Jayalalithaa introduced the deep-cut back, the sleeveless katori (cup-shaped) blouse, and the elbow-length glove. Her waist was always cinched, and she accessorized with heavy jhumkas and oversized mang tikka. This look became the template for South Indian heroines for the next three decades.

In early mythological and folklore films, she often donned the traditional Pattu Pavadai (half-saree worn by young girls). Unlike her contemporaries who opted for dark, rich colors, young Jayalalithaa preferred pastel pinks, mint greens, and lemon yellows, paired with long, braided pigtails. This aesthetic defined the "girl next door" of Tamil cinema.

The 1970s saw Indian cinema experiment with Western silhouettes, and Jayalalithaa was at the forefront. Unlike many actresses who looked awkward in Western wear, Jaya owned it.

Working opposite M.G. Ramachandran, her fashion became bolder. The duo often color-coordinated. If MGR wore a cream silk shirt, Jayalalithaa wore a cream saree with a gold border. This visual symmetry became a stylistic trademark. In the Tamil Old Actress Jayalalitha fashion and style gallery archives, the stills from Raman Thediya Seethai and Enga Veettu Pillai are prime examples of this "power couple" aesthetic.

In films like Pattikada Pattanama, Jayalalithaa showcased her versatility. The style gallery here includes:

What made Jayalalithaa’s style unique was her consistency. She developed a formula and stuck to it ruthlessly.

While many heroines wore sarees, Jayalalithaa owned them. Her signature became the high-neck, fully pleated chiffon saree. Unlike the traditional Nivi drape, she preferred the saree to be worn at hip level, creating a taller, leaner silhouette.