“[The] one who wears expensive aso oke to pose resplendent in wisdom…”
– Oriki (oral praise poem) dedicated to Bamigboye (c. 1885-1975), a Yoruba sculptor

The Aso Oke Triad and Agbadas (Men’s Robes) 

These men’s robes, called agbadas, introduce the three historical elements of aso oke that have continued to inform production of this cloth to the present day. Sanyan is tan wild silk. Alaari is magenta imported silk.  Etu is indigo cotton. Synthetic fibers and pigments largely replaced the archetypal ones in the early 20th century. Many of these later cloths may still be referred to as sanyan if beige, alaari if purple, or etu if blue.

The agbadas reflect the mastery of Yoruba weavers, embroiderers, and tailors. The voluminous form and elaborate embroidered designs of these robes originated in the Islamic regions of northern Nigeria. Tailors reinterpreted the form for local clientele by utilizing aso oke, rather than imported cloth. Embroiderers reimagined the stitched embellishments, adapting designs that Koranic calligraphy experts developed in the north.

These agbadas share motifs including “king’s drum,” a circle on the right chest symbolizing chieftancy, and multiple “knives,” elongated triangles associated with wealth. The embroidery, combined with the splendor of the aso oke itself, lends extra elegance to these immense robes that amplified the physical presence of an elite Yoruba man.

Yoruba artists
Man’s Robe, early to mid-20th century
Cotton

Gift of A. Patrick Irue and Amber Wamhoff, in memory of Dr. Leonard and Mrs. Lenora Gulbransen  180:2015

Etu 
The deep indigo hue of this agbada creates an intensely dramatic contrast between the aso oke cloth and the embroidered designs. Upon close inspection, the cloth reveals a delicate checked pattern alternating light- and dark-blue threads. Called etu in Yoruba, this subtle tonal effect is named for its similarity to the speckled feathers of a guinea fowl (Numida meleagris). The saturation of etu cloth corresponds to the length of time its threads were submerged in indigo dye, ranging from light (ofeefe) to medium (ayinrin) and dark (dudu). In Yoruba aesthetics, dudu signifies coolness, composure, and self-control, associating these qualities of an effective leader with the elite man who wore this robe.

Yoruba artists
Man’s Robe (agbada), early 20th century
silk (sanyan), cotton

Friends Fund  11:2023

Sanyan 
This agbada suggests great presence despite a subtle, monochromatic palette comprised of light-brown silk fibers, narrow white cotton warp stripes, and ivory embroidered designs across the chest and back. Called sanyan, the undyed silk reflects the naturally occurring color of the silk-moth (Anaphe infracta or Anaphe moloneyi) cocoons from which the threads were sourced (see image). The silk-making process involves harvesting the cocoon pods from certain trees, then boiling them to separate the outer shell from the soft, fibrous interior. Artisans then spin the fibers by hand into textural threads that weavers transform into cloth. This light-colored garment suggests the radiance of funfun. Funfun signifies purity and wisdom in Yoruba color theory and is associated with Obatala, the Yoruba deity (orisha) who sculpted humans into being and is considered “lord of white cloth.”

Yoruba artists
Man’s Robe (agbada), late 19th century
silk (alaari), cotton

Funds given in memory of Pauline E. Ashton  12:2023

Alaari 
Lively embroidered designs and varied wide, narrow, and pin-stripes, comprised of magenta silk and white-and-black cotton, combine to create this dramatic agbada. Called alaari, the bright purple silk fibers began arriving in Nigeria by the 18th century via trans-Saharan trade. These fibers were “waste silk,” remnants from textile production in Europe and northern Africa, which were dyed purple and then traded into western Africa. In Nigeria, spinners transformed these fibers into alaari threads. The distinctive color imbues this robe, and the man who wore it, with the powerful associations of pupa. In Yoruba aesthetics, pupa connotes warm and hot temperatures, while funfun (white) and dudu (black) suggest coolness. This agbada’s interplay between the dominant alaari threads and complementary funfun and dudu stripes suggests the balanced demeanor essential to any male leader.