Nigerian cultural clothing is incredibly diverse, reflecting the country's many ethnic groups and rich heritage. From the flowing Agbada to the intricate details of Aso-Oke, each garment tells a story of tradition, status, and identity. This article delves into the history and styles of Nigerian Buba and Sokoto, exploring their significance and evolution over time.
Origins and Influences
The general consensus among scholars is that the attire originated in the Middle East and was introduced to Africa by Berber and Arab merchants from the Mediterranean coast. Owning their military power to supreme prowess on horseback, the new Fulani rulers brought with them a style of male dress consisting of flowing robes and huge baggy trousers adapted for horseback riding. Across the city states of the Hausa North down to the Nupe people on the banks of the Niger, and as far South as the Yoruba city of Ilorin, rulers were swept aside to be replaced by Muslim emirates. Emirs and other rulers purchased the finest robes for themselves and distributed numerous others to their courtiers, cloth beaters, and dyers, serving the main emirates.
Key Components of Traditional Yoruba Attire
The Buba and Sokoto are integral parts of traditional Yoruba attire, each with its unique characteristics and significance.
Awosoke (Upper Vest)
This is the large free flowing outta robe from which the entire robe derived it's name agbada meaning 'voluminous attire' but translated as basin, washbasin etc. This piece happens to be the largest of all pieces, a big, loose-fitting, ankle-length garment with three sections: a rectangular centerpiece, flanked by wide sleeves on both ends.
Awotele (Undervest)
This is the vest worn just before the awosoke. There are two types of undervest: the buba- a loose, round-neck shirt with elbow-length sleeves; and dansiki- a loose, round-neck, sleeveless smock.
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Sokoto (Trousers)
This is simply the pant worn with the Awotele just before the awosoke . For the Yoruba's, sokoto have a drawstring for securing them around the waist and come in a variety of shapes and lengths.
Fila (Head Gear/Cap)
This is the last piece worn to compliment the agbada and could also be left out. Types of fila include:
- gobi- cylindrical in form, measuring between nine and ten inches long.
- abetiaja- literally meaning "the dog-eared" the abetiaja has a crestlike shape and derives its name from its hanging flaps that may be used to cover the ears in cold weather.
It is common practice or tradition for a king to dress with all atom of royalty, from their Awosoke to their awotele to their sokoto to their fila.
Variations of Agbada
There are different types of Agbada, each suited for specific occasions:
- agbada iwole (casual agbada): This is smaller, less voluminous, and often made of light, plain cotton, also called sapara, named after a Yoruba medical practitioner (Dr.
- agbada amurode (ceremonial agbada): also called Sulia is bigger, more ornate, and frequently fashioned from expensive and heavier materials.
The Wrapper (Iro) and Buba Ensemble
In Nigeria and other parts of Yorubaland, the wrapper is commonly called an iro in Yoruba, pronounced i-roh. The literal translation is "the act of wrapping." The wrapper is usually worn with a matching headscarf or head tie that is called a gele in Yoruba, pronounced geh-leh. A full wrapper ensemble consists of three garments, a blouse, called a buba, pronounced boo-bah, the iro and a headscarf called a head tie called gele in Yoruba.
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For women, the buba is worn with the iro (wrapper) and gele (head tie). For men, it is worn with sokoto (trousers) and fila (hat). The buba, sokoto/iro and fila/gele set is the traditional costume of the Yoruba people in South Western Nigeria and the other regions of Yorubaland.
The Significance of Fabrics
Several fabrics hold special significance in Nigerian traditional attire:
- African wax prints-traditional cloths in Africa. Most of them are printed in West Africa and China. Some African waxprints are made in the Netherlands, known as Dutch wax. In earlier times these were also produced in Great Britain. In a wax print, the pattern or design is printed on both sides of the cotton fabric. Waxprints are more expensive than fancy prints. Famous manufacturers are Vlisco in the Netherlands, Akosombo Textiles Limited in Ghana and Hitarget in China. Some smaller companies still produce genuine African wax prints. A well known brand is ABC Wax from Manchester, UK. Today ABC Wax is part of Akosombo Textiles Limited and printed in Ghana.
- Cotton brocade-most brocade is produced in Guinea.
- George cloth-George cloth originated in India, where it was used to make saris. The fabric became popular among some West Africans.
Kaftan and Boubou
In West Africa, a kaftan or caftan is a pull-over woman's robe. In French, this robe is called a boubou , pronounced boo-boo. The boubou is the traditional female attire in many West African countries including Senegal and Mali. The boubou can be formal or informal attire.
The kaftan is always worn with a headscarf or head tie. During a wedding ceremony, the bride's kaftan is the same color as the groom's dashiki. The traditional color for West African weddings is white. The most popular non-traditional color is purple or lavender, the color of African royalty. Blue, the color of love, is also a common non-traditional color. Most women wear black kaftans to funerals. However, in some parts of Ghana and the United States, some women wear black-and-white prints, or black and red.
The kaftan is the most popular attire for women of African descent throughout the African diaspora. African and African-American women wear a wide variety of dresses, and skirt sets made out of formal fabrics as formal wear. However, the kaftan and wrapper are the two traditional choices. It is not uncommon for a woman to wear a white wedding dress when the groom wears African attire. In the United States, African-American women wear the boubou for special occasions.
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Evolution of Nigerian Fashion
Fashion in the 1960s was characterized by women dressing in both fitted and oversized attires as well as mini skirts and dresses with simple local hairstyles and Afros. While the men wore bright-coloured shirts in different patterns and marched with tight skinny pants. The 1980s had women wearing maxi skirts and men oversized suits with huge permed hair. The fashion trend started to experience a significant change in the 1990s with the influence of America with miniskirts, scousers and native boubous for women. Men also had a difference in the trouser fashion with narrower hems and loosely fitted around the hip and waist region.Currently, Nigerian fashion continues to change and evolve with the incorporation of traditional fabrics and bold, colourful designs to make different styles.
Nigerian Fashion Designers
Several Nigerian designers have made significant contributions to the fashion world:
- Shade Thomas (later Thomas-Fahm) became Nigeria's first widely recognized fashion designer. After studying fashion design in England in the 1950s, prior to Nigerian independence, she set up a shop at the Federal Palace Hotel in Lagos and a garment factory at the Yaba Industrial Estate.
- Lisa Folawiyo uses traditional West African fabrics to produce modern tailored designs. She launched her label, Jewel by Lisa, in 2005. She also produces custom luxury prints and accessories, such as jewelry and purses.
- Omotoso Oluwabukunmi runs TWIF Clothing; the name is an acronym of The Way It Fits.
Cultural Significance and Symbolism
The rich cultural diversity in Nigerian society has a huge influence on the Nigerian fashion world, with the various elements of the varying ethnic groups showcasing their unique designs and customs even in the modern-day.
Although there have been a lot of changes in the Nigerian fashion world, there is still a retention of its unique beauty and originality.
Table of Traditional Attire by Ethnic Group
This table summarizes the traditional attire of various ethnic groups in Nigeria, highlighting the diverse styles and symbolism associated with each.
| Ethnic Group | Attire | Symbolism |
|---|---|---|
| Yoruba | Agbada, Iro and Buba, Gele, Aso-Oke | Status, femininity, cultural identity, heritage |
| Igbo | Isiagu, George fabric, Akwete | Royalty, elegance, indigenous artistry |
| Hausa-Fulani | Babban Riga, Jalabiya, Kaftan | Dignity, spiritual devotion, cultural identity |
| Edo | Coral beads, white hand-woven cloth | Divine kingship, purity, family honor |
| Ijaw | Long-sleeved shirt, George wrapper | Identity, cultural pride, heritage |
| Ibibio | Asymmetrical wrapper, embroidered shirt | Leadership, cultural heritage, community respect |
| Efik | Victorian ball gown, coral beads | Family wealth, cultural pride, historical European connections |
Nigerian men have a rich variety of traditional attire that reflects the country’s diverse cultural heritage.
- Agbada: The grand flowing robe worn over buba and sokoto. This three-piece ensemble is the epitome of Nigerian formal wear, perfect for weddings, chieftaincy ceremonies, and important celebrations.
- Dashiki: A colorful loose-fitting shirt featuring intricate embroidery around the neckline.
For less formal occasions, Yoruba men might wear a simple buba and sokoto combination.
Wearing Traditional Nigerian Outfits with Respect
It’s perfectly fine to wear traditional Nigerian outfits as long as you do so with cultural respect and understanding. Always check with them to ensure your outfit fits the dress code. Custom tailoring typically takes 2-4 weeks, depending on the complexity of the design.
Care Instructions for Traditional Fabrics
- Adire: Hand wash separately in cold water as color may bleed initially.
- Velvet (Isiagu): Dry clean and brush gently to maintain its texture.
HOW TO TIE ROUND GELE FOR YOURSELF
Tying a gele-a traditional Nigerian headwrap-takes practice. You can find plenty of step-by-step tutorials on YouTube.
