In Iseyin, a sleepy town in southwest Nigeria, shady spots under trees, makeshift sheds and narrow alleys serve as aso-oke production sites. This is a handwoven fabric typical of the Yoruba ethnic group.
Demand for the material has recently increased significantly at home and abroad. This is fueled by Nigerians living abroad and the growing global popularity of the country’s fashion and music culture. Nevertheless, the craftsmen who make it resist mechanization. They insist that the handwork makes the fabric unique.
On a sultry morning under the scorching sun, meters of yarn and freshly woven fabrics stretch across a dusty square. This is surrounded by weathered sheds where weavers work on wooden looms.
Young people, including college graduates, flock to Iseyin to learn a craft that has become an economic livelihood for many.
Franscisco Waliu sat at his wooden loom with a bare torso and shiny, tattooed biceps. The steady click-clack filled the air as he wove a cream and blue fabric. A decade ago, Waliu gave up his career as a singer in Lagos nightclubs to learn aso-oke weaving. He admits he initially struggled with the physical demands of weaving, but doesn’t regret his move.
“Now I make a good living from weaving aso-oke and I am happy,” the 34-year-old told AFP.
Old looms, new generations
Aso-Oke, which loosely translates to ‘the fabric of the highlands’, is a thick, often colorful fabric. It has become a staple in Nigeria, the fashion capital of Africa. It is used for traditional ceremonial wear as well as fashion statement garments and casual wear. Stripes are sewn onto other types of fabric, adding a touch of color and class.
Meghan Markle wore an Aso Oke wrap and shoulder scarf while visiting Nigeria with her husband, Britain’s Prince Harry, two years ago.
In Iseyin, the steady rhythm of the old wooden looms is the soundtrack of a tradition passed down through generations. Aso-Oke remains both a cultural symbol and a marker of identity. Previously, production included the preparation of threads made from cotton or silk. The fibers were cleaned, spun into yarn and dyed, often using traditional methods. They were then stretched on looms. The color selection was limited back then.
“Today, weavers are increasingly relying on ready-to-weave threads in a variety of colors, which are ‘mostly imported from China,'” said 42-year-old weaver Abdulhammed Ajasa.
The craftsmen work for hours stretching threads on looms to create narrow, densely patterned strips. These are later sewn together to form wider fabric panels for clothing and accessories.
“This is what Iseyin is known for,” said 35-year-old Kareem Adeola from his loom. “We inherited it from our ancestors.”
While many weavers in Iseyin are middle-aged men, younger people like Waliu are entering the craft. They bring new ideas and skills. Some commission graphic designers to develop new designs.
‘Destined to be handwoven’
Despite increasing demand, the craft has largely remained true to its original roots. Attempts to mechanize production have been limited or largely failed.
“When you weave Aso-Oke by machine, it doesn’t come out as beautiful as when woven by hand,” Adeola said while weaving a yellow-olive colored piece. “Others have tried it and it didn’t work. It is designed by God to be woven by hand.”
Sticking to traditional weaving methods requires effort and poses health risks from sitting for long periods, according to a weaver. Nevertheless, the weavers insist that the careful process is what determines the authenticity of the fabric.
Traditionally, the fabric was worn by Nigeria’s rich and ruling class on special occasions. Today it adorns designer studios in major cities and is shown on the catwalks in London and Paris. It is also made into shoes, bags and wallets.
“It is no longer reserved for special occasions,” 45-year-old mathematician Isiaq Yahaya told AFP.
Global opportunities
Designers say Aso-Oke’s growing international presence has made the fabric a global material. However, this has also raised concerns about cultural ownership.
“There is nothing wrong with one’s culture being supported by other people,” said Ayomitide Okungbaye. The 31-year-old creative director of Lagos-based Tide Chen has previously exhibited Aso Oke designs in London. “It becomes problematic when there is misappropriation or people start to claim ownership.”
Adire, another Yoruba fabric made using the batik technique, is already suffering the effects of Chinese counterfeiting.
This article was created using digital tools translated.
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