Crowned in Culture – Part III: East Africa’s Draped Grace

East Africa wears its heritage like a crown—bold, graceful, and full of story. Every wrap, bead, and weave tells a story of lineage, pride, and artistry that has been passed down through generations.  In this third part of Crowned in Culture, we journey through East Africa’s headwear traditions, where fashion meets history and elegance speaks the language of heritage.

Shash — A long, soft cotton scarf worn by Ethiopian and Eritrean men, often wrapped around the head or shoulders during religious and cultural occasions. Traditionally white with woven ends, it represents spirituality, humility, and pride. In modern times, Ethiopian designers have reimagined the Shash in colorful threads and metallic accents for contemporary fashion shows in Addis Ababa.

Netela — An elegant wrap worn by women, made from fine handwoven cotton with colorful borders called Tibeb. It’s draped gracefully over the head and shoulders, symbolizing modesty and devotion. On special occasions, women choose Netelas with gold or vibrant embroidery, transforming this spiritual garment into a statement of style and cultural elegance.

Kofia — Perhaps the most recognizable East African crown, the Kofia is a short, cylindrical cap worn by Swahili men. Embroidered with intricate geometric or floral motifs, Kofias are traditionally handmade in Zanzibar and Mombasa. The designs reflect both Islamic artistry and African craftsmanship, making the Kofia a symbol of piety and polished elegance—perfect for prayers, weddings, or everyday wear.

Kanga (Leso) Headwrap — An iconic East African garment, especially popular in Kenya and Tanzania. Made from brightly colored cotton fabric, they often feature bold patterns and Swahili sayings that convey messages of wisdom, humor, or social commentary. When worn as headwraps, Kangas and Lesos serve practical and expressive purposes—protecting from the sun, marking cultural identity, and celebrating personal style with every fold and phrase.

Gabi Wrap — A symbol of warmth, dignity, and tradition, it is a thick, handwoven cotton wrap worn by men and women in Ethiopia, especially in the highlands. Made from four layers of soft cotton, it provides comfort against the cool mountain air while serving as a mark of respect during gatherings, prayers, or ceremonies. Gabi’s simplicity carries quiet elegance—its pure white weave often accented by subtle colored borders—reflecting Ethiopian craftsmanship and cultural pride. 

Garbasaar — Flowing with grace and tradition, it is a large, lightweight shawl or scarf worn by Somali women, draped elegantly over the head and shoulders. Often made from chiffon or cotton and dyed in vibrant hues or soft pastels, it serves as a modest covering and a statement of beauty. Beyond its practicality, the Garbasaar embodies cultural identity and feminine pride—worn during weddings, Eid celebrations, and daily life alike.

Beaded Crowns — Colorful symbols of pride and status, especially among the Maasai, Samburu, and Turkana. Made from vibrant glass beads in red, blue, white, and yellow, they are worn during ceremonies to signify beauty, courage, and heritage—each intricate design reflecting the artistry and identity of the wearer’s community.

East Africa has spoken—through embroidered caps, towering wraps, and threads that echo ancestry. These regal forms don’t just adorn; they affirm. With Part III now behind us, we turn toward the continent’s pulse: Central Africa, where headwear becomes heritage and a symbol of identity.

East Africa doesn’t just wear tradition; it styles it—transforming sacred heritage into statements of power, poise, and beauty. - La Djalobienne Eton

Works Cited

“Kanga: Cloth and Culture in East Africa.” Smithsonian National Museum of African Art, 2013,
https://africa.si.edu/exhibitions/kanga-cloth-and-culture-in-east-africa.

Bishara, Fahad Ahmad. A Sea of Debt: Law and Economic Life in the Western Indian Ocean, 1780–1950. Cambridge University Press, 2017.

Kawira, Lydia. “The Beauty of the Kofia: Swahili Identity and Islamic Influence in Coastal East Africa.” Journal of African Material Culture Studies, vol. 12, no. 2, 2021, pp. 45–57.

Kriger, Colleen E. Cloth in West African History. Rowman & Littlefield Publishers, 2006.

Owino, Agnes. “Threads of Faith: Ethiopian Textiles and Spiritual Expression.” African Arts, vol. 53, no. 1, 2020, pp. 34–47.

Spring, Christopher. African Hats and Hairstyles. British Museum Press, 1995.

“Maasai Beadwork and Identity.” National Museums of Kenya, 2022,
https://www.museums.or.ke/maasai-beadwork.

Tadesse, Abebe. “Textiles of Ethiopia and Eritrea: Tradition and Modernity.” Textile Society of America Symposium Proceedings, 2018.

Zawose, Rose. “Leso and Kanga Expressions in Swahili Society.” Tanzania Cultural Heritage Review, vol. 8, no. 3, 2019, pp. 22–30.

Wikipedia. “Kofia (hat).” Wikipedia, Wikimedia Foundation, last edited 5 October 2025,
https://en.wikipedia.org/wiki/Kofia_%28hat%29

Crowned in Culture – Part II: West Africa’s Royal Splendor

In Crowned in Culture – Part II: West Africa’s Royal Splendor, we enter a realm where headwear is not just worn—it reigns. West African headwear is a bold expression of status, celebration, and ancestral pride. These sculpted silhouettes and vibrant fabrics speak volumes about the wearer’s role, heritage, and artistry, forming a visual language that has crowned generations with elegance and meaning.

Gele – A traditional headwrap of Yoruba women originates from the Yoruba people of southwestern Nigeria, as well as parts of Benin and Togo. It is now embraced by many Nigerian communities and is known for its striking, bold, and elegant forms. Often stiffly starched or structured, it is tied into dramatic shapes for weddings, festivals, and rites of passage, using richly textured fabrics such as Aso-Oke, Damask, or Sego. In modern fashion, ready-made versions known as Auto-Gele have emerged, yet the Gele continues to stand as a powerful symbol of style, cultural identity, and social status in West Africa.

Fìlà – A cornerstone of Yoruba men’s attire in Nigeria, encompasses a family of caps that reflect both cultural identity and social standing. Crafted from Aso-Oke or other woven textiles, Fìlà appear in several distinct styles, including the Abetí Àjà—literally “dog-ear” cap with its triangular flaps—the Gobi, a rounded cylindrical form, and other neatly folded variations. Beyond everyday wear, Fìlà often signals formality, ethnicity, and rank, with many elaborately designed ceremonial examples preserved in museum collections.

Hausa/Fulani caps (Hula, Tangaran, Zanna Bukar) – The embroidered, brimless cylindrical caps—known as Hula, Bama cap, Tangaran, or Zanna Bukar—originate from the Hausa and Fulani peoples of northern Nigeria, Niger, and the wider Sahel region. Crafted with intricate patterns that vary by town and artisan, these caps are traditionally worn by men alongside flowing robes such as the agbada or baban riga. Beyond their decorative appeal, they serve as markers of regional identity and often reflect associations with Islamic learning and cultural pride.

Fulani (Wodaabe) – A conical hat embroidered, brimless, cylindrical, originating from the Hausa and Fulani peoples of northern Nigeria, Niger, and the wider Sahel region. Crafted with intricate patterns that vary by town and artisan, these caps are traditionally worn by men alongside flowing robes, such as the Agbada or Baban Riga. Beyond their decorative appeal, they serve as markers of regional identity and often reflect associations with Islamic learning and cultural pride.

Red Cap – Also known as Okpu among the Igbo people of southeastern Nigeria - is a symbol of honor, wisdom, and authority. Worn by titled men, elders, and chiefs, the cap signals status and commands respect within the community. Among its distinct forms is the Okpu Agu, also known as the “leopard hat,” distinguished by its black, white, and red stripes that symbolize the leopard’s spots and represent bravery, valor, and honor. By contrast, the Okpu Ododo/Mme, crafted in bold, unadorned red, represents purity, dignity, and social prominence. These caps are not merely accessories, but powerful symbols of lineage, heritage, and the enduring pride of Igbo culture.

Ichafu – A vibrant and culturally significant headwrap worn by Igbo women, especially during traditional ceremonies, festivals, and important social gatherings. Typically made from richly colored and patterned fabrics like Ankara or George, the Ichafu is tied in elaborate styles that reflect both personal taste and regional identity. Beyond aesthetics, it symbolizes dignity, respect, and marital status—married women often wear it as a mark of honor and esteem. The art of tying an Ichafu is passed down through generations, blending fashion with heritage in a striking display of Igbo pride.

Ritual/ceremonial headpieces and crowns (regional varieties)

Below are four representative ritual / ceremonial headpieces and crowns from West Africa — quick IDs and regional notes so you can use these in a post or moodboard.

1. Yoruba beaded crown (Ade) — Intricately beaded, often with symbolic motifs and fringe; worn by Yoruba kings (Obas) at coronations and public ceremonies.

2. Igbo red/beaded chief’s cap (Okpu / Ozo-style caps) — Velvet or cloth cap decorated with beads or gold motifs; marks titleholders and important male elders in Igbo society.

3. Akan / Akan-influenced crown (Ghana) — Domed caps often decorated with gold appliqués or symbols; associated with Akan chieftaincy and regalia (used in formal court and funerary rites).

4. Masked/ritual headdresses from Benin / West African masquerade traditions — Tall, colorful, textile- and cloth-wrapped ensembles used in festivals, masquerades, and ancestor/secret-society ceremonies. (example group photo of masqueraders.)

West Africa’s headwear dazzles with its sculpted splendor—each wrap, crown, and silhouette a celebration of heritage, artistry, and pride. As we close Part II of Crowned in Culture, we prepare to journey eastward, where elegance takes on new forms. 

Headwear is how West Africa wears its soul — bold, radiant, and unforgettable. - La Djalobienne Eton

Works Cited

• Aaron International. George Fabric Collection. Aaron International African Fabrics, 2024, https://www.aaroninternational.com/george.
• Akintoye, S. A. A History of the Yoruba People. Amalion Publishing, 2010.
• Bascom, William. “The Yoruba of Southwestern Nigeria.” African Arts, vol. 3, no. 4, 1970, pp. 24–35.
• Cole, Herbert M., and Chike C. Aniakor. Igbo Arts: Community and Cosmos. UCLA Museum of Cultural History, 1984.
• Cole, Herbert M., and Doran H. Ross. The Arts of Ghana. UCLA Museum of Cultural History, 1977.
• Empire Textiles. “George Fabric: A Vibrant Staple of West African Wear.” Empire Textiles Blog, 2023, https://www.empiretextiles.com/blog/portfolio/george-fabric-a-vibrant-staple-of-west-african-wear.
• Frempong, Alexander. “Symbols of Power: The Akan Chieftaincy Regalia.” Ghana Museums and Monuments Board. (2021).
• Guardian Nigeria. “Evergreen George: The Enduring Fabric of Status.” The Guardian Nigeria, 12 Aug. 2023, https://guardian.ng/saturday-magazine/evergreen-george.
• National Commission for Museums and Monuments (Nigeria). Royal Regalia of Nigeria: Symbolism and Identity. Exhibition Catalogue, Abuja, 2019.
• Nwosu, M. O. Igbo Identity and the Red Cap Tradition. Nsukka: University of Nigeria Press, 2016.
• Ojo, Joseph A. Yoruba Beaded Crowns and Ritual Significance. Ibadan University Press, 2015.
• Ross, Doran H. Wrapped in Pride: Ghanaian Kente and African American Identity. UCLA Fowler Museum, 1998.
• Smith, Mary L. “Masquerade Aesthetics in Benin and the Yoruba Regions.” African Arts, vol. 44, no. 2, 2011, pp. 48–57.
• Wikipedia contributors. “Fìlà (Yoruba cap).” Wikipedia, Wikimedia Foundation, last modified Sept. 2025, https://en.wikipedia.org/wiki/Fila_(cap).
• Wikipedia contributors. “Gele (head tie).” Wikipedia, Wikimedia Foundation, last modified Sept. 2025, https://en.wikipedia.org/wiki/Gele.

Crowned in Culture – Part I: North Africa's Desert Elegance

In Crowned in Culture – Part I: North Africa’s Desert Elegance, we begin our journey through Africa’s headwear heritage in a region where tradition meets transcendence. North African headwear reflects centuries of spiritual devotion, desert resilience, and refined artistry. This installment unveils how these coverings speak volumes about identity, belief, and beauty in motion.

Tagelmust / Cheche (Tuareg Litham) – Also known as the cheche, originates from the Tuareg (Berber) peoples of the central Sahara and is widely worn across Saharan and Sahelian groups. It is a long veil or turban made of cotton, often dyed intense indigo, wrapped around the head and face to serve as a head covering and protective veil. Typically several meters in length, it is worn primarily by Tuareg men as defense against the harsh desert winds, sand, and sun, while also acting as a powerful symbol of identity and social status. The indigo dye, which can rub off onto the skin, has given rise to the Tuareg’s poetic nickname, the “Blue Men of the Sahara.”

Fez / Tarboosh – Named after the Moroccan city of Fès, it has its origins in Ottoman-influenced North Africa and spread widely through Ottoman and medieval trade networks. This brimless felt cap, typically red and shaped like a truncated cone or cylinder with or without a tassel, became a hallmark of urban style, official attire, and pan-Islamic identity. In North Africa, it carried deep associations with authority and cosmopolitanism, though its meaning and usage evolved significantly through colonial encounters and the post-colonial era.

Chechia – Most closely associated with Tunisia but found across the Maghreb - traces its roots to Central Asian and Transoxian influences that spread into North Africa. This soft, low, round cap—resembling a flat beret—is traditionally knitted or felted from wool and dyed a distinctive vermilion red. The Tunisian version is particularly renowned and is often worn alone or beneath a turban, with its production sustained by long-standing artisanal workshops such as those in Souk Ech-Chaouachine in Tunis.

Taqiyah – Widely known in West Africa as the Kufi, it is an Islamic devotional cap with numerous local variations across North and West Africa. This short, rounded skullcap is worn by Muslim men during prayer, everyday life, and special occasions, serving both spiritual and cultural purposes. In West Africa, kufis are often richly decorated with embroidery, intricate knit patterns, or vibrant textiles, transforming the simple skullcap into a marker of religious devotion, cultural pride, and personal style.

Nubian headwraps –  Traditionally worn in the Nile Valley regions of southern Egypt and northern Sudan, they are long, skillfully wrapped cloths that serve both practical and cultural purposes. Often styled in layers or elaborate folds, they protect against the sun while also reflecting elegance and identity. Historically associated with dignity, pride, and heritage, these headwraps are integral to Nubian cultural expression, symbolizing a connection to ancestry and the continuity of traditions passed through generations.

Imamah – A long-established head covering across Islamic lands, firmly rooted in Maghreb and Sahelian societies through centuries of trade and religious exchange. Made from large lengths of cloth wound around the head—often layered over a taqiyah—it is worn by scholars, religious leaders, nomads, and pastoral communities. Styles and names vary by language and culture, but across contexts, the turban serves the dual purpose of shielding against the sun and symbolizing social or religious status.

North Africa’s headwear tells stories woven through faith, climate, and centuries of cultural exchange. As we close Part I of Crowned in Culture, these veils and turbans remind us that identity is not just worn—it’s honored, inherited, and proudly displayed. Up next in our five-part journey through Africa’s headwear heritage, we turn to the vibrant styles of West Africa.

North Africa teaches us that true royalty rests not in metal or gem, but in the fabric of identity. - La Djalobienne Eton

Work Cited

• Encyclopedia Britannica. “Fez (Tarboosh).” Encyclopedia Britannica, https://www.britannica.com/topic/fez-hat.
• Encyclopedia Britannica. “Tarboosh (Headgear).” Encyclopedia Britannica, https://www.britannica.com/topic/tarboosh.
• Tagelmust. Wikipedia: The Free Encyclopedia, https://en.wikipedia.org/wiki/Tagelmust.
• Chechia. Wikipedia: The Free Encyclopedia, https://en.wikipedia.org/wiki/Chechia.

Sabra Fabric from Morocco: Africa’s Luxurious Cactus Silk

When you think of African textiles, bold patterns and vibrant colors come to mind. But tucked away in North Africa is a fabric that’s soft, silky, and quietly luxurious—Sabra fabric, also known as cactus silk. If you’ve never heard of it before, you’re about to discover a textile that beautifully blends tradition, sustainability, and timeless style.

What Exactly Is Sabra Fabric?

Sabra fabric originates from Morocco, where artisans have perfected the art of transforming fibers from the Agave cactus plant into silky threads. Don’t be fooled by the name “cactus”—this fabric is as smooth as silk, with a subtle sheen that makes it look effortlessly elegant.

The process is entirely natural: fibers are hand-harvested, dyed with earthy pigments, and then woven into rich textiles that can be plain or decorated with Berber aesthetic patterns.

Why You’ll Love Sabra in Your Closet

Here’s why fashion lovers around the world are falling for Sabra:

✨ Soft & breathable – Perfect for warm weather.

✨ Eco-friendly – Made from natural cactus fibers and dyes.

✨ Durable – Strong enough to last for years while staying beautiful.

✨ Hypoallergenic – Gentle on even the most sensitive skin.

It’s basically a luxury you can feel good about.

A Fabric With Meaning

In Moroccan tradition, Sabra is not only valued for its appearance but also carries significant cultural symbolism. Embroidered motifs often represented blessings like protection, fertility, or good fortune. Wearing or owning Sabra was a way of keeping heritage alive, with each thread telling a story passed down through generations.

Where You’ll Spot Sabra Today

Sabra has expanded its influence beyond North Africa, impacting fashion and design worldwide. You’ll find it in:

Fashion pieces – flowing robes, scarves, and handbags.
Home décor – from vibrant throw pillows to stunning wall hangings.
Accessories – clutches, belts, and even jewelry wrapped in cactus silk.

It’s the kind of fabric that can make a simple outfit feel rich or transform a living space into a cultural statement. 

The Future of Sabra Fabric

As the world moves toward sustainable fashion, Sabra fabric is well-positioned to thrive. It’s eco-conscious, stylish, and meaningful, making it a favorite for designers who want to honor tradition while appealing to modern tastes.

When you wear or decorate with Sabra, you’re not just choosing a textile—you’re embracing a piece of Africa’s creative spirit.

Sabra fabric is where African tradition meets modern style—soft, sustainable, and full of meaning. From Morocco’s looms to global runways and homes, this cactus silk proves that fashion can be both beautiful and eco-friendly.

Sabra fabric carries the softness of silk and the strength of tradition. - La Djalobienne Eton

References

1. The Truth About Moroccan Sabra: Everything You Ever Wanted To Know About the Mythical Cactus Silk (Agave Fiber) — Anou Cooperative Blog. The Anou Cooperative Blog
2. Cactus Silk (Moroccan Sabra) — Moroccanzest.com Moroccanzest
3. Moroccan Sabra Cactus Silk in Home Decor — Moroccan Corridor blog. Moroccan Corridor®+1
4. The Story of Cactus Silk — Res Ipsa USA. RES IPSA+1
5. Textile Spotlight: Sabra Silk — Centsational Style. centsationalstyle.com
6. THE “AUTHENTIC MOROCCAN” SABRA FABRIC — Authentic Moroccan. Authentic Moroccan Ltd
7. ISSUE 29: From Cactus to Silk — Souk Irathman Journal. SOUKi RATHMAN+1
8. Everything You Need to Know About Vegetable Silk Fabric — Atlas Weavers. atlasweavers.com
9. Sabra Silk: A Sustainable Moroccan Fabric — YazMag. yazmag.ma
10. Cactus silk — Food and Travel Australia (Morocco feature) foodandtravel.com.au