The Colorful Cloth: West Africa Headwear

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.

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