Odigba (coral-beaded collar) is a rigid neck collar made of coral beads, worn as part of ceremonial attire only by senior princes who have been made Enigie (Inneh 2007, p. 107). Although Ibafe (2007, p. 43) argued that the Odigba was introduced during the Ogiso period (c. 900–c. 1170 AD) by Ogiso Ere, along with other symbolically important Emwin Arhe, such as the Ada (ceremonial sword) and the Ẹbẹn (ceremonial sword), this seems unlikely, as coral was only introduced in the late 15th century through trade with Portuguese merchants.

Abuwa ornaments are made from red ododo cloth and are a symbol of wealth (Inneh 2007, pp. 110–111). ‘Abuwa’ is understood to translate directly as “hand of wealth” (Ezra 1992, p. 313). The Abuwa is worn at the waist by high-ranking chiefs as part of their ‘pangolin skin’ ceremonial regalia (Inneh 2007, p. 110) and continues to be worn today.

Ẹguẹn are worn by the Ọba and chiefs as part of their Ehaengbehia, the full regalia worn during special ceremonies. Ẹguẹn are worn around the ankles or calves and can be made from beads, ivory, brass or even iron. A separate category, called Elubase, refers to those which have integrated rattles or crotal bell attachments, however both are described as anklets in English.

As early as 1899, Read and Dalton commented that the anklets worn by figures shown on plaques were a signifier of high rank. Today, anklets continue to signify social status, with the Ọba wearing many ivory and coral anklets stretching up his calves as part of his ceremonial regalia (Okpokunu, Agbontaen‐Eghafona & Ojo, 2005, p.162[106]). However, anklets were not the preserve of the Ọba alone, and different kinds and quantities were worn by other members of the royal court and Edo people. For example, Flora Kaplan (2006, p.85[107]) described a photograph of Iy’Ọba Aghahowa N’Errua, who took her title in 1981, in which she wears coral anklets as one of a number of insignia of her newly invested high rank. In contrast, brass anklets would be worn by young male attendants to the Ọba (see attendant figure), such as sword bearers or Emada pages (Kaplan, 2006, p.90[107]).

Ukpọn is the Edo term for cloth (Aigbe 1985, p. 55; Ọbazee 2025, p. 542) and is used here to refer to the wrappers or kilts worn by many of the figures depicted on the Emwin Arre (royal treasures). The cloth worn around the waist may be plain, but it is more commonly richly decorated with motifs associated with the monarchy, power, and wealth, such as the Ọba'nui (infinity symbol) and Uhunme Ikpotoki (Portuguese heads).

The Benin Kingdom was renowned for its textile production, both for local use and for trade ( ). Within the royal court, members of the Owina n’Ido produced ukhuen cloth for the Ọba and other members of the court, who wore it as wrappers during festivals and ceremonies ( ).

Alongside locally produced textiles, imported cloth was also an important commodity in the Benin Kingdom’s trade networks. Textiles were exchanged with neighbouring production centres, particularly Ijebu ( ), while European traders brought silks, woollens, linens, and cotton from Europe and Asia from the 15th century onwards ( ).

Ikoro (armcuffs) are made from different materials using different techniques, including brass sheet, cast bronze, and ivory. They were crafted by different guilds depending on the material used: artists of the Igun-Ẹrọnmwọn cast them in brass or hammered and incised them from brass sheet, whereas artists of the Igbesamwan carved ivory Ikoro. Ikoro were made in different qualities, from rather simple examples with abstract geometric decoration to finely carved ivory examples with brass or copper inlays. Ikoro are worn in pairs on both forearms by chiefs and the Ọba during ceremonies and festivals. Figures depicted on the Emwin Arhe (royal treasures) are often shown wearing such pairs.

Ebe Amẹ refers to a wide variety of plants, particularly the leaves of the water fern or river leaf, found in riverine areas of southern Nigeria ( ). Artists from the Igun-Ẹrọnmwọn used these as a decorative motif in the background of most Ama-Ẹrọnmwọn (bronze relief plaques). The petals of the Ebe Amẹ, like the points of the ἀghàdàgháda (crossroads), represent the four cardinal directions: north, east, south, and west. The number four plays a foundational role in the Edo calendar, which is structured around four market days ( ).