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]).

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 ( ).

Hairstyles are used to determine a person's status in the society, as chiefs, common folks, chief's wives and the wives of the Ọba all wear different hairstyles. We have Okuku, Ikpe~okhokho, Idu~akpata

The Umozo is a type of sword with a short, broad, and curved single-edged blade that was used by warriors during warfare (Bradbury 1973, p. 260; Osadolor 2001, p. 109). According to Benson Osadolor (2001, p. 109), it is remembered in Benin City as one of the oldest kinds of weapons used in warfare and “was better for the attack than defence”.

Uhanbọ (bows) and Ifẹnmwẹ (arrows) were produced by members of the Iwifenmwen (guild of archers and manufacturers of poisoned arrows). Arrows, particularly poisoned arrows, were used in warfare. When depicted on Emwin Arhe (royal treasures), Uhanbọ and Ifẹnmwẹ are believed to represent Ake, the deity of archery. According to Aisien (in Plankensteiner 2007, cat. no. 218, p. 438), Ake was an expert marksman who lived during the reign of Ọba Ẹwuare (c. 1440–1473 AD) and is credited with inventing the poisoned arrow used in hunting and warfare.

Ẹzuzu (round hand fans) are usually carried by attendants to the Ọba or Iy’Ọba. On the Ama-Ẹrọnmwọn (bronze relief plaques), male attendants to the Ọba carry fans, whereas on Urhotọ (altar tableaux), female attendants carrying fans are depicted flanking the Iy’Ọba. Ẹzuzu connote the status of both the person being fanned and the holder, who is usually an attendant fanning the superior Ọba or Iy’Ọba. Usually, male attendants—members of the Emada—would be represented with the Ọba, while young women would attend to the Iy’Ọba. Ẹzuzu have an important function in cooling; however, the wafting of the fans can also calm spiritual energy, thus making the fan a symbol of peace ( ).

A further symbolic use for the Ẹzuzu includes blowing medicine across the surface of a fan and using mirrored fans by ritual specialists to make predictions about the future ( ). The symbolic importance of fans in Edo belief is reflected in their use as one of a small group of inanimate objects that are the focal subjects of some Ama-Ẹrọnmwọn.

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.

Ikele is a single stiff string or circlet of coral beads. It is worn by chiefs, such as senior chiefs who have been made Enigie (Inneh 2007, p.107), and is a sign of nobility and rank. The Ikele may only be worn once the Ọba has conferred a person with the right to wear the beads, and the Ikele must always be worn when appearing before the Ọba. According to Ekhaguosa Aisien (in Plankensteiner 2007, cat. nr. 301, p.512) when a chief is wearing the Ikele, they may not eat nor drink in public, and they “constitute an embassy of the Benin Palace wherever he might be.”

Many different kinds of Ẹrhu (headwear) are worn by the various figures depicted in the imagery of Benin royal artefacts. Through comparisons with ceremonial regalia still worn by chiefs and members of the royal court, including the Ọba himself, some Ẹrhu have been used to identify the different figures depicted. For example, the conical hat worn by high-ranking town chiefs as part of the pangolin regalia, still worn at ceremonies, is also visible on figures on some Ama-Ẹrọnmwọn (bronze relief plaques) ( ). Other examples include the distinctive bell-shaped helmet associated with the Iyasẹ ( ). Figures who wear a shallow-brimmed hat and a cross have been identified as Ewua or Ohensa priests ( ).

Different kinds of helmets and headwear were worn by warriors, reflecting the many different ranks and roles in the army at any given time, as well as developing trends that were in turn represented on Emwin Arhe created at different points in time. Warrior figures wearing helmets covered in cowrie shells were carved on the Aken'ni Elao (carved tusks) (Blackmun 1984, p. 330), yet on the brass Ama, warriors are sometimes depicted wearing helmets made from crocodile hide or horsehair with a front plate (Osadolor in Plankensteiner 2007, cat. no. 238, p. 457). Helmets made from horsehair with a front plate are one of the more common types represented on the Ama-Ẹrọnmwọn, and the demand for black horse tails was noted by both Portuguese and British traders during the late 17th and 18th centuries (Osadolor in Plankensteiner 2007, cat. no. 238, p. 457). Other warriors depicted on Ama-Ẹrọnmwọn wear helmets with a rounded top, chinstrap, and sometimes also a feather tucked into the left side. These types of headwear are known as Ẹrhu Iyokuo.

Attire worn for battle also differed from that worn for ceremonial occasions, such as the pointed headwear worn in combination with an ornate leopard-head tunic by war chiefs. Depictions of figures wearing this attire on brass Ama-Ẹrọnmwọn (bronze relief plaques) have been interpreted as representing the war chiefs’ participation in the war-ritual Isiokuo festival (Osadolor in Plankensteiner 2007, cat. no. 238, p. 457).

Another distinctive form of headwear is that worn by figures identified as leopard hunters on the brass Ama-Ẹrọnmwọn (relief plaques). These large helmets cover almost all of the leopard hunters’ faces except for their noses, eyes, and upper lips, and are made of an unusual material that remains unidentifiable (Plankensteiner 2007, cat. nos. 68–69, p. 322).

European figures are also portrayed with distinctive hats, such as Portuguese three-cornered hats. These depictions reflect the artists’ keen observation and highlight the impact of European trade and military assistance (Ezra 1992).