The Ukpẹ ọkhọkhọ is a distinctive hairstyle and coral-beaded headdress worn by the Iy’Ọba. The headdress includes a projection called the ‘ede Iy’Ọba’, which indicates that “her spiritual potentialities are closer in quality to those of her ruling son than they are to the powers of the nobles” (Aigbe Eson and Ihama Iguneronmwon in Blackmun 1991, p. 60). The Iy’Ọba’s hairstyle and headdress are meant to resemble ukpe-okhue, or the curved parrot’s beak (Kaplan 1993).

Barbara Blackmun (1991, p. 60) argued that “Benin art is multivocal, and any depiction of the Iye Ọba [sic] is a reference to Idia. Every woman who holds the office of lye Ọba plays the part of Idia, the ideal model of an Ọba’s mother.” Wearing the Ukpẹ ọkhọkhọ is one of the ways the Iy’Ọba plays the role of Idia.

In the 16th century, Ọba Ẹsigie established the title of Iy'Ọba (Queen Mother) in honour of his mother, Iy'Ọba Idia, for the crucial role she played in the Benin–Idah War (1515–16). She is often described as “the only woman who went to war” ( ).

The Iy'Ọba can usually be identified by her distinctive curved, conical hairstyle, known as Ukpẹ ọkhọkhọ, which is said to have been introduced by Iy'Ọba Idia (Kaplan 1993, p. 58). In addition, the Iy'Ọba was permitted to wear certain items of attire otherwise reserved for the Ọba, such as the Ewu ivie (coral-beaded shirt) and Ukpan obọ eva (crossed coral-beaded baldrics), as well as regalia associated with senior chiefs, including the Odigba (coral-beaded collar) and Udahae (coral-beaded forehead band) ( ).

Representations of the Iy'Ọba appear on ivory Emwin Arhe (royal treasures), including the five famous Uhunmwu-Ẹkuẹ (pendant masks) believed to depict Iy'Ọba Idia, as well as on a number of Aken'ni Elao (carved altar tusks). She is also represented in brass and bronze, including on Ikẹgobọ (altars to the hand) and Urhotọ (altar tableaux) made for Iy'Ọba shrines and altars ( ). In these representations, the Iy'Ọba is often accompanied by female attendants who form part of her retinue.

Ikharo are linear keloid markings depicted on the forehead of Uhunmwu-Elao (commemorative heads) in groups of three or four above each eye. The exact meaning of Ikharo is debated; some have argued that they relate to the gender or tribal identification of the person on whom they are depicted. For example, has argued that they were worn only by men; however, their use in depictions is not consistent with this, and the Iy’Ọba are also shown wearing them. argued that they are instead a stylistic feature employed by artists that varied over time.

The naming of these markings differs between publications. For example, describe these markings as “agbaguda n'ehae”, which they write translates literally as “blades of the forehead”. However, later went on to call these “ikharo”, as used here. referred to these forehead markings as ikharo, meaning “tribal mark [of eye]”.

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.

Ikan Aro are two linear markings in the centre of the forehead, located in between the eyes. These are usually inset with iron on depictions otherwise made of brass, bronze, ivory or wood.The use of iron was significant due the association of this metal with Ogun, who is god of iron and metal. These markings appear on both men and women, however are a common feature of representations of Iy'Oba Idia. Flora Kaplan (1993, 59) argued these are not tattoos, unlike the Ikharo. According to Nevadomsky (1986, 42), these incisions "signify determination, firmness, resolve, or even maturity". Kaplan (1993, 59) has also made a link between these markings and oral history told to her by Oba Erediauwa describing the events leading up to Idia (before she was Iy’Ọba) becoming the wife of Ọba Ozolua, whereby her parents tried to disfigure her to “repel” the Ọba. According to this history, the Ọba “sensing something was wrong”, called his doctors to intervene and treat her quickly, and as so she still became his wife.