Akọn Ẹkpẹn are necklaces or neck ornaments made of strung leopard’s teeth. They are worn by figures to signify their high rank and military prowess, as well as by their leaders, the Ezọmọ or Iyasẹ. They are often worn alongside quadrangular Ẹroro (bells) and Ohian Ẹkpẹn (leopard tunics).

The Akọn Ẹkpẹn is clearly and profoundly related to the symbolism of the Ẹkpẹn (leopard) and its association with the Ọba (king), who is metaphorically referred to as ‘ẹkpẹn ne owa’, the ‘leopard of the home’. On the other hand, the Ẹkpẹn is often referred to as the ‘king of the bush’, embodying ferocity, aggression, strength, and leadership—qualities attributed to the Ọba (Nevadomsky 1988). This intricate link between the leopard, the monarch, and his military leaders reinforces the complex hierarchy and spiritual authority central to Benin’s courtly art.

Ėwùϙsዕtỏ is the Edo term for a long, woven garment (Ọbazee 2025, p. 144). The Osuan, the high priest of Uwen, and the Ooton may both wear the Ėwùϙsዕtỏ, making it difficult to distinguish between the two figures based on their attire alone. In depictions on Aken'ni Elao, figures identified as Ooton are more commonly represented than the Osuan specifically ( ). Both figures are also depicted holding Unwẹnrhiẹnọtan (switches) alongside the Ėwùϙsዕtỏ.

Today, neither the Osuan nor the Ooton wears the long gown, although both are associated with a distinctive hairstyle ( ). On ivory and brass Emwin Arhe (royal treasures), the Ooton or Osuan is depicted wearing the Ėwùϙsዕtỏ with his left hand placed on his chest, over a bulge beneath the gown. This bulge is understood to conceal the jawbone of the deceased Iyasẹ, which the Ooton wears. According to Barbara Blackmun ( ), because the Iyasẹ was the leader of the opposition to the Ọba, the jawbone became the “locus of the Iyasẹ’s disturbing dissent as he voices disagreement.” As a result, the Iyasẹ’s family was required to give the jawbone to members of the Ooton guild, who kept it in the royal palace.

Ẹroro (bells) frequently appear as ornaments worn by figures depicted on the Emwin Arhe, particularly on Ama-Eronmwon (bronze relief plaques) and Aken’ni Elao (carved tusks). These Ẹroro are most commonly quadrangular in form or, less commonly, cylindrical with rounded tops. Quadrangular Ẹroro worn around the neck are often part of the attire that indicates that figures can be interpreted as warriors, alongside the Akọn Ẹkpẹn (leopard tooth neck ornament) and the Ohian Ẹkpẹn (leopard tunics).

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.

Although many other members of the Benin royal court wore a variety of hats and forms of headwear, only the Ọba may wear the Ẹde (beaded crown). The Ọba must never be seen bare-headed, and successive Ọbas introduced different styles and types of crowns ( ).

Across different media and objects, Ọbas are depicted wearing various types of crowns, all elaborately crafted from coral beads. Some feature tall projections rising from the crown, known as Oro, while others have curved projections extending from either side of the head, known as the winged cap. The latter was introduced only in the 19th century, most likely by Ọba Osẹmwẹndẹ ( ). Depictions of Ọba Esigie on Ama-Ẹrọnmwọn (bronze relief plaques) show him wearing an elaborate crown decorated with large jasper or coral beads ( ).

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.

Ẹbẹn are a type of ceremonial sword of significant importance in the Benin Kingdom. During ceremonies, titled chiefs would hold them or toss them during dances, thereby paying homage to the Ọba at these public events, particularly when a chief receives a certain status. It is forbidden for Ẹbẹn to touch the ground, so the chief must take extra precautions to avoid dropping the Ẹbẹn during the dance. Therefore, the Okae-Odionmwan (head of executioners) dances with the Umozo (warfare or executioner’s sword) behind the dancing chief.

There are two central ceremonial swords used in the royal court of the Benin Kingdom, one of which is the Ẹbẹn, along with the Ada (ceremonial swords). They are distinguished by their blades: the Ẹbẹn blade reflects the shape of a leaf or an oar. Sometimes, it is decorated with openwork designs and/or brass inlays, most commonly shaped as small Ẹbẹn and Ẹkpẹn (leopards). The handle of the Ẹbẹn also has an unusual ring-shaped form, which further differentiates it from the Ada.

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]).