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

Ẹgba (bracelets) are worn as part of ceremonial costumes and could be made of brass, bronze, iron, ivory or wood. The material determines the status of the individual wearing it, as the Ọba controls the use and production of brass, bronze and ivory. Ẹgba is the designation used to describe bracelets worn around the upper arm that could potentially become amulets by putting charms or medicine in them.

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]”.

Iwu are facial and body markings (scarifications) that were historically worn by Edo men and women. However, since the 1960s, the practice has been nearly extinct (Aisien 2011). In the past, Iwu were used as a way of proving that one was an Edo citizen, and the ceremony of having Iwu completed was an important rite of passage for men and women. The Osiwu, who also practised circumcision and other surgical procedures, would carry out the procedure of adding Iwu. There are different types of Iwu: ‘blades’ worn on the torso (Iwu-eko), and those worn on the face, such as Ikharo (three or four markings above the eyebrows), Irho (two narrow ‘blades’ worn on each cheek), Ovbihue (nasal ‘blades’), Ovbi-agbanmwen (chin ‘blade’), and Igho-okpa/Ukpgho (three forehead ‘blades’) (Aisien 2011, p. 22).

The number of Iwu also varied depending on the identity of the person wearing them. For example, royal men would wear six ‘blades’ on their torso, whilst men who were not royal would wear seven ‘blades’. Meanwhile, the Ọba’s female children would wear fifteen ‘blades’, and all other women would wear sixteen (Aisien 2011).

The Emada (singular: Omada) are palace pages who serve the Ọba and belong to the Iwegue Palace Society. Standing at the Ọba’s side, they carry the stately Ada (ceremonial sword) during public appearances and are therefore sometimes referred to as “Ada bearers” ( ). Emada typically served the Ọba for between six and twenty years, beginning in childhood. At the end of their service, the Ọba would provide each Omada with a wife and a plot of land, formally releasing him from palace service and marking his transition into adulthood (Kaplan 2007, p. 149).

Although the institution of the Emada predates his reign, Ọba Adolo was the first to allow his palace pages to train in woodcarving. This led to the development of a distinctive carving style and visual language that differed from that of the Igbesamwan, the royal guild of wood and ivory carvers.

Emada are consistently depicted naked, signifying their unmarried status ( ; ), and are most commonly shown accompanying representations of the Ọba. In addition to carrying the Ada, they may hold Ẹzuzu (fans), used to cool the Ọba, or Ugianranran (manillas), which signal wealth and overseas trade ( ). Emada appear across several types of Emwin Arhe (royal treasures), particularly Ama-Ẹrọnmwọn (bronze relief plaques), Aken'ni Elao (carved tusks), and Urhotọ (altar tableaux).