The Udahae is a forehead band made from coral beads and worn by chiefs. Sometimes a white Igan (feather) from the Oɛɣohɔ (vulturine fish eagle) is tucked into the left side of the Udahae. According to Benin oral tradition, the Udahae was introduced by Ọba Ezoti, the first son of Ọba Ewuare I. During his coronation, Ezoti was shot in the forehead with a poisoned arrow. To stop the bleeding, a band of red beads was wrapped around his forehead while he made public appearances. Fourteen days later, he died from his wound. Since then, Benin chiefs have worn the red-beaded Udahae around their foreheads to commemorate the cap used by Ezoti to stop the bleeding (Egharevba 1968, p. 21).

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.

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).

This rosette design, usually found in the corners of Ama-Ẹrọnmwọn (bronze relief plaques), is one of two motifs representing the sun and one of a number of motifs in Edo art that are also connected with Olokun. The association between the sun and Olokun refers to the way in which the sun descends into the sea each day—hence the proverb ‘the sun never misses a day’—and the sea is where the deity Olokun lives ( ).

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 ( ).