Nigerian fashion designer and textile collector Michelle Adepoju is championing the preservation of aso oke, one of the Yoruba people’s most distinctive traditional fabrics, as growing interest among collectors brings renewed attention to the historical and cultural value of indigenous Nigerian textiles.
What began as a chance discovery of vintage aso oke in Ondo State has evolved into a broader mission to preserve the fabric, educate the public and encourage greater appreciation of its craftsmanship.
Adepoju initially experimented with transforming the traditional woven material into contemporary clothing, including trousers and dresses. However, her growing understanding of the fabric’s history prompted a change in direction.
Rather than focusing exclusively on fashion production, she began collecting and documenting vintage textiles, recognising their importance as cultural artefacts.
Her collection now contains more than 500 pieces, with some dating back to the 1940s.
The fabrics are displayed at her Lagos shop alongside contemporary designs from her fashion brand, creating a connection between traditional craftsmanship and modern Nigerian fashion.
From Fashion Material to Cultural Artefact
Aso oke has long occupied an important position in Yoruba cultural life.
Traditionally woven on narrow-strip looms, the fabric is associated with ceremonies, celebrations and expressions of social identity.
It is frequently worn during weddings, festivals, chieftaincy events and other significant occasions.
Although the textile remains familiar to many Nigerians, collectors argue that its historical and artistic significance has not always received adequate recognition.
Adepoju’s work seeks to change that perception by presenting vintage aso oke as an object worthy of preservation, research and collection.
The approach also challenges the tendency to evaluate traditional textiles primarily according to their immediate usefulness as clothing.
For collectors, older fabrics may offer important information about weaving methods, regional traditions, materials and changing aesthetic preferences.
Why Vintage Aso Oke Is Attracting Collectors
Dealers and textile enthusiasts say vintage aso oke has historically been undervalued compared with other forms of African art.
One explanation is that the knowledge and techniques associated with its production remained largely concentrated within Nigeria.
As a result, international collectors and institutions may have had limited exposure to its historical significance.
Another challenge has been the loss of experienced master weavers, whose knowledge was often passed down through apprenticeship and family traditions.
The deaths of skilled practitioners have raised concerns about the preservation of specialised techniques.
African art scholarship and collecting have also traditionally devoted considerable attention to sculpture and ceremonial masks, leaving some textile traditions less prominently represented.
However, interest in African textiles is expanding as collectors increasingly recognise their artistic, historical and social importance.
Understanding the Three Classic Aso Oke Types
Traditional Yoruba weaving includes several distinctive forms of aso oke, with sanyan, etu and alaari among the best known.
Sanyan is traditionally associated with natural silk and cotton fibres and is recognised for its characteristic beige or light-brown appearance.
Etu is commonly identified by darker indigo tones and fine contrasting patterns. In some Yoruba traditions, the fabric carries symbolic associations with protection and status.
Alaari is distinguished by its rich red colouring and historical ceremonial significance.
The meaning and use of these textiles can vary across communities and historical periods.
Beyond their visual characteristics, they reflect the relationship between clothing, identity, social standing and cultural expression.
Preserving Knowledge for Future Generations
The renewed interest in vintage aso oke comes at a time when traditional craftsmanship faces competition from mass-produced fabrics and changing consumer preferences.
Machine-made textiles can often be produced more quickly and at lower cost, creating challenges for artisans who rely on labour-intensive weaving techniques.
Preservation efforts therefore involve more than collecting old fabrics.
They also require documenting production methods, supporting living artisans and creating opportunities for younger generations to learn traditional skills.
Collectors can contribute by maintaining records of textile origins, materials and historical uses.
Fashion designers can also help sustain demand by incorporating traditional fabrics into contemporary collections without erasing their cultural identity.
Aso Oke and Nigeria’s Creative Economy
Nigeria’s fashion industry has become an important platform for promoting indigenous design internationally.
Traditional textiles such as aso oke offer opportunities for cultural tourism, exhibitions, research and specialist fashion markets.
As global interest in African craftsmanship grows, carefully documented vintage collections could help strengthen the international visibility of Yoruba textile heritage.
However, commercial appreciation must be balanced with cultural preservation and fair recognition of artisans.
Adepoju’s collection demonstrates how an individual initiative can contribute to a wider conversation about the value of traditional Nigerian craftsmanship.
By presenting vintage aso oke as both art and historical evidence, she is encouraging collectors and consumers to look beyond the fabric’s decorative appeal. The growing attention also reinforces the importance of preserving Nigeria’s textile traditions before valuable skills and historical knowledge disappear.
