Published on 12 April 2026
In Isein, a quiet town in southwestern Nigeria, shady spots under trees, makeshift sheds and narrow streets serve as the production center for aso-oke, a hand-woven fabric native to the Yoruba people.
Demand for this fabric has increased domestically and internationally due to the Nigerian diaspora and the growing global recognition of the country’s fashion and music culture. Despite this popularity, artisans consistently resist mechanization, believing that hand-weaving is essential to the unique character of the fabric.
Located about 200 km (108 mi) from Lagos, the cultural and fashion center of Nigeria, Iseyin stands as the acknowledged home of Aso-Oke. Under the intense heat of the sultry morning, yards of yarn and freshly woven cloth are spread out on dusty sites, interspersed with old sheds, where weavers work diligently behind wooden looms. The craft has become an economic lifeline, attracting young people, including university graduates, who come to Isein to learn the tradition.
Bare chested with brightly tattooed biceps, Valyu Francisco works at his wooden loom, rhythmic click-clacks filling the air as he weaves cream and blue cloth. Ten years ago, Francisco left his career as a Lagos nightclub singer to master aso-oke weaving. Although she initially found the physical demands challenging, she has no regrets about her decision.
“Now I earn a good living from Aso-oke weaving and am satisfied,” the 34-year-old told AFP.
Aso-oke, roughly translated as “upper country cloth”, is a thick, often vibrant multicolored cloth that has become a staple in Nigeria, the fashion capital of Africa. It is visible in traditional formal attire, statement fashion pieces and casual wear. The stripes are sewn onto other clothing, adding distinctive color and beauty, as seen when Meghan Markle wore an aso-oke wrapper and shawl over the shoulder during her visit to Nigeria with Britain’s Prince Harry two years ago.
In Iseyin, the steady rhythm of ancient wooden looms provides the soundtrack to a tradition passed down through generations. Aso-oke remains both a cultural icon and a marker of identity. Historically, production involved preparing thread from cotton or silk – cleaning, spinning and dyeing the fibers using traditional methods before installing them on the loom, with limited color options.
According to Abdulhamad Ajasa, a 42-year-old weaver, today’s weavers are using loom-ready threads of different colors, which are “mostly imported from China.” Artisans spend hours arranging threads on looms to create narrow, tightly patterned strips that are then sewn together into broader fabrics for clothing and accessories.
“This is what Isayin is known for,” Kareem Adeola, 35, says from behind his loom. “We inherited it from our ancestors.”
