Aso-Oke Weaving Thrives in Nigeria’s Iseyin Despite Push for Mechanisation

In Iseyin, a quiet town in southwestern Nigeria, traditional aso-oke weaving is experiencing a resurgence as global demand for the indigenous fabric rises. Under trees, in narrow alleys, and inside makeshift sheds, artisans work tirelessly on wooden looms, producing the handwoven textile that holds deep cultural significance for the Yoruba people. Once limited to ceremonial use, aso-oke has gained international attention, fueled by Nigeria’s expanding fashion and music influence, as well as diaspora interest.

Despite increasing demand, local weavers are resisting mechanisation, insisting that the authenticity of aso-oke lies in its handcrafted nature. Artisans like Franscisco Waliu, who left a music career in Lagos to pursue weaving, say the physically demanding process is worth it for both cultural preservation and economic stability. While modern materials such as pre-dyed threads—often imported—have diversified designs, the production process remains rooted in tradition, with narrow strips woven and later stitched into larger fabrics.

The global spotlight on aso-oke has also raised concerns about cultural ownership and imitation. The fabric has appeared on international runways and was notably worn by Meghan Markle during a visit to Nigeria with Prince Harry, highlighting its growing prestige. However, designers warn against cultural misappropriation, pointing to similar challenges faced by other traditional textiles like adire. Even so, in Iseyin, the rhythmic sound of wooden looms continues to symbolize resilience, heritage, and a craft passed down through generations.

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