Commodifying Aso Ebi: Weaving Unity or Threading Divides?
In Lagbaja's 2005 song "Skentele Skontolo,” he emphasised the iconic fashion of the Yoruba people, proclaiming, "ko si fashion kan to ju ti a lo iro ati buba yen pelu gele skontolo," meaning there is no fashion that surpasses ours (the Yorubas) with iro ati buba (wrapper and blouse) and the elaborate gele.
Nigerian fashion has been influential across Africa and the diaspora, extending its impact across international borders. Traditionally, in Yoruba fashion women will wear iro ati buba and men an agbada and fila, although in more modern times many different styles have been introduced. Historically the materials used for these outfits would be aṣọ òkè, adire, swiss lace and others.
In contemporary discourse, the term "aso ebi" has woven itself into the fabric of social discourse, regularly cropping up in discussions surrounding social gatherings, whether it is weddings, birthdays, or funerals. Long associated with Yoruba and Nigerian owambes (or, more accurately, owanbes), the phenomenon has transcended its cultural origins, beyond Yoruba communities, now embraced by various ethnic groups. Beyond Nigeria, aso ebi serves as a cultural identifier connecting communities with Yoruba cultural practices. Yet, amid the colourful and extravagant styles that define aso ebi, conversations have emerged regarding its historical roots, contemporary significance, and the challenges it evolution poses within popular culture.
Origins of aso ebi
Aso ebi, when translated means "family cloth" and stands as a uniform fabric used during special celebrations or ceremonies, serving as a symbolic gesture of unity and support among family members and friends. Originating from the cultural roots of the Yoruba people in Southwestern Nigeria, aso ebi has evolved from an exclusive family tradition to a broader expression of communal solidarity during events such as weddings, birthdays, burials, and landmark anniversaries. While its historical roots were deeply embedded in familial ties, the dawn of the 20th century witnessed a shift, with aso ebi taking precedence over the traditional concept of "egbejoda" (group uniform), marking a departure from the requirement of blood relations for participation. By the early 20th century, traditional styles were highly sought after, as the preferred attire for special events, especially among urban classes and elites, as there was a tendency to favour domestically produced textiles over foreign imports. Additionally, aso ebi (or rather egbejoda) played a significant role in the political landscape, with traditional attire serving as a symbol of resistance against European influences, aligning with pro-nationalist sentiments.
Aso ebi has now become an inclusive symbol, no longer confined to family circles. Both family members and friends now partake in celebrations by wearing aso ebi fabrics, tailored to their chosen designs. However, in the past aso ebi was characterised by strict uniformity, not only in fabric selection but also in style. But overtime, this thread of rigidity has considerably loosened, giving rise to a surge in individualistic style choices and self expression. Erin M. Rice, in her dissertation titled "The Pattern of Modernity: Textiles in Art, Fashion, and Cultural Memory in Nigeria since 1960," observes, "In a sense, the factory print allowed aso ebi participants to stretch the limits of uniqueness within conformity. In doing so, Lagos’ citizens reinvented the notion of a national or culture-specific fashion."
In recent times, aso ebi has emerged not only as a cultural tradition, but as a symbol of status, glamour, and camaraderie, with the practice of aso ebi spreading across to other ethnic groups in Nigeria and also gaining popularity in other parts of Africa.
How it works
When organising an event, the celebrant selects their preferred aso ebi material, then marks it up, and sells it among family and friends for purchase. Guests who fall within the aso ebi class, are expected to purchase the material, whether or not they plan to attend the event, as it symbolises support for the host. However, over time, this obligation has proven burdensome and contentious for some individuals.
Beyond the allure
In the early 20th century, newspapers in Nigeria were receiving letters complaining about the financial demands of aso ebi. Particularly among Yoruba grooms, as it was customary for the groom to bear the cost of the aso ebi for the bride's family, a practice known as "owo aso iyawo." However, the financial strain associated with aso ebi has continued to create discontent amongst some, with the costliness of this cultural tradition proving burdensome. An academic paper titled "The Ethics of Aso Ebi Culture in Nigeria," published in the Journal of Culture, Society, and Development, highlights that the aso ebi fabric often carries a markup ranging from 20% to 50%, a non-negotiable increase. This markup substantially increases the expenses for attendees, who not only purchase the fabric but will also incur additional costs for tailoring. The study also revealed that the pressures to participate in aso ebi have led some individuals to resort to borrowing money to fulfill these obligations. Critics argue that event organisers enforce aso ebi purchases not only to recoup event expenses but also to potentially turn a profit, diverging from the tradition's original cultural intent. This raises questions about whether such practices should continue to be endorsed in contemporary society, as they can amount to forms of extortion.
Beyond the financial challenges associated with acquiring aso ebi, another concern are the social ramifications. Aso ebi is intended to symbolise togetherness and mutual support for the celebrant constituting an important aspect of the Yoruba and the broader Nigerian culture. However, in its contemporary manifestation, the practice has strayed from these intrinsic values, becoming more of a commercial venture rather than a reflection of cultural values.
The commodification of aso ebi has, to some extent, reduced it to a mere profit-making venture, and for some, it may also result in social consequences if not adhered to. Instances of social exclusion or being labelled as unsupportive are not uncommon if one chooses to opt out. In some extreme cases, attendees may even be cautioned to not attend.
Those who wear aso ebi at events, are often said to receive preferential treatment, this may manifest in being the recipient of privileged gifts and greater hospitality. These dynamics foster an environment of transactional social performance, imposing both financial and social pressures on individuals, particularly those lacking the means to participate.
Sustainability, consumerism, and the decline of the domestic market
The rise in prominence of aso ebi also raises concerns around sustainability and its impact on domestic markets. The widespread adoption of the trend, however, has led to an unfavourable shift towards mass produced factory and imported fabrics, primarily sourced from China. This transition is driven by a growing preference for cost effective and readily available materials, which, in turn, has had a significant impact on Nigeria's domestic fabric industry and indigenous textiles like locally crafted aso oke. The increased demand for affordable materials has contributed to the closure of nearly all textile factories in Nigeria.
In the past, to bolster the Nigerian textile sector, the federal military government rolled out initiatives aimed at safeguarding the industry. Measures such as the 1972 Indigenisation Decree were put in place, barring foreigners from textile enterprises to provide Nigerians with a larger share in the national economy and stimulate the development of local industries. However, this policy shift had unintended repercussions for many Nigerians, particularly those whose livelihoods now relied on imports.
In the 90s and 2000s, the industry witnessed a decline, and businesses struggled to maintain profitability. Various structural issues, including challenges with oil, inadequate infrastructure, corruption, and the influx of Chinese products through smuggling, contributed to the downturn. Rice explains that “The prices of Chinese imports were set so low that the competition was nearly eliminated, and any attempt at regulating the trade was undermined by rampant smuggling, counterfeiting, and government corruption. By 2007, the Guardian reported that 80% of Nigeria’s textile market was dominated by Asian imports. A combination of these factors led to the closure of approximately 170 of Nigeria’s textile manufacturers by 2008.” In a bid to resuscitate the industry, Nigeria implemented a ban on textile and fabric imports in 2008. In 2015, however, the ban was lifted, accompanied by a 35% import duty tax. As of 2022, foreign imports now constitute between 80% and 90% of the market.
The matter of sustainability further complicates the aso ebi phenomenon. Often, aso ebi garments are worn just once, left to collect dust in closets once an event is over. This essentially categorises aso ebi as a form of disposable fashion. The practice not only contributes to clothing waste but also poses questions about the ethical implications of a trend that encourages single use garments. This prompts the need for a broader discussion of its environmental impact and the need for responsible consumption within the context of aso ebi.
Conclusion
Reflecting on its cultural relevance, it is quite clear that the endurance and significance of any tradition is hinged on its ability to enhance community life. The fluidity of cultural practices implies a constant evolution, with some gaining prominence, while others may fade as their relevance diminishes.
While aso ebi, hasn’t entirely succumbed to commercialisation, prevailing trends suggest a gradual shift towards profit driven motives. But, when a cultural tradition subtly transforms into a covert commercial enterprise, it necessitates a deeper discourse on the underlying morals and ethics at play. Aso ebi with its undeniable allure, continues to epitomise culture and unity, whether observed at home or in the diaspora. However, amidst this ongoing cultural evolution, it is crucial to remain mindful of its trajectory and evaluate whether certain manifestations are more detrimental than beneficial.
