The traditional dress Yoruba women wear in southwest Nigeria is IRO and BUBA. The Iro and Buba are the newest fashion rage among young Nigerian ladies, a look they would have previously preferred not to be seen dead in. Nowadays, traditional Nigerian clothing is required for all events, including red-carpet events and weddings.
It’s a versatile attire that suits almost every occasion, from business meetings to church services, weddings, and casual gatherings. Its adaptability to our weather conditions is another plus. Pronounced “ee-ro and boo-bah,” the Iro and Buba have a rich history in West African culture.
Originally, the Iro and Buba was predominantly worn by the Yoruba people of South-West Nigeria. However, over time, many other ethnic groups have embraced it. The Iro and Buba have evolved, mirroring the changing historical context and the ever-evolving fashion industry.
THE HISTORY AND CULTURAL CONTEXT OF IRO AND BUBA
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Iro and Buba have been together for a long time and have experienced many different decades! They have often been revised, feared, adored, and revered. They have withstood fashions and fads; Buba and Iro are icons.
The Iro and Buba ensemble is a traditional attire worn by Yoruba women in South/West Nigeria.
THE IRO AND BUBA CONSIST OF:
❖ Iro: the large fabric wrapped around the body.
❖ Buba: a voluminous blouse.
❖ Ipele: (a shawl that goes around the waist)
❖ Iborun: A shawl/Wrap usually hung on the shoulder.
❖ Gele: headgear or head tie.
A TRIP THROUGHOUT GENERATIONS.
In the 1950s and early 1960s, Iro and Buba were made of cotton and Aso-Oke, and some ladies wrapped the wrapping across their chests. The Yoruba people of Nigeria weave Aso-Oke, a cotton textile mostly used on special occasions. It is created by hand.
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Later, when lace became popular in Nigeria, Iro and Buba were invited to join the festivities. Aso-Oke or damask made the wrapper, Gele, and Ipele; lace was sometimes used to make the entire ensemble or the Buba.
It’s interesting to note that the bold styles of the swinging 1960s impacted Nigerian fashion. At that time, the Adire cloth gained popularity again and gave rise to the “Oleku style,” as it is currently called. As a result, the Buba and wrapper lengths decreased, and in certain situations, the Ipele and Iborun were removed, giving the ensemble a more contemporary appearance.
The 1970s were a time of disco and psychedelic fashion. While younger women adored bell bottoms, flared miniskirts, and other unique 70s fashions, Iro and Buba became an ensemble reserved for the older generation. Only when obliged to wear it for family events like weddings, funerals, and their customary marriage, did younger women find themselves stuck in it.
Even in the 1980s, when Western fashion was gaining ground, Iro and Buba remained a favorite among Nigerian mothers. The ensemble has weathered many fabric fashions, including Aso-Oke, Damask, Brocade, Organza, Guipure, Jacquard, and Hollandaise (Ankara), standing the test of time.
OLEKU
The Iro and Buba saw a renaissance in the late 1990s and early 2000s as a result of Tunde Kelani’s 1997 film Oleku. The younger generation embraced the “otaku” look, and the movie brought the once-relegated clothing back to life. Although there are several ways to interpret the Yoruba term “otaku,” which means “too hot,” it really refers to an enticing fashion trend.
The once-shunned Iro and Buba outfit became a must-have in every young lady’s wardrobe then, and the Aso-Oke used for traditional weddings was also undergoing an incredible metamorphosis. Designers like Ituen Basi gave it more credence with her vibrant Oleku styles in the late aughts. The modern styles were eye-catching and attractive, making the iro and buba even more popular with the younger generation.
Since then, the Iro and Buba have continued to be popular and have seen even more variations. The knot/silk phase came after the Oleku frenzy, followed by the Velvet wrapper and French lace trends. The Iro and Buba were now turned into modern blouses, and the wrapper was tied in a trendy knot.
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The look of Iro and Buba has evolved into a more elegant outfit; the blouses are now fitting, and the necklines now vary from off-the-shoulder to sweetheart, cowl, boat, and even plunge necks. The sleeves have also undergone a metamorphosis; the tiny wrappers are now elegantly gathered into a bow using satin ribbon.
Another significant boost for Iro and Buba came in 2012 when Deola Sagoe unveiled her “Komole Collection.” Komole translates to “to dance,” a new Aso-oke invention created for special occasions. The Nigerian elite immediately loved the delicate, elegant, and unique designs.
Komole set the stage for a major reinvention in the Aso-Oke industry as Aso 0oke makers tried to make similar designs. While achieving the exact ‘Deola Sagoe Komole’ look has proven elusive, other Aso-Oke makers have created similarly stunning designs, offering brides various choices.
Its sloppy nature has been redefined into more fitted blouses and wrappers, sometimes even skirts or dresses, but it still embraces the iconic Iro and Buba look.
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It has experienced Aso-Oke, damask, guipure, satin, organza, and jacquard and even tasted silk, crepe, velvet, and French lace! The Iro and Buba have perfected the disappearing act; it arises and goes with the trends, but like the Phoenix, it always returns.
The traditional attire of Iro and Buba holds significant cultural and historical importance in many African societies, particularly in Nigeria and among the Yoruba people. Beyond its aesthetic appeal, this attire symbolizes elegance, cultural identity, and a deep connection to heritage. Iro and Buba’s evolution over time reflects African fashion’s dynamism, blending traditional elements with contemporary styles to create unique and versatile outfits suitable for various occasions. As a cherished aspect of African heritage, Iro and Buba inspire creativity and pride, serving as a testament to the enduring legacy of African fashion and culture.