The making of clothes is as essential an art form as any other: it demands passion and precision no less than poetry, painting, or pottery. Across cultures and centuries, it has served as a medium of expression and a powerful assertion of identity. Embroidery—the art of forming decorative designs on textiles through hand or machine needlework—has long played a role in storytelling and documentation. A well-known example is the nearly 1,000-year-old Bayeux Tapestry, which illustrates the events leading up to the Norman conquest of England in 1066. Similarly, Hausa embroidery—believed to date back to at least the 14th century—carries a rich history that is deeply intertwined with Hausa culture, identity, religion, and even politics in Northern Nigeria.
For the Hausas, cloth was a powerful social implement. Marisa Candotti, in her paper titled “The Hausa Textile Industry: Origins and Development in the Precolonial Period,” states that: “In Hausaland, cloth had many functions; for centuries it was used for clothing, to transfer wealth, as a medium of exchange, as tribute, as an item in religious and burial rituals and as a symbol of differences in religious, economic, political, ethnic and social status.” In essence, cloth was power. Given this multifaceted significance, it is unsurprising that textile production itself has a long and layered history in the region. Although there is little to no documentation of the production of textiles in Hausaland before the nineteenth century, scholars have linked its origins to trans-Saharan trade and the advent of Islam. The arrival and spread of Islam contributed to the reshaping of identities, which was often evident in clothing styles—in fact, wearing clothes became an indicator of conversion to Islam.
In Hausaland, the most striking garment was the babbar riga (large gown), which could span up to twelve feet (3.66 meters). There was also the riga giwan, a robe embroidered with eight-knife imagery used by caliphate officials and the Muslim elite. Renowned for their textile craftsmanship, the Hausa people of Northern Nigeria have long produced these elaborate robes, distinguished by intricate hand embroidery using various stitches, materials—primarily cotton and silk—and a wide array of styles and designs.
Embroidery in Hausaland was a complex art, and it is no surprise that it was often delegated to male scholars and their students in Quranic schools. It was the job of men to tailor, indigo-dye, embroider, finish their robes by beating them to achieve a polished sheen, and see to the crafting of hula caps. These garments were also predominantly made for men. Sarah Worden, in “Clothing and Identity,” takes note of this bias:
“Production of Hausa textiles is gender-specific: traditionally men weave, indigo-dye, tailor and embroider cloth for the robes they wear. With relatively few items of clothing associated with Hausa women from the same period in UK collections, Hausa clothing traditions are represented with a male bias.”
Though their contributions were often relegated to the preparatory stages, women played essential roles in the broader textile-making process—spinning thread, tending dye baths, and supporting the production cycle behind the scenes. Slaves, too, were tasked with labor-intensive duties such as preparing the thread for the subsequent stages of robe making.
Stitching Techniques
Some of the major stitching techniques of Hausa embroidery include:
The Chain Stitch: This is the most common technique. As the name suggests, it creates a continuous line of looped stitches. It is often used for outlining, curves, and filling in areas.
The Satin Stitch: This is a filling stitch intended to wholly cover various shapes. It gives a bold appearance, particularly in silk thread.
Couching: Here, a laid thread is secured to fabric by stitching over it with the couching thread. It is often used in gold embroidery, or when threads are too thick, textured, or fragile to be sewn directly through the fabric.
Stem Stitch: A tight, spiraling stitch often used for outlining curved shapes or plant-like motifs.It has a smooth, rope-like appearance, ideal for flowing designs.
Herringbone Stitch: This is a decorative embroidery stitch created by making diagonal stitches that interlock, forming an angled, crossed pattern. It's typically worked from left to right, creating a visually interesting texture. This stitch is versatile, used for outlines, fills, and decorative accents on various embroidery projects.
Motifs
The motifs of Hausa embroidery are either mythological references linked to Islam and other religions of influence or shapes and images conjured to build a visually salving pattern. These motifs are not solely aesthetic flourishes; they are also spiritual emblems and Indigenous symbols.
Photo by Colleen Kriger
Some of these motifs include the (aska motifs) eight-knife and two-knife, which were possibly derived from the Islamic iconographic representation of the two-pointed sword of the Prophet. They signify strength and protection. The six-pointed star, called Danko in Hausa, makes reference to the Bori spirits of the Maguzawa religious practice. There was also the dragon/serpent motif, which originated from Hindu and Persian mythology and refers to a spirit credited as the cause of eclipses and other natural disasters. The gidan biyar (house of five) refers to the number five, which signifies a charm against the evil eye. Other motifs include stars, interlacing circles, connected squares, repeated triangles and chevrons, etc.
Hausa embroidery is a visual art form and language that has endured through centuries of religious, economic, industrial, and political transformation. Though now widely practiced and worn across diverse cultures, it continues to embody the cultural heritage, spirituality, and distinctive artistry of its people. Once a male-dominated craft, embroidery has increasingly become a means of livelihood for women as well. Despite this growing accessibility, fine embroidery and high-quality garments remain markers of affluence and status, often given as cherished gifts, much like in other Nigerian cultures. The Igbo have their luxurious Hollandis and lace, the Yoruba their Buba and Aṣọ Òké, while the Hausa continue to assert their identity through richly embroidered kaftans and babban riga.
Works Cited
Candotti, Marisa. “The Hausa Textile Industry: Origins and Development in the Precolonial Period.” In Being
and Becoming Hausa: Interdisciplinary Perspectives, edited by Anne Haour and Benedetta Rossi, BRILL,
2010.
Heathcote, May. The Embroidery of Hausa Dress. Nigeria Magazine, 1972.
Kriger, Colleen. Cloth in West African History. Rowman & Littlefield Publishers, 2006.
Worden, Sarah. “Clothing and Identity.” In Being and Becoming Hausa: Interdisciplinary Perspectives, edited by
Anne Haour and Benedetta Rossi, BRILL, 2010.