Food for Fashion: From Cassava Paste to Circular Fashion by Oreoluwa ODUFEJO (Yíímiiká), Bridget…

Food for Fashion: From Cassava Paste to Circular Fashion by Oreoluwa ODUFEJO (Yíímiiká), Bridget Moira STEENKAMP, Oluwafemi OSHOFISAN, Daniel ODUNLAMI

Àdìrẹ’s etymology is simply Àdì (to tie) and rẹ (to dye). This ancient form of designing in south-western part of Nigeria. Abeokuta city has one of the richest textile histories that dates back to centuries ago. The early Àdìrẹ clothes were hand spun and dipped in natural Indigo (Indigofera tinctoria) dye, which is similar to the technique found across West Africa.

Figure 1: Hard indigo cakes used for dyeing – The Beauty and Benefits of Natural Dye, Ecoscopy.

This tradition was a deeply matrilineal craft pioneered by Chief Mrs. Miniya Jojolola Soetan in Abeokuta, the second Iyalode of Egba-land (Head of Women) of Egba-land in Abeokuta, Ogun State. Her housing compound became the earliest known center of Àdìrẹ making - she then passed the knowledge of this craft on to her children, dependents and future generations.

Figure 2: Àdìrẹ Ẹlẹ̀kọ Patterns on material - Ibadandun by Adire African Textiles

Abeokuta’s rise as the heart of Àdìrẹ production began in the early 20th century, when the European merchants introduced imported cotton materials, and the vast trade network spread across Africa. Just as it gradually evolved, some other designs were born; Àdìrẹ Oniko (Raffia), Àdìrẹ Alábẹ́rẹ́ (Stitching), Àdìrẹ Ẹlẹ̀kọ (Starch-resist), Batik (Wax-resist) etc. The growing availability of chemical dyes from Europe caused a revolution in colour and birthed innovation as regards new resist-dyeing methods. Over the years, in many families, women passed the skill from mother to daughter, using Àdìrẹ not only as cultural expression but also as a source of income through local markets and trade. This craft was later taught, even in higher institutions.

Figure 3: Picture of Freehand Batik (wax–resist) traditional technique used to create meaningful Yoruba patterns on material - Freehand Batik patterns on fabric handmade by https://instagram.com/yiimiika July 2022.

Àdìrẹ Ẹlẹ̀kọ - Starch Resist Method

Figure 4: Cassava in its powdery form (Cassava flour), Roehampton Sustainability’s Slow-Eco Textile Workshop, Southlands College, University of Roehampton. May 2026.

Cassava (manihot esculenta) is an edible plant grown and eaten in most parts of West Africa - Nigeria as far back as the 16th century. The cassava is native to South America but is now grown worldwide in tropical areas. Àdìrẹ Ẹlẹ̀kọ was used to create patterns on materials by the textile artists using the special starch resist ingredient. This is made using cassava starch to create patterns that resist dye.

● The paste is carefully applied to parts of the fabric through a stencil or freehand, forming different patterns and symbols.

Figure 5: Bridget’s slow-eco workshop and Yiimiika applying Cassava Paste on Fabric - Roehampton Sustainability’s Slow-Eco Textile Workshop, Southlands College, University of Roehampton. May 2026.

● When the paste dries, the fabric is then dyed in indigo, the dye is resisted by the covered cassava paste.

● After dyeing, the fabric is left for oxidation for a few minutes, then the excess dye is washed off and finally, the cassava paste is washed off, revealing the bold and beautiful patterns and designs.

This method allows the artists to express their creativity with detailed and meaningful patterns revealing bold and beautiful designs. The handmade process, symbolic designs and cultural identity Àdìrẹ Ẹlẹ̀kọ translated into valuable luxury, especially for special occasions and fashionable dressing and today it remains relevant in Nigerian African fashion and heritage enterprise.

Bridging Ancient Àdìrẹ Ẹlẹ̀kọ with Circular Fashion

Ultimately, revisiting historic techniques like Àdìrẹ Ẹlẹ̀kọ does more than just preserve a rich cultural heritage; it shifts our modern perspective on sustainability. Engaging with these ancient traditional crafts forces us to slow down enough to appreciate the true cost and value of the products we consume, reflecting deeply on their impact on both ourselves and the planet.

Figure 6: Àdìrẹ Ẹlẹ̀kọ on a cotton fabric dyed with onion skin from Southlands Kitchen, done at the Slow Eco Textile Workshop at Southland’s College, University of Roehampton.

As Bridget Moira Steenkamp said after co-leading the University of Roehampton’s slow-eco textile workshop with textile artist, Yiimiika: ‘Going back to old techniques gives us appreciation for the real cost and value of products. I personally think learning how to create using these ancient traditional crafts helps us slow down enough to think about the true cost of fast fashion to us and the planet. I don’t think we can go back there to clothe the planet using these ancient crafts. I think circular fashion, no matter how broken, is important. Learning to value the textiles we already have and to mend, reuse and repurpose clothing that already exists can save our planet from drowning under textile waste’.

Notably, revisiting the lessons of the past does not mean we must live in it. Moving forward requires a commitment to a truly circular fashion system, one where no matter how broken a material may be, we actively find ways to mend, reuse and repurpose the textiles that already exist. We are not telling people to all grow their own colour and all make their own clothing but instead we are raising awareness. By becoming conscious of the real cost of textiles to the planet it helps to understand the processes involved in providing us fashionable textiles. By pairing the conscious, slow-paced artistry of traditional resist-dyeing with modern circular practices, we can foster a more sustainable and intentional future for fashion. Owning an artisan piece of handmade fabric can remind us of the true value of textiles.

https://roehampton.native.fm/event/thread-carefully-a-textile-art-exhibition-by-oreoluwa-ayoyimika-odufejo-yiimiika/284188