Edirin John Duvwiama evokes nostalgia with the beauty of portraiture in his recent ethnographic collection, “Yoruba Hairs.” The magnificence of Nigeria’s Yoruba culture and history is encoded into tiny thoughtful pixels that distinguish his mise-en-scene.
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In “Yoruba Hairs”, Duvwiama photographs 26 different indigenous hairstyles, including this writer’s personal favourites like “Ipako Elede”, “Konkobilo” and “Koroba”, among others. These photographs feature the ancestral weaving patterns that bear heavy meaning for the Yorubas, like “Koroba”, translating to Bucket, which is woven like an upturned vessel, or “Ipako Elede”, which translates to a pig’s rear head, symbolizing discipline, further evoking conversation on the cultural identity, spirituality and social statuses of Yorubas, as well as their continued disappearance from contemporary Nigerian fashion.

Every photo in “Yoruba Hairs” is created with a warm and filmic feel, with soft brownish hues casting a retro effect on the collection. The presence of the white cowries also stretches the colour composition of the collection, as they elevate the contrast. The dreamy or glow-effect on these cowries further helps to transport the consciousness of the observers to Nigeria’s past upon first glance.

These photos also harken back to style posters at hairdresser shops which display a visual sample of these styles so customers can point at it and choose what they want. Duvwiama’s project can also serve as preservation for these hairstyles, which might yet be ubiquitous in primary and secondary schools but newer generations of adults have left them behind to embrace more western styles. Even wigs have grown into the more preferred fashion statement amongst this demographic.

While Duvwiama’s colour palette and creative direction stands out in “Yoruba Hairs”, there are some photographs across the collection that appear roughly composed. A lot of them especially “Ipako Elede” leaves insufficient headroom, negative space, as well as cropping some features of the face out instead of relying on blur effect in extreme-close ups for emphasis.

Regardless, Duvwiama makes a strong case for the preservation of Nigeria’s indigenous fashion and collective history. While some of these hairstyles have inspired designers to consider them as runway-fit choices, it behoves the Nigerian audience to extend these choices as their consistent preferences in their daily looks.

A photographer that comes to mind upon glancing at Duvwiama’s collection is the veteran African American visual storyteller Marilyn Nance, whose collections like her 2023’s “Last Day In Lagos” highlight Yoruba hairstyles in a broader commentary on identity and heritage. Duvwiama’s work in “Yoruba Hairs” is as clever as it is complex, depending on the observer’s position on cultural renaissance, and it presents itself to the eye as gentle, warm and alluring. If they were music, I’d think of Hugh Masekela, as well. The gentleness of Jazz, of photography, and of Duvwiama, embrace this collection, massaging the memories of old into the mindset of the new generation.

“Yoruba Hairs”, is a satisfactory exploit in documenting life, with almost every facet of its creation reflecting brilliance. A stellar and stunning collection, it muses so confidently on the past that this writer believes its future recreations by Duvwiama would be the digital masterpieces that aptly tributes the Nigerian spirit.
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