Although many other members of the Benin royal court wore a variety of hats and forms of headwear, only the Ọba may wear the Ẹde (beaded crown). The Ọba must never be seen bare-headed, and successive Ọbas introduced different styles and types of crowns ( ).

Across different media and objects, Ọbas are depicted wearing various types of crowns, all elaborately crafted from coral beads. Some feature tall projections rising from the crown, known as Oro, while others have curved projections extending from either side of the head, known as the winged cap. The latter was introduced only in the 19th century, most likely by Ọba Osẹmwẹndẹ ( ). Depictions of Ọba Esigie on Ama-Ẹrọnmwọn (bronze relief plaques) show him wearing an elaborate crown decorated with large jasper or coral beads ( ).

Ikharo are linear keloid markings depicted on the forehead of Uhunmwu-Elao (commemorative heads) in groups of three or four above each eye. The exact meaning of Ikharo is debated; some have argued that they relate to the gender or tribal identification of the person on whom they are depicted. For example, has argued that they were worn only by men; however, their use in depictions is not consistent with this, and the Iy’Ọba are also shown wearing them. argued that they are instead a stylistic feature employed by artists that varied over time.

The naming of these markings differs between publications. For example, describe these markings as “agbaguda n'ehae”, which they write translates literally as “blades of the forehead”. However, later went on to call these “ikharo”, as used here. referred to these forehead markings as ikharo, meaning “tribal mark [of eye]”.

Depictions of Ewi (mudfish) are among the most frequent motifs in the Emwin Arhe (royal treasures). Mudfish hold an important place in Edo belief, both as representations of the god Olokun and as symbols of royalty (Plankensteiner 2007, p. 410), as well as of “prosperity, peace, well-being and fertility” (Ben-Amos 1976, p. 245). Mudfish are also particularly common animals for sacrifice, and mudfish-shaped Orhiẹvbẹ (kola-nut boxes) were used to make offerings or store kola nuts.

Yet, the appearance of Ewi across the Emwin Arhe is not consistent, and it has been argued that different species of mudfish were depicted by Edo artists, each with different qualities and capabilities. For example, the electric shock of Malapterurus electricus resembles the fierceness of the Ọba, while the liminal qualities of the Synodontis clarias mudfish, which lives both on land and in water, similarly reflect the Ọba’s rule over land and sea (Gallagher 1983, p. 93). With these different qualities in mind, the mudfish is an important symbol of Benin kingship and royalty.

Sometimes the Ọba was depicted by artists with mudfish rather than legs (see Ọba with Mudfish Legs).

Ughavan (celts) are often seen as part of the decoration along the flanges of the Uhunmwu-Elao (commemorative heads), alongside trunk hand, leopard, or cow’s head motifs, or held in the left hand of the Ọba on the Ikẹgobọ (altar to the hand). This imagery has a particular meaning: when the Ọba holds the Ughavan in his left hand, it is said to be known instead as isauan (faeces of thunder) and is believed to “increase the potency of a curse or a blessing” ( ).

Ikan Aro are two linear markings in the centre of the forehead, located in between the eyes. These are usually inset with iron on depictions otherwise made of brass, bronze, ivory or wood.The use of iron was significant due the association of this metal with Ogun, who is god of iron and metal. These markings appear on both men and women, however are a common feature of representations of Iy'Oba Idia. Flora Kaplan (1993, 59) argued these are not tattoos, unlike the Ikharo. According to Nevadomsky (1986, 42), these incisions "signify determination, firmness, resolve, or even maturity". Kaplan (1993, 59) has also made a link between these markings and oral history told to her by Oba Erediauwa describing the events leading up to Idia (before she was Iy’Ọba) becoming the wife of Ọba Ozolua, whereby her parents tried to disfigure her to “repel” the Ọba. According to this history, the Ọba “sensing something was wrong”, called his doctors to intervene and treat her quickly, and as so she still became his wife.

Odigba (coral-beaded collar) is a rigid neck collar made of coral beads, worn as part of ceremonial attire only by senior princes who have been made Enigie (Inneh 2007, p. 107). Although Ibafe (2007, p. 43) argued that the Odigba was introduced during the Ogiso period (c. 900–c. 1170 AD) by Ogiso Ere, along with other symbolically important Emwin Arhe, such as the Ada (ceremonial sword) and the Ẹbẹn (ceremonial sword), this seems unlikely, as coral was only introduced in the late 15th century through trade with Portuguese merchants.

Ẹmila are used mainly for social functions. Although, they maybe used by some affluent chiefs and the royal palace for ceremonial purposes