Beauty
How Tolu Oye Pays Homage to Her Culture Through Her Hair
Tolu Oye is a designer and beauty brand owner known for her head-turning braids. She opens up about learning to love her braids and her culture that comes with them…
Texture Diaries is a space for Black women across industries to reflect on their journeys to self-love, and how accepting their hair, in all its glory, played a pivotal role in this process. Each week, these women share their favorite hair rituals, products, and the biggest lessons they’ve learned when it comes to affirming their beauty and owning their unique hair texture.
Tolu Oye’s love of her Nigerian culture is apparent throughout her work. Oye is the co-founder of Oye Green, an African beauty and wellness brand which carries products like shea butter, specialty hair combs, and Cowrie shells. Most recently, she launched Oye Green Prints, an initiative selling prints by Black artists—60% of the proceeds go towards organizations and individuals working to end SARS in Nigeria. She also has a clothing brand, Meji Meji, through which she recently launched a hair protective, silk-lined bucket hat and face masks. “My inspiration is rooted in my identity and culture. It is displayed in everything I do,” Oye says. That includes her ever-inspiring beauty and hair looks, too: Oye rocks braids of all kinds; from those that are green dyed and cheekbone-length to cornrows that cascade into a billow of coils.
“I am inspired by the beauty of Nigerian culture,” the Lagos-born, New York-based entrepreneur says. “I use my hair as a moodboard to share a story about the past and the present. My hair is a form of art and my way of channeling my inner being.”
It took time for Oye to feel completely comfortable with herself, and her hair. Growing up in Ohio, “I was often the only person of color in the room, and when I wasn’t, I was the darkest shade,” she recalls. “I had to toughen up really quickly. For so long, I did not identify myself as beautiful. I hated the skin I was in.” In the 6th grade, her teacher made her read The Skin I’m In. “I saw myself in the main character, Maleeka. That book was a turning point for me. From that day forward, I spoke with my head up,” she says. “To this day, I always hear my mother’s voice in my head, saying, ‘Tolu, you’re Black and shine!’ I had to learn how to love every piece of myself.”
Her mother, a cosmetologist who worked in a braid shop throughout Oye’s youth, has been a strong pillar throughout her hair journey as well. “It is through her that I found my love for braids,” Oye says. But around 6th grade, Oye began dreading getting her hair braided, wanting to assimilate into her Ohio surroundings. It wasn’t until she went back to Nigeria in 2016 that she found her love for traditional African braid styles again. “I started expressing myself through braids. I started yearning to learn about conventional Yoruba braid styles and Nigerian culture as a whole. A [missing] puzzle piece within my life was finally here.”
Now, as her daily reminder, she reads the message engraved on the Oye Green comb she designed: “Irun ré ni òge re,” meaning: “Your hair is your glory.” For further inspiration, she looks to hairstylists Jawara and Fesa, photographs taken by J.D. Okhai Ojeikere, Rihanna, and books like African Hairstyles, Styles of Yesterday and Today by Esi Sagay. Oye loves to recreate old hairstyles “with a modern twist,” she says. “Braids are heavy symbolism and a fashion statement. Each braids style represents a form of societal status, tribe, age, marital status, wealth, power, and religion,” she explains.
Her go-to hair products include the Oye Green Rubber thread, a traditional method of stretching hair without heat. Oye notes that one of the oldest methods, “Irun Kiko,” or hair threading, is a traditional African hairstyle that originated among the Yorubas. “The sculptural style was once used to depict wealth and class, and to commemorate events, but is also a very effective method of stretching and protecting hair without heat and excess manipulation,” she explains. She also often reaches for the Oye Shea Butter: “It’s an all in one product that can be used as food for my skin and food for my hair.” She also uses it to nourish her edges. Kera Kare Dry and Itchy soothes her scalp when she has braids in, while Shine ‘N Jam is perfect for hold and Murray’s Edgewax shapes her baby hairs.
Up next, Oye is working towards adding a shampoo and conditioner to her line, while also expanding her Meji Meji collection for 2021. Otherwise, she’s focused on finding time for self-love and softness. “Self-care is important to me because I am always working,” she says. “When the pandemic happened, my body didn’t know how to react to the stillness. But especially during this pandemic, my value for self-care increased.” Whether she’s working on her beauty and fashion brands or planning her next hairstyles, she’s staying afloat through positive self-talk. “If you affirm great things, they will indeed come to pass,” she says. “Love yourself, talk to yourself, and tell yourself how beautiful you are daily.”
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Attorney Tony Buzbee Pushes Legal Crusade Against Celebrities Linked to Diddy’s Alleged Parties
The legal situation surrounding Diddy is heating up as prominent lawyer Tony Buzbee expands his efforts beyond just the music mogul himself. Buzbee is known for representing more than 120 people who have accused Sean “Diddy” Combs of misconduct. Now, he is also looking at other celebrities who may have been at Diddy’s infamous parties, where allegations of bad behavior occurred. Buzbee is sending a strong message to those who ignored what was happening: they need to either pay up or may face lawsuits that could seriously harm their reputations.
In a recent appearance on TMZ’s documentary titled The Downfall Of Diddy: Inside The Freak-Offs, Buzbee talked about the responsibility of celebrities who attended these events. He highlighted that those who saw or heard about alleged sexual abuse and drugging yet chose to stay silent are just as guilty as the ones accused. Buzbee revealed that some of these stars have already received letters demanding they settle privately or risk facing public lawsuits.
This situation has significant implications. Buzbee’s tough stance comes as personalities like Ray J speak up, claiming that various stars have contacted him worried about their involvement. Ray J has been vocal about Diddy’s alleged misdeeds and suggested that some celebrities try settling with victims before more accusations come to light. It’s unclear if Ray J’s claims indicate real legal trouble or growing anxiety among those involved, but Buzbee’s push for accountability adds a new twist to the ongoing story.
Focused initially on Diddy, this legal battle now shows how famous figures can get caught up in high-profile scandals. As Diddy faces serious federal and criminal cases, the potential consequences for others connected to him are becoming more evident. For now, Tony Buzbee is committed to seeking justice, clarifying that being famous won’t protect anyone from the law. Whether these efforts lead to public trials or quiet settlements, it’s clear that pressure is building for those linked to Diddy’s controversial events.
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Kanye West and Ty Dolla $ign Face A Fresh Copyright Suit Over “VULTURES 1”
Kanye West and Ty Dolla $ign are currently encountering some serious legal battles that appear to be persistent with their album “VULTURES 1.” The album’s complicated production process has brought a fresh storm in the form of a legal dispute, marked by numerous delays and controversies. One major issue was a lawsuit from the estate of Donna Summer, a famous disco artist because they used a sample without permission. Although that legal wrangle finally saw a settlement in June, just as fans thought the dust had settled, a new lawsuit requiring immediate attention has since swooped in.
The newest lawsuit has been filed by three artists: Southern rap veterans Criminal Manne, DJ Squeeky, and Kilo G. They allege that their song DJ Squeeky’s track “Drank a Yak (Part 2),” specifically Criminal Manne’s iconic verse, “Smokin’ on a jaunt, with my n**gas drinkin’ O.E.,” was sampled in a track titled “Fuk Sumn” without obtaining the necessary permissions. The artists highlight that a specific line performed by Criminal Manne appears at the beginning of the disputed song. Reports indicate that Kanye’s team attempted to negotiate with the rights holders for the sample usage but ultimately ceased these discussions following personnel changes within his team in May, which resulted in numerous layoffs.
The plaintiffs assert that despite their work being prominently featured in “Fuk Sumn,” none of the trio has received a dime of royalties or formal recognition for their contribution. Initial negotiations to remedy the oversight began when VULTURES 1 was released, but they quickly fizzled as Kanye cleaned house, dismissing key staff overseeing the album’s production and its legalities. Since then, contact from Kanye’s team has been non-existent, leaving Criminal Manne, DJ Squeeky, and Kilo G frustrated and uncompensated. They are seeking damages to address this lack of compensation and acknowledgment.
This lawsuit comes at a time when West’s legal plate is already full, as he confronts a series of legal claims from former employees, including a sexual assault allegation from a former assistant. Furthermore, the troubled Donda Academy has also prompted its share of legal woes. Meanwhile, Kanye is reportedly struggling to find stable legal representation, with his attorney Ron Zambrano commenting on his client’s lack of focus, stating, “The man has the attention span of a goldfish.” The situation is becoming increasingly intricate for Kanye, who is actively seeking new legal representation. Should Kanye fail to secure new legal counsel in the immediate future, he may encounter severe repercussions in this ongoing legal predicament, which is a precarious prospect given the cumulative weight of his lawsuits.
For Kanye, who is no stranger to controversy, the attention surrounding “VULTURES 1” appears to be shifting away from the music itself and towards these legal disputes, leading fans to speculate whether the album has been beset from its inception.
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