Unlock the Secret World of Celebrity Hair Braiders: The Untold Stories Behind the Glamour
Ever wondered how a hairstyle can carry stories, culture, and a whole lot of history — all while looking absolutely stunning? Well, pull up a chair, because celebrity hairstylist and braiding maestro Susy Oludele isn’t just weaving hair; she’s weaving legacy. From a humble beginning renting a salon chair in Brooklyn to becoming the trusted artist behind icons like Beyoncé and Solange, Oludele’s journey is a testament to passion meeting purpose. Rooted in Nigerian heritage and Yoruba traditions, her braids do more than turn heads — they narrate tales of identity, protection, and resilience. And it’s not just her; a new wave of creative braid artists like Tashana Miles, Kayra Theodore, and Aminata Kamara are redefining what it means to wear braids in today’s beauty landscape, bridging the gap between culture, art, and high fashion. Ready to get inspired by these braid-savvy stars and the mesmerizing craft behind their creations? Let’s dive in and discover what’s really behind those flawless woven strands. LEARN MORE
20 min readCelebrity hairstylist and braiding expert Susy Oludele is no stranger to making an impact in the beauty industry.
The self-taught artist rented a chair at a salon for three years before opening two buzzy Hair by Susy salon locations in Brooklyn and Los Angeles, and has been a frequent go-to for stars like Solange, Beyoncé, and Zoë Kravitz for more than a decade. Oludele draws inspiration from her Nigerian roots, as well as Yoruba culture, which is also what started her on a path of hairstyling. On a recent visit to her Brooklyn location, on behalf of Mielle, I experienced her Midas touch firsthand. I walked away from our session with a fresh set of butterfly cornrows, a little spiritual inspiration, and a few full-belly laughs, but also with an important reminder of the rich history and singular communal experience that hair braiding offers.
As a veteran in hairstyling, Oludele understands that just as local barbershops serve as outlets and safe havens for members of the Black community, creating and receiving braids is a cherished tradition passed down through generations. “Braids are a sacred archive. They carry memory of protection, of identity, of resistance, of belonging,” the stylist tells Harper’s Bazaar.
Popular styles like cornrows, knotless braids, and Fulani braids are well-known for their beauty and protective qualities, but haven’t always been accepted as mainstays among glamorous runway and red-carpet hair looks. But these days, social media virality has contributed to a shift in the broader beauty landscape, casting a spotlight on braids of all types and their presence across all spaces.
Actor Damson Idriss at the 2026 Met Gala with hair styled by Tashana Miles
You may have already heard of a few of the women who are contributing to this hairstyle movement. Along with Oludele, fellow celebrity hairstylists Tashana Miles, Kayra Theodore, and Aminata Kamara have not only gone viral several times over with their hair looks but are also shifting the paradigm of perception of the specialization with each elevated woven style they create. “The next generation of braid artists is rewriting what’s possible, and I’ve had my eye on several who are doing the work with real intention,” adds Oludele of emerging stylists she’s kept under her wing. “These are stylists with a point of view. They’re not just executing styles, they’re communicating something through hair.”
Read more on Oludele, Miles, Theodore, and Kamara, ahead, from a closer look at their creation process with celebrities like A$AP Rocky, Nara Smith, and more, to the essential products the stylists always keep in their kits.
Susy Oludele
Susy Oludele is the owner of two popular hair salons in New York and Los Angeles and a renowned celebrity hairstylist for stars like Solange and Beyoncé.
In your opinion, what do braided styles signify in the Black community in America and abroad?
In the Black community, braids have always been more than aesthetic; they’ve been a form of communication, a spiritual practice, a survival tool. I approach hair as something deeply spiritual, not merely cosmetic, and braids are perhaps the purest expression of that. For the broader beauty landscape, braids represent a long-overdue reckoning and an acknowledgment that Black creativity has always been at the center of beauty culture, even when it wasn’t credited.
How have buzzy red-carpet styles and current viral looks on social media evolved and influenced today’s most popular braided looks?
Social media collapsed the distance between the red carpet and the street, and honestly, the influence now flows both ways. A viral braid moment from a bedroom in Brooklyn can shape what appears on a major red carpet six months later. What I’ve watched evolve is the confidence. Black women and girls are no longer asking for permission to show up in braids in formal or high-fashion spaces. The culture moved, and the industry had to catch up. That’s powerful.
As a celebrity hairstylist who has worked with stars like Beyoncé, Solange, Zoë Kravitz, and Megan Thee Stallion, what are some braid trends you’ve noticed recently on the red carpet?
The trend I’m most excited about right now is Ivy braids: Effortless, lived-in braids with no tension, no strong hold, just beautiful natural movement. They feel like freedom. What I’m seeing on red carpets is a shift from perfection toward presence—braids that feel intentional but not overwrought. Styles that honor the hair rather than force it. That energy is resonating everywhere right now.
How have viral braid styles helped increase their popularity and acceptance within the larger beauty landscape?
I think it’s because the voices in those rooms have changed. When Black stylists, Black designers, and Black talent have seats at the table, the work reflects that truth. Braids on the runway aren’t a trend for us—they’re heritage. High fashion is finally catching up to what we’ve always known, that braided hair is among the most sophisticated, technically complex, and culturally rich art forms in the world.
What are some hair staples that you always keep in your kit?
The Hair by Susy brand carries a number of staple products, including pre-stretched braiding hair, edge control, and Ouee oil.
Hair by Susy Pre-Stretched Braiding Hair
Hair by Susy Edge Control
Hair by Susy Ouee Hair Oil
Kayra Theodore
A Haitian American model and hair artist, Kayra Theodore, uses hair braiding as an artistic medium. Her sculptural styles, including layered zigzags, wavy box braids, and looped twists, serve as an exploration of and experimentation with personal identity within the context of beauty.
How did you get started as a hairstylist?
I remember being in high school, and there was this one hairstyle that I saw. And mind you, at that time, I don’t think Pinterest was really a thing. This was probably around 2015 or 2014, but there was an image of a girl circulating on the internet with jumbo box braids.
I remember going to the African braiding salon after my mom made me an appointment, showing them photos, and asking, “Can you guys do this?” and they were like, “No, it’s going to be too heavy, it’s going to be too big, you don’t want that.” So eventually I just said, if they can’t do it for me, I’ll just do it on my own. And I looked up how to braid on YouTube, sat down, and just did it. Everyone was just like, “Who did your hair? Who did your hair?” And I was like, “I did,” and then I started braiding people’s hair for free. I remember in college, I was charging like $5 to do braids, which was kind of crazy to think about looking back, but it was just a small hustle and practice.
Getting into the creative styles, I always gravitated to things that looked different, so I was always trying to tweak it, just like, have a little bit of pizzazz. And then once I started modeling, brands would say, “Hey, can you do something else with your hair? What else can you do?” Which is what led me to start exploring more creative styles and then, boom, that’s how I ended up here.
What inspired your signature braided spiral and zigzag designs?
I came across a take on spirals in a hairstyle on Pinterest, and when I saw it, I thought it looked so beautiful and wondered how far I could take the shape, in a sense. I love taking everyday hairstyles and elevating them. I think it was the Pop Smoke braids that I first tried the style on, so I created those and then turned the ends into spirals and was like, “Wait, this is actually sick.” So, it’s like seeing a little part of a style I’ve seen before and taking it further. It’s like with the Pop Smoke braids—I enhanced the look and said, “Look at that! This is my thing now,” and it just blew up, and I didn’t even expect that; I was just doing something for fun.
In your opinion, what do braided styles signify in the Black community in America and abroad?
I think for me, braids allow me to be even more creative in terms of styling hair. I mean, I love my Afro down; there are a billion things you can do with your Afro. But I think I gravitated toward braids because, along with their historical relevance, I saw all the different shapes and directions in them. Braids can mean so many different things depending on the context, and for me in the present day, it’s like adding a fun touch to them while paying respect to where the style came from. That’s how I view it. History repeats itself, and sometimes things can take on a new meaning. And I think there’s just so much history behind braids, and I just love that there are different ways to play around with it and to explore that as well.
How did you team up with stars like Nara Smith and Skylar Marshai to create viral hair looks on social media?
Nara Smith comes up on my For You Page on TikTok quite a bit, so one day I went on her page and noticed that she was following me, so I followed her back. I later ended up DMing her because around that time, I was pitching myself to people to do their hair. And I said to myself, she’s barely following anyone, so she might like the work enough to where she might take a chance on me.
I messaged Nara, and she confirmed that she loved my work and that she was interested in collaborating, and then asked me what I had in mind. And for me, when I have an idea, it hasn’t necessarily been done yet, so I tried to explain it as best as I could. I went into detail about the look, but then I didn’t hear from Nara for about eight months. One day, she reached back out, saying, “I just got really busy. But if you’re so open, I would love for you to do the style on me.” So, I asked her to send me an inspiration picture as a baseline, and funny enough, it was a picture of my friend Skylar’s hair. When the time came to actually craft the look, I kept the little details Nara wanted to incorporate into it, but really let my creativity take the lead, and she ended up loving the style so much.
And then with Skylar, we’ve always talked about collaborating, but it just never really happened. Our work was also about me giving her her flowers and letting her know, “Hey, I’m taking inspo from a style that you did. I want you to know that Nara Smith is watching you, if that’s encouraging to you. I want you to know that you did something amazing, and now there’s a new version of it that I’ve created.” And so, since our birthdays are three days apart, Skylar asked me if I could freestyle her birthday hair look for a photo shoot, and it came out so amazingly.
Has social media helped strengthen your creativity and overall styling prowess?
Oh my goodness, my following has skyrocketed since posting my BTS videos with Nara and Skylar. On Instagram, my followers were actually starting to decline because I wasn’t being as consistent with my posts. But it’s because I knew I wanted to enter an era where it’s not just me showcasing hair on myself, but also on clients. So, I was willing to risk not posting consistently to kind of wait for that opportunity. But going viral has just pushed me, and now I’m growing on social media, and people are recognizing that I do hair on other people and inquiring about weddings and projects. It’s helped me build that credibility. I feel like absolutely, for next year, no doubt in my mind that I’ll be styling someone’s hair for the Met. I’m actually partnering with Instagram right now on my own hair show that’s slated for July.
Do you usually prefer using human hair over synthetic?
It depends—I typically just cater to the needs of my clients. If someone tells me their scalp is really sensitive to synthetic hair, then I’ll usually use my friend Ciara’s brand of hair, Rebundle. It’s made out of banana plant fibers in Kenya, and it’s recyclable, so it’s good for the environment. But if I had a choice, I would prefer to be environmentally friendly anyway.
What are some hair staples that you always keep in your kit?
I just started using this new gel called Gummy, and I opt for the red maximum-hold version. Also, Bask and Lather’s Strong Hold Edge Control Gel, because it helps grip the hair and stick it where I need it to stick without having to do too much manipulation.
Rebundle Plant-Based Braiding Hair in Natural, 22-Inches (2-Pack)
Gummy Professional Maximum Hold Hair Gel
Bask & Lather Strong Hold Edge Control Gel
Aminata Kamara
Aminata Kamara is an international hairstylist and educator based in the United Kingdom. She’s well-known for creating intricate braided editorial looks and for her backstage work for luxury brands like Dior, Schiaparelli, Chanel, and Prada during Fashion Month.
How did you get started as a hairstylist?
I’ve always done hair—it was something that helped me pay my way through university, and I’ve just always enjoyed it. But actually, it took a bit of a physical strain on my body, because I used to do it from home, and I didn’t really have the right equipment. So, I stopped doing hair as a business for about 10 years and would just do it for family and friends. But then I stepped back into doing hairstyling because I needed to make extra money.
I was let go from the company I was working for, and I said, “Well, it’s either I go back into a job I don’t really like, or I just pick up hairstyling again.” So I decided to hold a photo shoot because I really wanted the images to advertise what I was going to do well, and I just kept posting those images. I never went back into hairstyling like I did before; it really just transformed into session work because I loved being on set. I love the environment of having it be a collective experience with myself, the makeup artist, stylist, and photographer. And it really just birthed from there, really organically.
Celebrity stylist Aminata Kamara crafts a hair look on set
Social media has been a really big player in showcasing what I do—I’ve always seen my online profile as a bit of a gallery, especially in the early days when I was getting a lot of traction. But slowly over time, my audience grew, and I had a few posts go viral. But it’s something that I’ve always done, always enjoyed doing, and now I’m kind of in that space in a different way than how I was when I first began.
In your opinion, what do braided styles signify in the Black community in the United Kingdom and abroad?
I mean, Black history in the U.K. is quite different from Black history in the U.S. Even growing up, the school I went to, I wasn’t taught any Black history. A lot of things I learned were through my own research and personal experiences. So, when I grew up and learned about people who were very pivotal to our history, a lot of them were American figures. Having some kind of representation when it came to hair and braids really came through my family for me personally. I went to an all-white school, so I didn’t have that kind of representation—you could count the number of Black people on one hand. And so, representation came for me quite late—I kind of grew up building that sense of identity for myself.
I had a lot of experiences, many of which were negative, with my hair. When I was younger, I kept things quite safe, I’d say. I’d experiment with colors and braids, but anytime I was to do my hair, it was always a point of conversation at school. As I’ve grown up, I’ve been very intentional about what representation means and looks like for me, and I think it’s important that young people have that representation all around them. Yes, I think the media has a big part to play. Fashion has a huge part to play. But I think it really comes down to your circle of influence: Your family, your friends, your immediate environment—those pillars really matter.
And when it comes to braiding, specifically, there’s so much historical reference. I’d probably say maybe in the U.K., braids are probably a lot more of a functional thing in terms of day-to-day. They can be an easy style. I don’t think I ascribe to the notion of braids being a protective style; I don’t really think they are. I think they’re functional and beautiful; you can be creative with them. I don’t think I necessarily think of them in their historical context, just because, as I said, that’s not really something I grew up with.
Has working backstage at Fashion Month enhanced your braiding skills?
I’m self-taught and always had doll heads when I was younger, and as I’ve said, I stopped braiding for many years. But as I’ve started going into fashion, I do braid a lot more, probably for shows. I don’t have regular clients that I braid; I only really braid during shows or if a job specifically asks me to braid. Braiding is so repetitive in the sense that the more you do it, the better you get. And I definitely think braiding backstage helps that, especially the work we do for brands like Dior, because it’s so detailed and intricate. Since working with Dior’s hair team, Guido [Palau’s] team, my braiding has vastly improved. And I’ve been braiding all my life! But I definitely think as an artist, I’ve gotten so much better since I started braiding for runway shows.
How did you begin working with celebrated hair artists like Guido Palau, Jawara, and Anthony Turner?
I’m fortunate to work for a number of people backstage who recognize the importance and value of specialism when it comes to Afro hair, and it was through socials again. I work with people like Guido Palau, who is the lead hairstylist for brands like Dior and Dolce & Gabbana, and we travel a lot to New York City, Milan, and Paris. The word gets around: People see what you do, and it’s quite a small community backstage. And I was recommended by a couple of people. One of the stylists who works on Guido’s team asked me to do another job, and then when I did the job, he was like, “I really need to have you on Guido’s team.” So a few people kind of put me forward, and then they reached out. And actually, that Dior video I posted that went viral was actually the first show I’d done with that team, which I’m super grateful for. Once you’re in with certain teams, it kind of just spirals from there.
What is the experience like when styling hair backstage for models of color in particular?
For these shows, it’s a lot of the same models, and so you get to know them quite quickly, and it really is a bit of a family backstage. It’s always a pleasure when they see you, and you see them, and you catch up on what’s been happening in life and work. Hairstyling as a whole is a really intimate art form anyway—you sit down with someone for a few hours, and they are taking care of you. During that time, you’re talking, you’re connecting, and there is a deep trust that’s gained. And so when a model sees you, it is a beautiful moment. I have so many instances where the models will rush to me and say, “I want to sit in your chair!” I’m one person in a team of talented hairstylists, but I think being able to do hair is one thing, but making someone feel safe, feel valued, feel loved? Those are the really key things, and the stuff I really hold dear.
How have viral, red-carpet, and runway braid styles helped increase their popularity and acceptance within the larger beauty landscape?
I think we, as hairstylists, have a great privilege of being part of that representation. There’s an account, I believe it’s Black Beauty Roster, and anytime there’s a red-carpet event, I love how they always highlight who the hair and makeup artists are. We see these amazing looks on red carpets, and sometimes you have to go digging to find out who did the hair and makeup. And we have such a pivotal role in kind of shaping what people find inspiring, what people go on to do. Ryan Coogler’s look at the 2026 Oscars, I thought, was so amazing.
One of my friends, Tasha Miles, is A$AP Rocky’s braider, and we worked together backstage on Guido’s team. He doesn’t let anyone else touch his hair—if Tasha’s not available, he’s not getting his hair done. And he’s also someone whose style has inspired other people. When I see things like that, it’s really encouraging. We are the people who are shaping how people see themselves. I’ve had so many people reach out to me and send me pictures of them taking my work to their hairstylists. I’ve seen people do some of the styles we’ve done on the runway for their weddings.
When you’re working, you just do what you’re doing, and you get on with it, and it’s like on to the next one. You don’t really think too much of it; it’s like on to the next one. But seeing someone who was so inspired that they chose to do that style for themselves? I think it’s so phenomenal. As hairstylists, I think we have a responsibility, to an extent, to continue to create and inspire people, because that’s what helps to shape the narrative.
What are some hair staples that you always keep in your kit?
Key things for me are always protection when I’m heat styling. I usually use ColorWow’s Dream Coat Supernatural Spray or One United from Redken. And sometimes I might use a wax or gel product as well, because I have ways that I can create a look without using heat. I don’t use edge control at all, really, even for slicked-back styles where I straighten the hair, just hairspray. My favorite is Redken 23, but it’s quite difficult to get a hold of these days. So to replace that, I also like using sprays from Matrix, Sebastian, or Got2B. For Schiaparelli shows, we use Elnett to get the hold and put the hair into position, and add Got2B or Redken 23 over the top. I also really love using No. 6 from Olaplex, which is a leave-in treatment that’s quite moisturizing, and it’s the number-one product I use on shorter Afro hair with some water and a little oil. I also tend to use a lot of Amika products as well when I’m working on my own jobs—they’re great for setting and holding the hair.
Color Wow Dream Coat Supernatural Spray
Redken One United Multi-Benefit Treatment
Nº. 6 Bond Smoother: Leave-In Styling Treatment
Tashana Miles
A hair collaborator with celebrities like A$AP Rocky, Damson Idriss, and Beyoncé, stylist Tashana Miles uses her Jamaican roots to anchor her individual perspective in designing unique braiding patterns and styles. Outside of beauty, Miles is also a published children’s book author and an advocate for autism awareness.
How did you get started as a hairstylist?
I’m from a small island called Jamaica and started styling hair when I was 12. I was just inspired by my neighborhood friends and guys in the neighborhood who would get their hair braided, and they would have really crazy styles. I was intrigued by the creativity of it, just the artistry of braids, and the different designs, and creating almost anything you want to create. So, I was just drawn to that—it wasn’t something I wanted to do as a career, I wanted to be an accountant.
I started by just braiding my neighbors, my friends, my cousins, and the grandmas. I was just doing it all. Over time, I evolved and got better, then I moved to America and started working in a hair salon, trying to figure out if I wanted to go back to school, but I kind of just fell in love with doing hair. I received some training, but when it comes to braiding, I just taught myself how to do it over many years.
In your opinion, what do braided styles signify in the Black community in America and abroad?
Self-expression. I think everyone has their own unique style, and hair is one thing you can control. A lot of people cut their hair when they’re in the mood for a change, and when it comes to braids, it’s the same thing—it’s about self-expression all around.
How did you transition from working in a salon to maintaining a roster of celebrity clients?
Social media is a big part of it—the ability to showcase your work. When I started on Instagram, my main thing was to promote myself; I took it as free promotion. It was never to interact with celebrities or the industry, because I never thought in my wildest dreams that I would be on that side. It almost felt unattainable. There was a disconnect before social media: You had the people who work in the industry, and then you had people who work in salons, you know? And I think social media kind of bridged that gap for me. I just showcased my work; next thing I know, people are hitting me up in my DMs. I used to have my phone number on my page so people would text and call me, like, “Hey, I see and love your work. I would like you to work on this or work with this person.” That’s how it started, to be honest—I give it to Instagram.
How have viral, red-carpet, and runway braid styles helped increase their popularity and acceptance within the larger beauty landscape?
People are able to see these styles in different lives and in different ways through social media. You may also see people who are into fashion who may have on top brands, and also have their hair done in braids. That helps make braids more acceptable to some people, because they’re in your face, you’re seeing them all the time. So yes, I would say social media plays a big role in that. I also like to bring up the Alexander Wang Spring/Summer 2019 show, because that was the first one I did, and one of the first times viewers were able to see something intricate on the runway that was a salon-based style. Guido was the one who found me on Instagram, and that’s how I got my opportunity.
A model walks Alexander Wang’s S/S 2019 runway presentation
When we did that show, people were just like, “Wow, I’ve never seen braids look like this before.” It took that moment and for Alexander to put it on the runway, for other people to be like, “Oh, I think we should do it like this. Let’s get professional braiders. Let’s get more Black artists.” Before, it was just like, sure, braids were on the runway and were being done, but they weren’t being intricately designed, and you weren’t getting that chic aesthetic. And I think that’s because there weren’t people who were experts in that area. They’re not teaching you how to braid in beauty school. And there was that disconnect I mentioned before—social media—people weren’t seeing the art in braiding as much. But after that took off, people are now saying, “Hey, I can see those styles on the runway. I can see them on a Dior girl or a Chanel girl.” I also think it takes risk-takers to say, “Let me try this, let me do this.”
Is there a certain braided style you would consider your specialty?
I would say freestyle design: More intricate braiding patterns. Styles that make you think, “Oh, how did she get that done?” For A$AP Rocky, we have this style that doesn’t have any hanging braids, and everyone wanted to know how I got rid of the ends. So, I like intricate designs like that, because that’s what caught my eye in terms of working in the braiding world. It was seeing men back home in Jamaica. Because the guys? The guys are different. They’ll color their hair pink, purple, and green, wear it up like a pineapple—the guys go in.
How long have you worked with A$AP Rocky, and what is your collaboration process like?
I’ve been working with A$AP for about four and a half years. He’s a very creative person, so we go over concepts. In everything he does, he’s very much involved, very collaborative. He knows what he likes to see on himself, but we collaborate really well. A lot of times, he might have an idea, and it might be hard to express, but he always says, “I don’t know how you get it, but you always get it!” When it comes to his hair, he’s really involved.
A$AP Rocky on the 2026 Met Gala red carpet, hair styled by Tashana Miles
What are some hair staples that you always keep in your kit?
I always keep gel, mousse, and a rat-tail comb, which needs to be very sharp to give me that clean part. Eco Style has a really nice mousse that I like; it sets the hair really, really well, and my favorite gel right now is from Pure O. I have my own rat-tail comb that I use—Aminata has it—it’s the only one I use. I have a salon called The Chair, so it’s from our product line, The Chair Beauty Loft.
Eco Style Braids and Beyond 5-N-1 Styling Foam
Pure O Natural Neatbraid Beauty Professional Conditioning Shining Gel
The Chair Beauty Loft Parting Precision Combs (5-Pack)
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