
The Complex Relationship Between Black Women, Our Hair, And the Protective Styles We Love

Black women’s natural hair is constantly a topic of conversation. Whether it’s in the workplace, on the red carpet, or in everyday life, how Black women choose to style their hair will always be a topic. This constant bombardment of opinions, both inside and outside of the Black community, about the way Black women’s hair is presented to the rest of the world can be a lot to manage and process at times.
Though we sang along with India.Arie, as she serenaded us with her classic “I Am Not My Hair,” Black women’s hair is indeed a statement of who they choose to be when they show up in the world each day. Valencia Carillo of Perfect Hair says, “We like to say we aren't our hair, but we also are. It changes how we feel and how we view ourselves.”
There are many reasons Black women choose protective styles such as braids, twists, and wigs as their go-to styles for everyday life.
“I wear protective styles because it's not only convenient to manage, but I love it," shares Bobbie Riley, celebrity hair and makeup artist. As a Black woman who is constantly on various sets throughout Los Angeles, I’m always aware of my hair and the lack of knowledge some have about it. I want to feel confident when doing shoots, but know there’s always a chance that the HMU on set won’t be prepared to style me accordingly. This is why I choose protective styles so frequently when shooting. However, when I’m not booked, I enjoy having my natural hair free.
Today, more Black women are embracing their natural hair and protective styles while pushing boundaries they wouldn’t have been able to less than a decade ago. Abena Afrane, a licensed celebrity cosmetologist, says, “There's a noticeable shift, even among news anchors, who now confidently wear hairstyles like braids on TV.” Yet, even with this shift, a new conversation is emerging about Black women and protective styles.
Though we see many Black women wearing their natural hair publicly, there is also a new lingering question, “Is Black women’s ‘reliance’ on protective styles simply another way we’ve found to hide a piece of ourselves in order to be deemed more presentable?”
The truth of it all lies somewhere much deeper than that.
The History of Hair Discrimination
To fully understand where the stigma and desire to assimilate comes from, we have to venture to the origin of hair discrimination in America. Black women’s hair has been used as a weapon against them since the inception of this country. The coils of our hair are one of the most prominent features that distinguishes Black people from other races, and because of this, it’s been used to make us feel inferior.
One example of this would be the origins of the term “nappy.” It’s believed that the origin of the term comes from the word nap, which described the frizzled thread that came apart from a piece of fabric. The term “nappy” was used to describe African slaves’ hair to demean and dehumanize them.
Likewise, because of the intricate braiding styles and designs our ancestors brought to America from the continent, Black women were often forced to hide their hair. This was used as a tool to shame Black women, create a racial hierarchy, and hide our culture.
An example of this was the Tignon Laws of 1786. When the Spanish took control of Louisiana, there was a population of free Black people living in the state. To display a cultural hierarchy, the governor mandated that free Black women wear tignon, head scarves historically worn by slaves, as a means to display their inferiority to white women.
Cabinet Card of Sarah Ann Blunt Crozley wearing a tignon in the 1800s.
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Though they complied, they began to use them not only as a fashion statement, making them out of colorful and expensive fabrics and adding feathers and jewels to them, but also as a means of rebellion against their colonial ruling powers.
As time went on, Black women began to attempt to assimilate into white culture by straightening their hair. The famous Madame C.J. Walker made her fortune helping Black women manage and permanently straighten their hair. Though Walker’s business thrived and enabled other Black women to build wealth, today, many Black women are moving away from relaxers and consistently straightening their hair.
Black women are now embracing their natural hair with each passing year, but this emergence of unapologetic Blackness is often met with pushback.
Where Do Protective Styles Come From?
Protective styles are not a new phenomenon within the Black community or our African ancestry. The texture of most Black women’s hair easily gets tangled and knotted and can succumb to breakage if not well cared for properly. This reality has led centuries of Black women to find ways to protect and maintain their crowns. There are Stone Age paintings dating back to 3000 BC of North African women wearing braids in their hair.
What we call cornrows – named by enslaved Africans in the American South because they looked like rows of corn – are also known as irun didi by Yoruba people. The intricate nature of this style was not only practical but easier to maintain for an extended amount of time.
Similarly, Fulani braids – named after the Fulani people of West Africa – were used as a symbol of a woman’s marital status, career, or socio-economic class in pre-slave trade Africa. Likewise, Bantu knots – named after the Bantu group of the Zulu people – were used as a heatless curling technique for Black women centuries before it gained popularity in mainstream America.
Delmaine Donson/Getty Images
As chronicled in Hair Story: Untangling the Roots of Black Hair in America by Ayana D. Byrd and Lori L. Tharps, the everchanging and cyclical relationship Black people have with their hair is often a reflection of their desire for freedom or connection to their ancestral roots. Growing up in the 90s, braids, twists, ponytails, wigs, etc. were commonplace in my and my mother’s friend groups.
Black women looking for ways to manage and care for their hair isn’t a new concept, but protective styles transition into the mainstream arena has created new conversations centered around whether Black women are using it as a mechanism to hide their natural hair.
Instead of acknowledging that Black women are becoming more comfortable with embracing themselves and their heritage, their choice of hairstyle is yet another sector where individuals have been allowed to over-police and analyze them.
Hair Discrimination Today
Global Head of DEI for Ferguson Partners Dionna Johnson Sallis admits she has experienced and witnessed hair discrimination towards Black women multiple times during her 13-year tenure in corporate America. She says, “wearing straight wigs or getting sew-ins that mirror the Eurocentric form of beauty can be a form of fitting in.” Sallis continues, “But I think many of us lean toward the more Afrocentric forms of a protective styling such as braids, twists, faux locs, and things that are more textured.”
I agree with Sallis and often use protective styles that still fully display my “Blackness,” because my goal is never to make any believe I’m ashamed of my culture or ancestry. However, there was a time when wearing my natural hair to work, whether it be in front of or behind the camera, was seen as unkempt or unprofessional.
I was told to make sure my hair was “neat” when I came into the office or was a prominent topic of discussion whenever I wore my fro out.
Luckily, I have always had older Black women around to remind my white coworkers not to touch my hair or make a big deal out of a new style I had. Nonetheless, these constant microaggressions can weigh on a person while begging the question: “Should I just cover my natural hair so they’ll shut up already?”
Sallis believes experiences like the ones I describe are less prominent today; “Because of the CROWN Act, it is made it more difficult to be discriminated against because there is a very blatant law in place to prevent this discrimination and microaggressions compared to 10 or 15 years ago.”
Strides like these have come as a result of Black women mobilizing to pursue true equity for themselves and future generations. Afrane adds, “I've observed a significant change where we're boldly advocating for equality and inclusivity in professional spaces. It's inspiring to witness us standing up and speaking out for ourselves.”
Black Women’s Rights to Their Individuality
Depending on what your daily life looks like, protective styles can be an easy way to manage and maintain your natural hair in a healthy manner. Carillo has been doing my protective styles for years, and we often talk about our busy lives managing businesses, being mothers, and still wanting to feel like ourselves. Like many Black women, we use our hair as a form of expression and style. Carillo says, “At the end of it all, I think most Black women choose what we want and what makes us feel good.” Afrane agrees, “It feels like we're collectively embracing hairstyles that bring us joy and align with our lifestyles.”
Though there will always be podcast conversations on whether or not natural hair is appropriate for formal events and people trying to create a divide between Black women who mainly wear weave and wigs versus the ones who wear their afro regularly, the one consensus I found among the women I interviewed is there is some level of awareness, whether positive or negative, Black women experience in relationship to their hair and how others perceive them.
Delmaine Donson/Getty Images
Riley shared a recent experience on set with one of her clients where the brand wanted a fiber fill to give her client a more “hair-like look.” Riley and her client both agreed it wasn’t the direction they wanted to go and continued with their original aesthetic for the shoot. “I loved her facial structure and her hair how it was, and I wanted her to feel just as beautiful embracing it,” Riley says.
Carillo adds, “Insecurities are real, and while we love to do what we need to for us, I'd be lying to say some women don't consider what others think.”
As we all know, existing in the intersectionality of Black womanhood comes with a slew of challenges, disparities, and dangers. However, just as the women of Louisiana in 1786 used their tignons as a form of expression, creativity, and rebellion, Black women today embrace our crowns the same way. One of the greatest joys many of us experience as Black women are switching up our hairstyles to match our mood, occasion, or season.
We find liberation in changing our styles to express who we are in the current moment we’re existing in. Though there are some who may use protective styles as a means to assimilate into Eurocentric culture, far more of us change our hairstyles to match our vibe. Afrane says, “The joy lies in the freedom to explore various looks, and it feels like we're collectively embracing hairstyles that bring us joy.”
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Featured image by Delmaine Donson/Getty Images
Originally published on February 27, 2024
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Claudia Jordan, Demetria McKinney & Jill Marie Jones On 'Games Women Play' & Dating Over 40
What do you get when you mix unfiltered truths, high-stakes romance, and a few well-timed one-liners? You get Games Women Play—the sizzling new stage play by Je’Caryous Johnson that’s part relationship rollercoaster, part grown-woman group chat.
With a powerhouse cast that includes Claudia Jordan, Demetria McKinney, Jill Marie Jones, Carl Payne, Chico Bean, and Brian J. White, the play dives headfirst into the messy, hilarious, and heart-wrenching games people play for love, power, and peace of mind. And the women leading this story? They’re bringing their whole selves to the stage—and leaving nothing behind.
From Script to Spotlight
The road to Games Women Play started over 20 years ago—literally.
“This script was written 20 years ago,” Jill Marie Jones said with a smile. “It was originally called Men, Money & Gold Diggers, and I was in the film version. So when Je’Caryous called me to bring it to the stage, I was like, ‘Let’s go.’” Now reimagined for 2025, the play is updated with sharp dialogue and modern relationship dynamics that feel all too real.
Demetria McKinney, no stranger to Je’Caryous Johnson’s productions, jumped at the opportunity to join the cast once again. “This is my third time working with him,” she shared. “It was an opportunity to stretch. I’d never been directed by Carl Payne before, and the chance to work with talent I admire—Jill, Claudia, Chico—it was a no-brainer.”
Claudia Jordan joked that she originally saw the role as just another check. “I didn’t take it that seriously at first,” she admitted. “But this is my first full-on tour—and now I’ve got a whole new respect for how hard people work in theater. This ain’t easy.”
Modern Love, Stage Left
The play doesn’t hold back when it comes to the messier parts of love. One jaw-dropping moment comes when a live podcast proposal flips into a prenup bombshell—leaving the audience (and the characters) gasping.
Demetria broke it down with honesty. “People don’t ask the real questions when they date. Like, ‘Do you want kids? How do you feel about money?’ These convos aren’t happening, and then everyone’s confused. That moment in the play—it’s real. That happens all the time.”
Jill chimed in, noting how the play speaks to emotional disconnect. “We’re giving each other different tokens of love. Men might offer security and money. Women, we’re giving our hearts. But there’s a disconnect—and that’s where things fall apart.”
And then Claudia, of course, took it all the way there. “These men don’t even want to sign our prenups now!” she laughed. “They want to live the soft life, too. Wearing units, gloss, getting their brows done. We can’t have nothing! Y’all want to be like us? Then get a damn period and go through menopause.”
Dating Over 40: “You Better Come Correct”
When the conversation turned to real-life relationships, all three women lit up. Their experiences dating in their 40s and 50s have given them both clarity—and zero tolerance for games.
“I feel sexier than I’ve ever felt,” said Jill, who proudly turned 50 in January. “I say what I want. I mean what I say. I’m inside my woman, and I’m not apologizing for it.”
Demetria added that dating now comes with deeper self-awareness. “Anybody in my life is there because I want them there. I’ve worked hard to need nobody. But I’m open to love—as long as you keep doing what got me there in the first place.”
For Claudia, the bar is high—and the peace is priceless. “I’ve worked hard for my peace,” she said. “I’m not dating for food. I’m dating because I want to spend time with you. And honestly, if being with you isn’t better than being alone with my candles and fountains and cats? Then no thanks.”
Channeling Strength & Icon Status
Each actress brings something different to the play—but all of them deliver.
“I actually wish I could be messier on stage,” Claudia joked. “But I think about my grandmother—she was born in 1929, couldn’t even vote or buy a house without a man, and didn’t give a damn. She was fearless. That’s where my strength comes from.”
For Jill, the comparisons to her iconic Girlfriends character Toni Childs aren’t far off—but this role gave her a chance to dig deeper. “If you really understood Toni, you’d see how layered she was. And Paisley is the same—misunderstood, but strong. There’s more to her than people see at first glance.”
Demetria, who juggles singing and acting seamlessly, shared that live theater pushes her in a new way. “Every moment on stage counts. You can’t redo anything. It’s a different kind of love and discipline. You have to give the performance away—live, in the moment—and trust that it lands.”
Laughter, Lessons & Black Girl Gems
The show has plenty of laugh-out-loud moments—and the cast isn’t shy about who steals scenes.
“Chico Bean gets a lot of gasps and laughs,” Claudia said. “And Naomi Booker? Every scene she’s in—she’s hilarious.”
But the play isn’t just about humor. It leaves space for reflection—especially for Black women.
“I hope we get back to the foundation of love and communication,” said Demetria. “A lot of us are in protector mode. But that’s turned into survival mode. We’ve lost softness. We’ve lost connection.”
Claudia agreed. “We’re doing it all—but it’s not because we want to be strong all the time. It’s because we have to be. And I just want women to know: You can have peace, you can be soft. But stop bringing your old pain into new love. Don’t let past heartbreak build walls so high that the right person can’t climb over.”
Final Act: Pack the House
If there’s one thing this cast agrees on, it’s that this play isn’t just entertainment—it’s necessary.
“Atlanta is the Black entertainment hub,” Claudia said. “We need y’all to show up for this play. Support the arts. Support each other. Because when we pack the house, we make space for more stories like this.”
Games Women Play is more than a play—it’s a mirror. You’ll see yourself, your friends, your exes, and maybe even your next chapter. So get ready to laugh, reflect, and maybe even heal—because the games are on.
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It’s officially Miss Keri, Baby season again—and if you ask us, it’s been a long time coming. After 15 years away from the music scene, Keri Hilson has returned not only with a brand-new album, but also a captivating new role in Lifetime’s Fame—the latest installment in The Temptations film franchise.
Between the album We Need to Talk: Love and her leading role in Fame, this isn’t just a comeback—it’s a rebirth. The Grammy-nominated singer-songwriter turned actress is letting us into her world like never before, unpacking themes of vulnerability, healing, and inner strength with grace, grit, and raw artistry.
Now streaming on Lifetime, Fame follows two superstar sisters—played by Keri and singer/actress Keshia Chanté—as they navigate the cost of stardom, sibling rivalry, and the dark side of desire. The film also stars Romeo Miller, Ecstasia Sanders, Nathan Witte, and Sophie Carriere, and is executive produced by Derrick Williams and Adriane Hopper Williams of the Seven Deadly Sins franchise.
As for the music? We Need to Talk: Love is a three-part album (Love, Drama, Redemption) that tells the story of a woman who’s been through it—and has risen from the ashes. “It was time to speak for myself,” Keri says.
We sat down with Keri to talk about her return to music, her passion for acting, the emotional depth of Fame, and how she’s learning to care for herself amidst the chaos.
From R&B Queen to Drama Star: Keri Gets Into Character
“Even though she’s famous—as am I—it was really her humanity that I wanted to portray.”
Keri plays Cherish, one half of a superstar sibling duo who must confront their fractured relationship in the wake of a traumatic robbery. For Keri, the role was more than a character—it was a psychological study.
“I enjoy departures from reality. That’s why I love acting,” she shares. “Psychology is one of my favorite things in life. I became a writer because I’m an observer of human nature, emotion, and behavior. I think I did a good job showing her humanity.”
The Fame Isn’t Always Worth the Price
“Keep the main thing the main thing.”
Keri doesn’t sugarcoat the industry. When asked about what Fame reveals about the dark side of celebrity culture, her answer is clear:
“It’s a cautionary tale. It reminds you to keep your family close and not allow anything to come between them—especially in pursuit of success. Keep the main thing the main thing. For me, that’s family, love, spirituality, and values.”
Three Chapters, One Story: Love. Drama. Redemption.
“I’ve shed the fear. It was time to tell my own story.”
Released April 18th, We Need to Talk: Love is Keri’s first album in 15 years—and a deeply personal one at that. The three-part project (Love, Drama, Redemption) represents a timeline of healing and growth.
“I’m finally in a place where I’m able and willing to open up more,” she says. “For a while, I became really guarded—shell-shocked, even—after making mistakes in the public eye. Whether it’s all your fault or not, the scrutiny takes its toll. But now, I’ve shed that fear. It’s time to tell my story.”
Cooking, Walks, and Recalibrating in the Chaos
“I’m not doing the best job—but I’m doing what I can.”
Between eight-hour rehearsals, press runs, and music releases, Hilson admits she hasn’t quite figured out the balance yet—but she’s trying. For her, the key is carving out small rituals of normalcy.
“I enjoy cooking. That’s my sanctity,” she says. “I’ll go home, take my makeup off, put on my rehearsal clothes, and cook a meal. I take walks. I run. These little things help me feel like myself again.”
Art Imitates Life (and Album Tracklists)
“Cherish goes from Love… to Drama… to Redemption.”
Asked which album chapter her Fame character would fall into, Keri doesn’t hesitate. “She fits into all three,” she says. “You see her go from love, to drama, to redemption. That arc mirrors the journey of so many women who’ve had to navigate pain and find their way back to themselves.”
No Pressure, Just Art: Keri Wants You to Feel Something
“Just enjoy the art. That’s it.”
After all the time, patience, and healing, Keri isn’t asking for much. She just wants fans to press play—and feel something.
“I just want people to enjoy what they’re seeing and hearing. Enjoy me on screen. Enjoy me through their ears. People have waited, and I feel blessed by that. That helps me keep it all pure and simple.”
As Keri Hilson steps boldly back into the spotlight, it’s clear this era is all about alignment, artistry, and authenticity. With Fame airing on Lifetime and the first chapter of We Need to Talk: Love setting the tone, we’re more than excited to see what’s next.
As she continues to unfold the album’s next two chapters—Drama and Redemption—one thing’s for sure: this isn’t just a comeback. It’s a reintroduction. And we’ll be watching, listening, and cheering her on every step of the way.
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