The multi-hyphenate talks her music career, hip hop documentary and being a style chameleon 

Photography by Simon Emmett. Production: Olumide Galleries LTD. Location: Arthur’s Seat, Edinburgh

How would your perfect Fringe day begin? 

Eating at one of the many amazing breakfast cafes that you can find all over Scotland. I’m usually in the Grassmarket or New Town. l would then most likely take a stroll around some of Edinburgh’s iconic destinations – whether that’s Calton Hill or Arthur’s Seat. If it’s a lovely day, then I’m heading to Portobello Beach. Fringe-wise, I’m most likely to go and see something that’s more like a talk show, or has a Q&A, so that I can engage with the artist and find out more about their work. I’ll do that until we get to early evening, then I’ll go and see a theatre production, followed by some comedy.

What are your favourite venues around the city for buzz or a bit of peace and quiet? 

I love going to The Stand and the Voodoo Rooms, which is where my show is on – Secret Lives: The Untold Story of British Hip Hop. I like that side of Edinburgh and St Andrew Square, because they have a whole different vibration. I always find lots of Scottish talent performing in those spaces. I also love some of the venues up near the castle to catch more Scottish acts. If I’m looking to hang out, I’m probably heading up towards Assembly or Udderbelly. They also have some fantastic shows and if you really need some peace and quiet, there are a number of little bars and venues both local and part of the festival that are scattered across the city. There’s also Fringe Central if you’re an artist and need to rest or just refocus. 

How did your musical background influence your approach to directing and producing Secret Lives? 

I was so hyper-aware of the impact of the dislocation between the generations that I wanted to create an archive of that history, of the people that have paved the way for future generations. My background in music really made it clear to me how important giving respect to the people that came before us really is. I knew that if I ever got the opportunity to tell a story about hip-hop, that I always wanted to do it justice and start at the beginning – rather than skipping to the future. I’ve always loved social anthropology, entomology and history, and I found it really enjoyable being able to create something that was easy to digest and that gave people an understanding of a genre of music that’s often represented in a really negative light.

If you’re looking at the commercial hip-hop scene – not to criticise that – but I would say that in earlier hip-hop, the music was much more broad and it was really easy to find things in it that connected with more people. Even if you weren’t into that specific genre, there was just so much to love regardless. Back in the day, you could easily write a PhD on it – on the semiotics and the syntax and the discourse alone. It’s not about criticising where we are today, it’s more about understanding that we need to have competing ideologies, which is why I decided to stay more underground, just because it was all about the connection and creating art that changed people’s lives. I was really content, making a living and touring the world with everyone from Nas, to Damian Marley, Ruff Ryders, Wu Tang and reggae artists like Yellowman. It was really nice, not having to be worried or desperate to get signed. I was more interested in authenticity and making music that was powerful.

Was there a particular moment while making the film that hit especially hard for you? 

Hearing about all these people that had paved the way through major sacrifices such as remortgaging their houses and in some cases becoming homeless, sacrificing their families and stability all because they were so, so passionate and so dedicated to this art form to ensure that it could become established in the United Kingdom.  I think that struggle is something that anyone can identify with – regardless whether you’re into hip-hop or not – and those stories really made an impact on me.

What do you hope young artists or fans of the current UK rap scene take away from the documentary?

It’s about reminding people that there are five main pillars of hip hop and all of them are essential in something being classified as hip hop. One of those elements is consciousness, since it stems from a people’s fight and right to social justice. It has traditionally been the voice of the marginalised, which is why I think it appeals to people regardless of their race, religion or background. It’s important that we understand the life of this genre of music, and that we are not just focusing on what’s happened in recent history, since it can be argued it has become extremely materialistic and commercialised with a sense of hypersexualisation.  I certainly believe in free will, but it’s about providing space for different types of music, so for those of us who want to make conscious music – that’s not based on appearance and is more tied into its origins.  

You’re passionate about sustainability. What’s the real story behind greenwashing in fashion? 

Sustainability has been something that I’ve campaigned for over the last several decades. I was just really concerned about the environment – particularly about the impact on wildlife and our waterways. The rate at which we are consuming is completely unsustainable and unrealistic. Greenwashing is what happens with any social justice movement. We usually start off in the right way but by the time it reaches a commercial level and is broadcast to the rest of the world, a lot of the time it has totally lost its original meaning, and it’s become performative. It can be posting on social media about injustices, as opposed to doing something physically in real life. There are so many ways to help and change our current situation, including buying more locally. Globalisation was sold to us as if it would help, but in actual fact it means it is much harder to compete because of vested interests. 

In your experience of modelling for renowned brands across the world – what are some backstage realities the public rarely sees? 

There are many backstage realities of modelling – sometimes you need to wait around for several hours and that can be quite difficult when you’re doing that in heels. Sometimes you might not know what you’re wearing, so it’s dealing with that and staying as professional as possible. If you feel uncomfortable with something, learning how to communicate that can be quite challenging. It’s really important to try not to take anything too personally. Having a strong sense of who you are, what you stand for and being true to your beliefs will really help you to find the brands that you have the most in common with. I wrote a book called How to get into Fashion, and it is packed full of dos and don’ts and expertise to support people who want to get into the industry.  

How has your approach to style evolved? 

When it comes to fashion I am a bit of a chameleon. I love streetwear. I love smart, casual, and traditional. I also like dressing up and going to fancy events. It’s hard for me to not enjoy all of those fantastic aspects of style and fashion. I am constantly looking for things that are new and different as I love to stand out, and I also adore clothes that make me feel confident and comfortable at the same time.  I am super excited for the future and I am currently working on a new book and a new album, so 2026 looks like it will be my best year yet!

Catch Secret Lives: The Untold Story of British Hip Hop at Voodoo Rooms until 10th August and keep up to date with Eunice here: euniceolumide.com