Geffen positioned The Breakthrough for success, releasing it eight months after Mariah Carey’s own comeback effort, The Emancipation of Mimi, which proved how much a veteran R&B star could dominate pop with a resilient narrative if they also had a No. “I can make twenty more really depressed albums, but I choose to do something different,” Blige told NPR in 2006, echoing the classic text Sex and the City when a Paris-bound Carrie tells Miranda, “I cannot stay in New York and be single for you.”Īfter 30 years of being trapped in heartbreak and misery, Blige deserved her redemption arc. Everybody wants her to stay sad for them. And yet, the dominant narrative is that Blige sings better when she’s in despair. Blige album is a chance for her to decompress, reboot, and present a stronger but softer version of herself. What separates Blige from many other artists is that she is a believable work-in-progress. It’s gonna take a lifetime to really get to that point.” “I don’t think any of us will be free completely. “I’m freeing myself,” she said to NPR in 2006, defining her breakthrough as not just one epiphany but an endless series of revelations. The album reads less as a tribute to him and more like a sermon between Blige and the congregation of women who’ve seen themselves in her over the years. “It’s not just about choosing to be in love with him-it’s about choosing to be in love with myself,” she told Newsweek in 2005. Though the press described her seventh album, The Breakthrough, as a love letter to him, Blige insisted it was deeper than that. ![]() ![]() “As a creative, it's important not to second-guess yourself and your vision, because it's your gift.”Īhead, we looked back on some of Blige’s most fashionable music videos and Hylton’s creative process behind each one, which includes outfits from Patricia Field, straight-off-the-runway Fendi, and ‘60s-inspired looks.At the time, Blige was awash in bliss, two years into a marriage with her manager, Kendu Isaacs, and ready to sing it to the heavens. My fashion style and work is my art and really trusting it, which I've always done,” says Hylton, who turned her industry prowess into the Misa Hylton Fashion Academy. “My mantra is always believing in myself and my art. While Lil’ Kim’s looks are more fashion-forward and Elliott’s skew avant-garde, Hylton seamlessly mixes Blige’s personal style with high-end designer names while staying true to their hip-hop roots. Hylton has managed to create signature aesthetics for every one of her artists. Then as we both grew as young women, the styles continued to transform, but always keeping those hip-hop elements, like the hoop earrings and the combat boot turned into a thigh-high boot, and so on.” “In the beginning, there was a lot of focus on street style and hip-hop wear - combat boots, baseball caps, and jerseys. “Our creative process has always been very organic and authentic to whatever stage we were at in our lives,” Hylton tells NYLON. Blige spans all the way back to the ‘90s during their early career days. ![]() In addition to her stellar roster of clients, which also boasts Missy Elliott, Foxy Brown, Faith Evans, and many more, Hylton’s work with Mary J. From Lil’ Kim’s iconic VMAs look in 1999 to Diddy’s logomania in the “Let’s Get It” music video, Misa Hylton is the brains behind many of hip-hop and R&B’s most memorable fashion moments.
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