Misa Hylton worked with Lil’ Kim, Foxy Brown, and Mary J. Blige, and collaborated with Dapper Dan
On November 12, 1996, Lil’ Kim released her revolutionary solo debut album Hard Core. The 4’11” rapper burst into the music scene like a prolific sexual spitfire that could write rhymes that had more style and finesse than most of the top names in hip hop.
The cover of Hard Core, styled by Misa Hylton, featured Lil’ Kim in a sheer blouse worn over lingerie, straddling a bear skin with bouquets of roses and a burning fireplace behind her. This photograph embodies everything that the album represented: a powerful woman owning her sexuality, ready to pounce. With the help of Hylton, Lil’ Kim quickly became a trailblazing fashion icon with her colourful wigs and provocative playful style that included the “Crush On You” video and red carpet moments like the lilac one-shouldered VMAs catsuit.
Hylton got her big break when her boyfriend at the time, Sean “Puffy” Combs, was developing the group Jodeci for Uptown Records. Instead of putting them in suits, which was standard at the time, Hylton and Combs dressed them in combat boots, baseball caps, and leather.
She went on to work with Mary J. Blige, Mase, Foxy Brown, and Jay-Z – in other words, you can’t talk about 90s hip hop and R&B style without mentioning Hylton’s name. Back then, it wasn’t as easy as calling up Gucci – working long before the fashion industry embraced hip hop, Hylton had to purchase luxury clothes for her clients with her own credit card because designers wouldn’t return her calls or confirm showroom appointments.
As Hard Core turns 12, she tells us more about some of her most iconic moments.
ON MARY J. BLIGE’S TOMBOY CHIC LOOK
“Mary and Puff were creating a new sound, so it only made sense that the image reflected that energy. We were all very young and it was important to show our swag. Back then, most female artists that sang about love wore gowns and dressed up. There was space for something new. Mary was a hip hop girl at heart and sportswear has always been a staple in our community. I guess you can call it early tomboy chic.”
ON STYLING ONE-TIME RIVALS LIL’ KIM AND FOXY BROWN
“Although both women were from Brooklyn, if you look closely you see their different personalities and sense of style. Kim was a true B-girl at heart and Foxy had a West Indian flavor. Kim and Foxy created the space for female rappers to be feminine and sexy. As women, we get to choose how we show up whether it’s in baggy clothes or wardrobe that celebrates the female body. They liberated women.”
ON TELLING PUFFY TO SIGN THE NOTORIOUS B.I.G.
“I convinced Puff to sign him, when his image was in question. I thought that BIG could be that big, black, sexy guy. The type of hustler you would see who was fresh to death in any hood in America.”
ON WORKING WITH THE LEGENDARY DAPPER DAN
“I knew I wanted to work with Dapper Dan because not only did he understand hip hop culture and style, his workmanship was great and he paid attention to detail. He also made the legendary snorkel coat for street legend Aberto “Alpo” Martinez so I knew he would bring Missy’s pink snorkle to life in true hip hop fashion. We have collaborated on so many projects! We made shorts for rapper Trina made out of real $100 bills I think it took $2k! We created the black and white Fendi Zucca print suits for Puff, G. Dep and Black Rob for the video “Let’s Get It.” We created wardrobe for Missy’s toursand a hot pink and black Greek keys (Versace) one piece for her video with Fantasia. Most recently Dap created the suits for Justin and Christian Combs where they paid homage to Eric B and Rakim’s album cover “Paid in Full” in a music video which was styled by my right hand Jai Hudson.”
ON WHY WE’RE STILL TALKING ABOUT LIL’ KIM’S 1999 VMA’S LOOK
“I think that Kim and I were magical together and when you have that type of synergy only greatness can come forth. We were thinking outside of the box and unapologetically taking risks. People gravitate to that type of authentic and creative energy.”
ON THE LEGACY OF 90s HIP HOP
“I think that the younger generation loves the authenticity and creativity of the 90s hip hop trends, our ideas were based on being unique and expressing ourselves as individuals. We weren’t afraid to dream and champion not only hip hop culture but also youth culture at the same time. We decided how we wanted to look and sound. That is powerful. The fashion looked good and it feels even better. We had the opportunity to let our ideas marinate and take form. We didn’t have social media critics or any outside forces interrupting the flow. It was a golden time.”