It’s no accident that Eric McNeal has emerged as one of the fashion industry’s darling stylists. For years, he had been cutting his teeth as an assistant to several top stylists, including longtime mentor Jason Rembert. It wasn’t until the rise of Pyer Moss that things started to change. As a longtime collaborator of Kerby Jean-Raymond, McNeal was a pivotal force in shaping the image of the brand via its runway shows and ad campaigns. While he now works for himself, make no mistake: McNeal is not doing this alone. His community is central to his work and he never takes on a project “if it doesn’t have anything about it that speaks to me and my people.” His work is a celebration of Black culture and pays homage to those who came before him while creating opportunities for the next generation.

We talked to McNeal about everything from his days as a stylist assistant to how his culture influences his work – and what’s on the horizon. Read highlights from the conversation below.

How did you first get your start in the industry?

I went to a law high school, but all my friends were singers and rappers. I would always do shoots, or they would ask me to go shopping with them. I got an internship at Def Jam and one of the guys there said I should be a stylist. I was like, “what’s that?” Then a switch went off. I started to intern with random stylists. I dropped out of college, and met Rachel Johnson and Kesha McLeod. They gave me my first shot. I just realized this could be a job.

What did you learn from being an assistant to so many great stylists?

I worked for every stylist; then I met Jason [Rembert]. I worked for him for six years. We were like Men in Black. We were so tied to each other because our taste was so aligned. I always tell people to assist as long as possible. When you’re an assistant, there’s no liability. You’re just a piece of the puzzle. I’m so blessed to have worked with so many amazing stylists. I learned so much, and they held my hand through every part of it. I loved it because I learned all of the mistakes. Assist for as long as possible. You don’t want to second guess that you can’t do the job.

How did you know it was time to go out on your own?

I always said, “when will I know it’s time to be on my own?” [Jason] was like, “you’ll know when you know. There won’t be any stress, it will be easy.” I was still assisting when I did Pyer Moss. Once I did the Fall ‘18 show, things really started happening and I stopped. Then Joan [Smalls] came, and Vince [Staples]. When it was time for me to go out on my own, I didn’t realize how many people wanted to see me win.

How did you first meet Kerby Jean-Raymond?

I went to see his debut collection at this hotel with Jason. They went to college together. At the time, I was styling J. Cole and all these artists, and I’d always be in his office because I just kept pulling from him. One day, he was like ”you’re going to style my show.” Kerby sees something in you, and he knows how to hone in on talent. I styled his first show at Milk and that was it. I’ve been doing it ever since.

Can you describe your relationship?

I owe Kerby so much because so much of who I am is because of Pyer Moss. It helps me understand the way that culture and our experiences can liberate our people. Fashion can be elitist and keep people who look like us out. [Kerby] would say, “our experience is the reason why we’re fly.” Everything that is brown is gold. We just light everything up. We make everything better. Period.

Why do you think people respond to the brand and your work?

Consumers want authenticity and transparency. Our culture is changing so much that we are yearning for things that are real. Fashion is really built on glamour and fantasy. We’re just trying to make the world a little bit more beautiful, and in doing that, you should be authentic in who you are as a brand, stylist, or whatever. I don’t like things that feel stiff or don’t move the needle. My people and my community, they embrace us because we do this well and they feel liberated.

How does styling for runway differ from editorial and celebrity?

Styling a show is a different part of your brain. I compare it to costume design. It’s more than just putting a green top with a green pant. It’s more about, “what’s the story here? What’s the feeling? What’s the theme?” And then you build around that. Pyer Moss is such a different type of show because you have to do research and care for your own people’s stories. Kerby has everything laid out, and it’s like an art project or a think tank. Everyone puts their ideas in, and then we start.

What makes you want to take on a new project or client?

Now, your work has to be about the people in front of you, behind you, and to the side of you. Honestly – if it doesn’t have an ounce of brownness to it. If it doesn’t have anything about it that speaks to me and my people. That’s how I see projects now. I want to be proud of my work. It has to speak to me and my people really. It has to have some sort of black appeal. I need to be excited about the whole process, or that training where it has to test me. I’m hesitant about a lot of things. I don’t take things on easily. I would rather pass up on a money job that would suck up all of my energy.

What the most rewarding parts about working with your clients?

As a stylist, it’s about the community we create – the way that people choose us and we choose them.  It’s a family thing. When I did the fitting for the CVFF Awards Gala, I was with Paloma for three hours. I’m excited about clothes, but she’s really excited about clothes. She loves fashion.

What’s next for you?

I really want to focus more on costume design and things that move. I love costume design, and I have lot of great art and film projects that I’m excited about.

Film is forever. Red carpets are cool, but if you’re not really doing it right, it’s fleeting. The way our brains are wired now, people want things that they can hold onto.