As somebody who spent the early portion of his adolescence on the island of St. Croix in the U.S. Virgin Islands, Kevin McIntosh Jr.‘s bio is nothing short of energizing. In 2001, his family relocated to Charlotte, North Carolina, a city and world vastly different from the island lifestyle. There, he finished high school, and then enrolled at The University of North Carolina in Greensboro. He started out studying economics – inspired by his grandfather’s success – until realizing he wanted to pursue a degree in communications studies. After moving to New York City, he landed an internship at Interview magazine, followed by stints at MrPorter.com, KCD, and Ralph Lauren. In 2013, he joined the Karla Otto public relations firm in New York, where he served as Director of PR & Talent services, and worked with celebrities and designers, many of whom consider him a friend.

Now ready for his next big move, this part-time comedian has much game to share and talk about as he leads us into this interview with some words of wisdom: “In this industry, you have to have a plan and know what does and doesn’t work for you. I know I never wanted to work at a company where I had to answer to 20 different people, and Karla Otto has allowed me space to use at a level and capacity that I wanted to.”

Do you remember the day woke up and said, “I want to work in fashion?” How exactly did that you make that happen for yourself?

I always wanted to work in fashion. Growing up, I was fortunate enough to persuade my folks to get me a subscription to GQ, Esquire, and Source Magazine. During my high school and college years, I had a monstrous interest in the world of advertisement, and essentially, I wanted to become an editor at GQ. At that time, that was my idea of fashion and what working in fashion could mean. I had moved to New York on December 30th, 2009. Now that I was in the city made for dreams, I eagerly went through a couple of magazines and emailed everyone on the masthead in the fashion departments, hoping many individuals would respond.

My ardor didn’t stop there; I even went as far as faxing and mailing my resume to those I could find fax numbers and addresses for. Interview magazine was the only publication that responded to me, and I started interning, which eventually turned into a freelance gig, and that’s how my journey began. It sounds quick, but I actually didn’t hear back from anyone for months.

Is there a specific moment that comes to mind when you felt like you’ve made it in New York City and fashion?

When I began traveling and working in Paris… As a global lead, I’m able to work internationally. Once I started working in Europe and became comfortable doing so, that’s when I finally felt like, “Okay, I’ve made it,” and people know me for my work and work ethic. There was also the Off-White show in Paris in Spring 2018. A riot started happening out of nowhere; it was so chaotic, and I remember getting locked out of the show and having to find my way back in, but it turned out to be one of our best shows to this day. This was a moment of satisfaction for me.

One would be so lucky to stumble upon your Rolodex. How have you built and kept the relationships you have with some of the most notable names in fashion and celebrity?

I trust it’s tied in with being true, keeping it real, and being reliable. Being good at your job is number one, and when you can get individuals what they need or point them in the right direction of what they’re seeking, those connections begin to shape naturally. When you begin traveling for shows, you start seeing the same people over and over – from the models, directors, and people in entertainment.. It’s a blend of being a decent individual, hard-working, and I stand apart there aren’t many bald Black guys in the business working at the highest point of these desired brands.

As a publicist and now Director of PR, what has been your most noteworthy accomplishment up to this point? What have you worked on that makes you go, “wow, I did that?”

As of late, it would be the September 2020 Issue of Vogue – The Kerry James Marshall drawing of the woman wearing a white Off-White gown. I remember assisting with this and working with Vogue, yet never did I figure it would turn into the cover. When it came out and I saw it in the flesh, it was actually a “wow, how amazing is this“ moment for me, and those don’t occur too often anymore.

I want to touch on a few deeper issues as it pertains to being black in fashion. Have you ever felt skipped over or left out of an employment opportunity because of your skin color?

Of course! We work in fashion, and you know when you’re first starting out, you want the job, and you see the positions go to the same versions of the same person. I think individuals box you when they accept, for reasons unknown, you can just do a certain something. My way of seeing the world is that I know what’s out there, I know what’s happening, but I don’t go around beating myself up for what didn’t transpire for me. I’m not looking for white approval, and I’m not looking to change who I am to fit in. I know what rooms I make sense in and what places I don’t; I may be open to feedback, but that’s about it. Looking back in hindsight, if there’s an opportunity I wasn’t offered, then it wasn’t for me, and that’s a loss for them.

On the concept of inclusion, what changes do you think need to be made for Black individuals in the industry to flourish as well as our white counterparts?

You realize we’re playing a game, and inside playing the game, here and there you will win, and now and then you will lose. It’s up to us inside the space, and as we assemble in the space to make our partnerships. Finding your people and building up your circle, and tapping these individuals for opportunities once you begin climbing the ladder, is an approach to breaking the ceiling.

I think of being friends with Yashua Simmons, Carlos Nazario, Gabrielle Karefa-Johnson, Sami Janjer, and Jahleel Weaver. Being in the space with those people and organically nurturing relationships when you’re first starting out as an assistant. Fashion has a big problem when it comes to classism, and it’s always been that way. The old guards need to change their way of thinking, open up some, and be willing to learn.

In your opinion, what has fashion been like for Black people or People of Color who aren’t celebrities?

You know it’s been different for all of us. Some have flourished in this industry and appreciated the ride until one day they weren’t in any longer, and now they detest it. Then again, I’ve generally understood what it resembled I referenced it before, a “game,” and with that, for myself and a couple of others, it’s helped us get by and not get bottled down by the crazy antics of this industry.

How have you given back to your community through your power and position?

It’s constantly been imperative that I employed individuals who resembled me, understood me, and the things I was attempting to do. I’m consistently employing and helping my Black interns and assistants. For instance, people like Daana Burnette, Senior Manager at Purple, Jummy Temidayo, Senior Publicist at KCD, and Wayne Wess Rogers, Founder of No Affiliation, all worked under me and have proceeded to dominate in this industry. There’s also Kia Goosby, Fashion Editor at Hearst Group. Kia wasn’t an employee of mine but a friend I made in college whom I was able to help get started in fashion. I’ve always looked out for my community and made sure they understood what was going on. There’s never been a time when I didn’t help.

Lastly, are there any Black Designers known or unknown that you would like to bring to the CFDA attention?

Somebody I’ve always championed and believed in is a friend of mine, Spencer Badu. He’s a Canadian designer that I met in Europe who makes phenomenal garments. I’m also advocating this very cool brand called Who Decides War by Ev Bravado and Téla D’Amore.