Stylist Notebook is a series centering the career path of stylists on our radar discussing their largest inspiration sources.
Freelance wardobe stylist Mel Reneé Leamon arrives for our video call with a quiet confidence that instantly commands attention. Framed from the shoulders up, she wears a black asymmetrical top paired with chunky silver accessories, exuding an effortless cool that mirrors the work she’s built her name on. As we settle into conversation, her voice is candid, thoughtful, and reflective. It’s the same spark that’s propelled her from retail floors to red carpets, building a brand, and a name that shows no signs of slowing down.
Originally from Miami, Leamon arrived in New York City over a decade ago with a clear vision: to carve out a space for herself in fashion. Her introduction to the industry was anything but conventional. Working retail at the now-shuttered Opening Ceremony storefront in Soho, she quickly immersed herself in the city’s creative network, connecting with photographers, stylists, and designers. Rather than following the traditional path of assisting one stylist for years, she chose a more expansive route. “I wanted to get my hands in everything,” she says. “Editorial, commercial, red carpet. I needed to figure out where I fit.”
That approach has since paid off. Leamon went on to work with jewelry designer Martine Ali, refining her eye for creative direction before catching the attention of Keke Palmer. Styling the multi-hyphenate for a Refinery29 feature and other press moments catalyzed her career to take flight. “She really championed me,” Leamon says. “She opened doors I wouldn’t have had otherwise.”
Soon after, she transitioned into full-time freelancing, building a client list that continues to grow. Now, with five years of freelancing under her belt and 12 years in New York City, Leamon’s journey proves that breaking into fashion isn’t about a single defining moment but a series of intentional steps forward.
Below, we caught up with Leamon as she shared insights into her creative process, why she favors editorial over commercial styling, and how she balances staying on trend while maintaining her signature aesthetic.
ESSENCE: Your portfolio spans editorial and commercial styling. How do you approach each differently, and do you have a favorite?
Mel Reneé Leamon: My favorite is editorial because I love to be creative. I can approach editorial from a different mindset, where I’m not bound to a client giving me all these parameters within which to work. I can be a little more free and collaborative with the hair and makeup team and the photographer.
But I do love my commercial work because I get to make money. Editorials don’t always offer you that. I will say that editorial drives the commercial work. You won’t get those high-profile clients if they can’t see what you do creatively.
When I approach commercial work, I think about balancing what the client wants with where their brand stands, while still keeping my creativity. Even if they want me to tone it down a little, clients hire you for your eye at the end of the day.
What does prep for a styling project look like for you?
For an editorial project, the process usually starts with the team presenting me with an idea. From there, I create a mood board to shape the styling vision, this process is similar for commercial projects as well. They’ll provide a deck outlining the overarching concept, and within a few days, I’ll deliver a full breakdown of how I envision the styling.
I then dive into research, including pulling references, studying runway collections, or visiting stores to see what’s currently available. I take photos of potential pieces, organize them into a deck, and use that as a guide before beginning the buying or pulling process.
For larger shoots, it’s often a two-week process—starting with conceptualizing and sourcing looks, then shooting, followed by another week dedicated to wrapping up and returning everything. By the end, I just want the clothes out.
How would you describe your aesthetic?
My work is definitely a bit polished, but I always like to do something that feels unexpected and layered and a little bit off-kilter. People come to me for something that feels different and even a little big. I love a wide silhouette and playing with texture, color, and layering. I always approach styling from a unique place whenever I can so that it feels like creating, not just copying and pasting.
Where do you find inspiration?
I’m an internet kid, for sure. I’m always on all the blogs, Tumblr, Models.com, and buying magazines and old-fashioned books on eBay, kind of obscure ones, not just the Taschen runway books. If I see something with a great cover, I’ll order it; there’s always something inspiring inside. Or if my friend has on something that’s fly, I’ll take a picture of them to pull from later. Inspiration is everywhere. One of my favorite editorials was inspired by a trip to the aquarium.
How do you stay ahead of trends while maintaining a signature style?
Trend forecasting is about looking at the runways, seeing common threads, and watching street style, seeing what all the kids and the girls downtown are wearing. At the same time, referencing older books and staying true to what visually speaks to you is more important than chasing trends. You can always incorporate trends into a story when the time is right, but when you’re telling personal stories or creating unique commercial work, you need your own inspiration to draw from. I also think that when your work isn’t solely trend-driven, it feels more timeless.
What was the moment you knew you made it as a stylist?
Do we ever really reach that? I feel like I’m still waiting for that moment. I know that I feel successful. I’m working consistently, and I’m doing editorials that I love. I feel successful in the sense that I’ve been able to have a stable career. Five years of freelancing, is difficult in New York. Not working with a magazine and being on your own is an uphill battle, and it’s competitive. I have a lot of returning clients, so it makes me feel like I’m doing my job right. But I’m still waiting for that moment where I’m going to burst into tears and be like, “Oh my God, I really made it!”
What recent projects stand out to you?
I did a hair story with ESSENCE last September, and I loved that story. We were talking about the history of Black hair, and it felt really nostalgic. I got to pull a lot of designers I loved at the moment, so that was fun for me. I also went to the Cayman Islands in November with the International Department of Travel, and we shot a big commercial. I styled about 80 people. That was a huge push, but it was a highlight of my year because I got to be on the beach while working.
What advice would you give young Black stylists trying to break into editorial and commercial styling?
I always tell people to reach out. You should be sending your resume. Not every stylist likes DMs, but sometimes it’s good to just send a DM and say, ‘Hey, I love your work, and I sent you an email.’ Most stylists have their email on their page, so just click it and send a little cover letter. Also, look at who their assistants are and reach out to them. Often, assistants are looking for help and are easier to reach. Assistants hire interns and second assistants, so that’s a great way in.
Once [you’re] on set, focus on learning. Absorb as much information as possible, be helpful, take notes, and pay attention to every detail. Make yourself available when opportunities arise so people remember you and associate you with a strong work ethic. Those small actions make a lasting impression, and people will be more likely to hire you again. It all comes down to networking, reaching out, and proving yourself once you get the opportunity.
What’s next for you?
Right now, I’ve been doing some influencer work, which has been exciting. I never considered it before, but it just kind of fell into my lap, whether collaborating with Nike or other brands. But mostly, I want to focus on personal projects this year. I’ve spent years prioritizing editorial or commercial work, and now I want to push my own narratives and tell stories that matter to me.