Mark Ronson made the job of picking the Hugo Boss Most Stylish Man very easy in 2016 and it's almost all down to one particular outfit he wore at “an American sporting event”. Who else could we pick, other than the man who opened Bruno Mars' set at the Super Bowl wearing a high-shine, sparkly gold-and-black Saint Laurent bomber jacket? With just the right mix of flashiness, sportiness and style, that outfit set the standard for menswear this year. For a man who spent most of his early career either producing seminal albums, such as Amy Winehouse's Back To Black, or mixing records behind the decks in a DJ booth, 2016 was the year Ronson strode emphatically onto centre stage and looked damn good doing it too.
As GQ learned when we stepped into his walk-in wardrobe on the third floor of his West London townhouse, Ronson's style formula is the same as his music: select the best items from a particularly cool era, mix it all together with confidence and out pops a song (or outfit) which is greater than the sum of its parts. He says his style is not about “just looking the part to fool people. If I get into something I dive into it wholeheartedly. You want to be about that thing, right?”
As is evident from his wardrobe, filled with Saint Laurent, Gucci and two or three bespoke vintage-style suits sent 5,000 miles from the workshop of little-known Japanese tailor Kyosuke Kunimoto, Ronson has been earnestly diving into his personal style for a long time. As his music evolved, so too did his clothes: from playing in bands aged 13, he latched onto “the Madchester thing”, matched with his love of Blur; later, when rave was taking hold in New York, he combined his love of the Beastie Boys and hip hop by showing off with “ridiculously baggy jeans and 1970s vintage Pumas with fat laces”; then, when Hedi Slimane took over at Dior, everything changed. The French fashion designer “revolutionised the way young men dressed” and Ronson was committed to that revolution. “I remember the first really expensive thing I bought was a Dior leather jacket,” he says. “It was $2,300. I don't regret it. He makes jackets that you could wear down to the store and see Daft Punk wearing on stage.”
Slimane is an appropriate fashion icon for Ronson: joining Saint Laurent as creative director in 2012, he took inspiration from the music world, ripping up the brand's 1970s vibe and replacing it with a skinny, grungy, rock-star-chic look. His designs were equally adored by the public and the critics, sending profits soaring. Sound familiar?
Ultimately, though, it's not all about the label. “When I think of incredibly stylish people, that could be Serge Gainsbourg in a jean jacket. It's not just Bryan Ferry in a wonderful three-piece suit,” says Ronson. “The most important thing that unites stylish people is that because they love what they do so much, they automatically look cool.”
For Ronson, style is inextricably linked to music, but it's also important not to try to think too hard about it. “I know when I hear what I'm looking for. It's the same with style. You know it when you see it. You know when you kind of put shit together sometimes by accident, you're like, 'Oh, that's good. Maybe I'll rock with that for a minute.'” When he started working with Amy Winehouse on Back To Black, he'd “get dressed up in my Phil Spector suit and walk out with my f***ing brilliant ingénue artist [Amy], with her amazing look all of her own that was part-Camden, part-The Ronettes.
“Clothes seep into you. You can't be standing in front of a band or a horn section with this old-school arrangement wearing a f***ing T-shirt and baggy jeans,” especially when that audience isn't just a band, but two million people who watch the “Uptown Funk” music video every day or the 115 million Americans who tuned in to see his sparkly bomber jacket steal the show at the Super Bowl. In his own words, “Style is about having something and owning it” and Mark's been there, done that, bought the vintage T-shirt.