Ryan Gosling, celebrated for his acting prowess and undeniable charm, possesses a style that resonates with audiences worldwide. His ability to embody both leading man charisma and approachable relatability extends to his fashion choices, making him a style icon for many. While Gosling’s innate sense of style is undeniable, his public appearances are often curated with the expertise of stylist Mark Avery, who has collaborated with the actor since 2015. Avery provides a unique perspective, helping to refine Gosling’s already strong inclination towards vintage workwear and contemporary menswear. This partnership results in looks that are both effortlessly cool and attainable, blurring the lines between celebrity style and everyday wearability.
In this exclusive interview, Mark Avery delves into the nuances of working with Ryan Gosling, revealing the collaborative nature of their process, the influence of Western aesthetics on his own style, and the surprising relatability behind Gosling’s iconic looks.
Jake: How did your journey into styling begin? Was there a defining moment that sparked your interest in this career path?
Mark: My background was originally in punk rock bands. After that chapter concluded, I moved to Los Angeles with the aspiration of working in film. My initial understanding of the industry was very basic, I literally referred to it as “the movies.” Coming from a background far removed from Hollywood connections – most of my family remains in Virginia – I started by responding to Craigslist ads, taking on any role available, from unpaid work to unloading trucks. Gradually, I progressed into the costume department and eventually began working directly with actors. Interestingly, actors would often comment on my personal style, asking about my clothing.
They would inquire, “Where did you get that shirt? I really like your jacket!”
And I’d respond by offering to help them find similar items or directing them to stores. It evolved organically. Someone eventually pointed out that sourcing clothes and assisting actors with their wardrobes was actually a profession. This realization was eye-opening. One of my early film projects was James Gunn’s Super in 2009, starring Rainn Wilson. Rainn and I connected on set, and he generously offered me my first styling opportunity, asking if I would help him choose outfits for the premiere and press events. He saw potential in me, and I’m grateful for that initial chance.
This led to further opportunities. In 2011, I worked on The Internship as Josh Gad’s set costumer. Months later, I encountered Josh at a Starbucks on Melrose. He was with his team and recognized me, “Hey man, you’re the costume guy, right?” He then mentioned an upcoming appearance on Jay Leno and asked if I could assist him. My response was an immediate, “Yes, I’m totally a stylist.”
It sounds like your personal style played a pivotal role in launching your styling career.
Absolutely, I was essentially a walking advertisement for my styling abilities. However, it’s important to clarify that I don’t impose my personal cowboy-inspired style on everyone I work with. A key attribute of effective styling, in my opinion, is the ability to discern and enhance an individual’s inherent style. While you can assemble a fashionable outfit, it may not be genuinely suitable for that specific person.
For me, exceptional style arises from the synergy between the individual and their clothing. It’s that interaction, that chemistry. It’s when two plus two equals six. Initially, some people in Hollywood seemed perplexed by my style. When someone commented, “Oh, nice hat,” I’d think, “Are they being serious?” It felt a little strange, almost like they were teasing me because my look was so distinct.
Could you elaborate on the role of a set costumer and its responsibilities?
The costume designer is responsible for the overall design and vision of the costumes for a production. A set costumer, on the other hand, works directly with the actors on a daily basis. The set costumer is in charge of managing the clothes in the actor’s trailer and ensuring costume continuity throughout filming.
For instance, imagine you and I are filming a scene in a movie taking place at an airport, and later in the same day, another scene on a plane. One scene might be shot on a sound stage, while the airport scene is filmed a month later at an actual airport. The set costumer ensures that the actor is wearing the exact same outfit in both scenes to maintain the illusion of a single day. This includes minute details like whether sleeves are rolled up or how many buttons are fastened on a shirt. It’s crucial because movies are rarely shot in chronological order.
How did your professional relationship with Ryan Gosling begin?
I worked on Gangster Squad, although I wasn’t his personal costumer on that film. We did have occasional chats on set. I recall him complimenting my jacket one day, “Oh, I really like your jacket.” Moments like that, especially in Hollywood, are memorable when you connect with someone whose work you admire. Having a genuine conversation and receiving a compliment from someone like Ryan, who I considered the epitome of cool in Hollywood, was a great feeling.
Later, while working as Liev Schreiber’s personal dresser on Ray Donovan, I received a call from Mary Zophres, a costume designer I had collaborated with on Coen Brothers movies, Interstellar, and other notable projects. She described a script that was “not a long shoot, it’s for scale, but it’s really cool and it’s going to be cool clothes.” She mentioned, “I feel like I remember you and Ryan getting along.” After reading the script, which was La La Land, I was immediately captivated.
As someone with a music background who moved to LA to pursue creative dreams, the story resonated deeply with me. I made the decision to leave a stable, well-paying job on Ray Donovan to work on La La Land. By the midpoint of filming La La Land, I was already sourcing vintage clothing for Ryan, and our collaboration has continued uninterrupted since 2015.
So, your role as set costumer on La La Land organically transitioned into styling Ryan Gosling in his personal life?
Yes, it evolved naturally. Around the time of Blade Runner 2049, I began to assist the costume designer, contributing ideas, research, and garments. This gradually progressed to my current role, where on films, I function as both a personal set costumer and a creative consultant. I contribute to the creative process through research, brainstorming, and overall support. When you work with someone like Ryan, who possesses excellent instincts and makes insightful decisions, your input becomes more valued. In contrast, a newcomer in the industry might simply follow the costume designer’s instructions. As you gain experience and recognition, you earn more creative input. My role is to facilitate and enhance that process.
“Style is a personal statement, not necessarily for external validation. It’s about defining yourself and communicating who you are.”
What kind of discussions do you and Ryan have regarding clothing these days? Is there anything about his taste or personal style that particularly excites or intrigues you?
The creative process is truly centered around Ryan. His status as one of the best-dressed men in Hollywood is primarily due to his own taste, not solely my influence. While I believe we share a similar aesthetic, which is why our collaboration is effective, it’s very much a partnership. It’s akin to comedy writers bouncing ideas off each other, sparking even funnier concepts than they might have conceived individually.
Our process is similar. I introduce vintage pieces and various ideas; Ryan responds with his preferences, and we discuss them. This often generates further ideas. I prefer to maintain some mystique about the specifics of our creative process, but in essence, Ryan has impeccable taste. My challenge, and what I enjoy most, is to continually present him with items that will resonate with his style sensibilities.
Working with Ryan has broadened my own taste. He has an exceptional ability to pull off a wide range of styles. Often, I select items that appeal to my personal taste, thinking, “If this looks good on me, it will look incredible on him.” He possesses that unique chemistry with clothing that I mentioned earlier. Not everyone can wear a pink suit and embody the same effortless cool as Ryan did at the Barbie premiere. It’s a combination of the garment and the individual wearing it.
Can you recall a specific instance where Ryan wore something that inspired you to adopt a similar style element yourself?
Nothing immediately comes to mind. I tend to adhere to my established personal style, which I find comfortable and enjoyable. This also informs my advice to others developing their own style: identify elements that are distinctly yours, so recognizable that if you left them behind, they would immediately be identified as yours.
That’s excellent style advice.
That’s the essence of true style. Style doesn’t need to be universally admired or agreed upon. It’s a personal space you define for yourself, communicating your identity and making a statement to the world. Style is a powerful form of nonverbal communication. Even in brief encounters, like walking into a coffee shop, your style communicates with everyone present, even without direct interaction.
Ryan’s relatability is a key aspect of his appeal, especially in his style. Is he aware of the “literally me” meme phenomenon associated with characters like those in Blade Runner and Drive?
Yes, I believe he’s made references to it in press interviews. I’ve also shown him examples. While he isn’t active on social media, the meme culture became more apparent with the Barbie movie and the “new personality dropped” jokes surrounding his Ken persona. He finds it amusing to see these online reactions.
Knowing that so many men look to Ryan for style inspiration, does it add pressure to your work? Do you ever think, “If Ryan wears this jacket, it will become a trend,” and feel a heightened sense of responsibility?
To effectively do this job, I have to somewhat detach from that pressure. Of course, there’s a privilege in dressing someone who is sought after by designers and whose fashion choices garner attention. However, I believe Ryan’s relatability stems from the authenticity of his clothing choices. These are genuinely his preferences and reflect his personal style. It’s not about forcing trends. I can find an amazing jacket, but if it doesn’t resonate with the wearer, their posture and confidence will reflect that disconnect.
Because Ryan is actively involved in the styling process, his clothing choices are genuine expressions of his taste. This authenticity is what makes his style relatable.
There isn’t a separation between Ryan Gosling the public figure and Ryan in his everyday life in terms of style.
Exactly. And to be frank, his genuine coolness makes my job incredibly enjoyable. So, when you ask if I worry about influencing trends, the answer is no. It’s more about the collaborative joy of working with a friend who has great taste and discovering cool pieces together. After nearly a decade of collaboration, we have a shared understanding that if we both find something appealing, it’s likely to resonate with a wider audience. That’s exciting. Discovering vintage gems or everyday items like the CAT baseball cap that people connect with is very rewarding. It’s not about market influence; it’s about the shared experience of finding cool, wearable style. My own journey into vintage and flea markets was driven by a similar desire to find unique and interesting clothing that wasn’t readily available in mainstream stores.
I wrote an article for GQ about Ryan’s affinity for Red Wing Moc Toe boots, both on and off screen, particularly in The Fall Guy. What is it about this specific boot style that appeals to him, and to you, given your shared appreciation for them?
The classic moc toe silhouette is simply timeless and aesthetically pleasing. Personally, I’m not much of a sneaker person, reserving them for activities like hiking. I gravitate towards boots. We both appreciate the moc toe style, and it was something we already had in common when we began working together. Red Wing was incredibly supportive. The tan suede boot featured in The Fall Guy wasn’t even a commercially available model when we started filming.
It’s a comfortable and durable boot that improves with age. Ryan’s personal preference for Red Wings aligns perfectly with the character in The Fall Guy. It’s authentic to the stunt performer persona, reflecting the footwear choices of stuntmen and motorcycle riders.
Given the action-heavy nature of the movie, we required around 30 pairs of boots due to the five stunt doubles with varying shoe sizes. The boots endured significant wear and tear, including modifications for water scenes where we drilled holes for drainage. Red Wing was exceptionally helpful and a fantastic company to collaborate with.
What is your favorite Ryan Gosling outfit of all time, styled by you or otherwise, and what makes it stand out?
That’s a difficult choice, as there have been many memorable looks. For personal reasons, I particularly love the Western Barbie outfit. Being a fan of classic Western figures like Hopalong Cassidy and Davy Crockett, I saw it as a celebration of that iconic style. It felt genuine, and Ryan’s enthusiasm for those clothes was evident. My own home décor echoes that Western aesthetic, similar to the Mojo Dojo Casa. That look resonated with me from my early exposure to cowboy movies.
Regarding red carpet moments, the subtle details are often the most impactful. For example, the ‘E’ pin in the Barbie font he wore on the red carpet for Eva Mendes. It exemplifies how clothing can communicate deeper meaning. It was an iconic moment, celebrating Barbie and conveying his personal world, where Eva is his “Barbie,” the most important person. It was romantic, sweet, and incredibly cool.
Ken’s childlike wonder when seeing himself in the Western outfit in Barbie, feeling like the “coolest guy in the world,” was palpable.
That feeling of excitement about clothing resonates with me. Even now, at flea markets, I still get excited discovering vintage jackets. That enthusiasm for finding something special is enduring.
What is it about the cowboy aesthetic that you connected with during your childhood, leading you to adopt it as your personal style?
It might be a cliché, and a song title, but “my heroes have always been cowboys.” I admire figures like Josey Wales, Willie Nelson, and Dwight Yoakam. I’m drawn to Western culture, not only the authentic elements but also America’s romanticized portrayal in the forties and fifties, from TV shows to comic strips – the Hollywood cowboys like Hopalong Cassidy, Davy Crockett, and Gene Autry. I spend a lot of time at The Autry Museum because I appreciate that facet of culture. It feels uniquely American.
The Western look is immediately communicative. The hat, the boots, the silhouette – it’s a deliberate choice. Even early on, without fully understanding it, I recognized it as a way of making a statement through clothing. It’s more than just functional garments; it’s a conscious choice to wear specific items that convey a certain identity.
It immediately places you in a certain mindset and evokes a feeling. Seeing someone in double denim, a cowboy hat, and boots instantly brings to mind a lifestyle.
And as my personal taste and life evolved, the Western aesthetic remained relevant. Even The Clash had a notable Western phase. Style doesn’t always require deep rationalization, but I identified with both punk and the Western look from a young age. I didn’t see why they couldn’t coexist in my style. In my office, I have a Minor Threat record alongside a Gene Autry belt buckle.
I’ve always seen a punk sensibility in Nudie suits and outlaw country music, similar to how punk challenged rock and roll conventions. It’s about embracing a tradition but pushing its boundaries. I appreciate Western culture and style broadly, without feeling confined to stereotypical cowboy activities. I’m equally interested in the Hollywood portrayals of cowboys and those who live the lifestyle authentically.
As someone with a long-standing affinity for Western wear, what’s your perspective on its recent surge in mainstream fashion and menswear?
Over the past year, I’ve received countless inquiries about the Western trend, from Pharrell’s Louis Vuitton collection to Beyoncé’s Western-inspired looks. My hat-shaping tutorial videos have gained traction, with people asking about hat sources and styling. It’s humorous to see this trend cycle, and I often joke, “Don’t worry, it’ll fade again.” I’ll remain consistent.
So, will you stay true to your cowboy style, or are you considering “what’s next” in fashion?
I should probably share photos from 20 years ago when I was playing in a punk band, still dressed in this style. I was that guy in a cowboy hat and Dwight Yoakam T-shirt on Warped Tour. My personal style has been consistent for a long time. True style is about finding what works for you, what you enjoy, and what expresses your identity. You don’t need to conform to external trends or rigid rules. I often advise men who are stressed about wedding attire, for example, to incorporate their personal style while respecting the occasion.
For a wedding, I wouldn’t wear double denim, but I might choose a suit with a Western yoke or a bandana tie. It’s about finding your version of appropriate style. If you favor bright colors or loose fits or tailored looks, incorporate those elements. It brings individuality and enjoyment back into dressing.
I think I know the answer, but if you could wear one outfit for the rest of your life, what would it be and why?
A Levi’s type three trucker jacket, a well-worn white T-shirt, a Stetson hat, and broken-in leather boots.
Which Levi’s and which white T-shirt specifically?
I like both Levi’s 501s and 505s, especially vintage 501s from the ‘60s for their shape and rise. Controversially, I prefer zippers and appreciate finding 505s with zippers. For white T-shirts, fit is key. Sometimes, a perfect white tee is a pre-shrunk Hanes from Target. Other times, it’s a boutique option like a Mr. Freedom Stanley tee, or an eighties Hanes Beefy Tee.
I prefer thicker tees, slightly oversized initially, that I hot wash and dry to shrink to the ideal fit, similar to the shrink-to-fit concept of original 501s. I’m not drawn to the ultra-soft, almost sheer tees; that’s not my style. I prefer a T-shirt with some substance and character.
This interview has been edited and condensed for clarity.
