Style Director Ronald Burton’s Vision of Fashion as Theatre

Ronald Burton III, Style Director

Hometown: Philadelphia, PA
Based: New York

How would you describe your work? What’s your trademark?
I come from a performing arts background, so I would describe my work as expressive, sometimes a bit theatrical, but always rooted in emotion and energy in a very intimate way.

What sparked your interest in styling, and was there a defining moment that made you pursue it professionally?
I originally moved to New York to pursue a career in dance, but I quickly realized that while I was good at it, I was not passionate about it in a way that I could see myself doing long-term. Around the same time, some friends from high school had moved to New York to study fashion, which was not something I had ever considered. My first foray into magazines was a fashion closet internship at Complex in 2008. Watching the fashion director collaborate with photo, talent, hair, makeup, and set design for cover shoots reminded me of the worlds built in theatre. That is when it clicked for me that maybe dance was simply my entry point into becoming an image maker. I loved how the pages of a magazine allowed you to move between fantasy and reality.

What other jobs have you had?
I worked in retail when I first graduated from college to help cover expenses while interning. In my last retail job, I received an email about an opportunity to intern on a major stylist’s cover shoot. It was unpaid, and my employer at the time would not approve my request for time off. Being the type of person I am, I left during my lunch break and sent in my resignation letter from the train. The thought of being jobless definitely lit a fire under me to figure out how to make money doing what I truly wanted. That moment sparked a serious hustle.

What non-fashion influences (art, film, literature, music, etc.) shape your creative perspective?
I love focusing on characters and the nuances that make them unique. I draw inspiration from more extreme characters and try to understand the source of what has shaped them and why. Sometimes that character is a villain in a novel.

You styled Public School’s Dao-Yi Chow and Maxwell Osborne, as well as Justin Jefferson for the Met Gala. Can you walk us through those looks and share what it was like to experience your first Met Monday?
I got that call about two weeks before the Met, while I was on location in Denver for a commercial client. At that point, I was a bit disappointed that I was not participating in the Met, especially given its theme. Then suddenly, not one, not two, but three clients were walking the carpet. Luckily, I had been sitting on a lot of reference ideas in case the opportunity came. Once the initial anxiety of execution subsided, I was excited to build three different concepts that still worked in harmony. I knew a tribute to André Leon Talley had to be included, and the grandest way to honor him was through a cape, which became the hero piece of Justin Jefferson’s look. Max chose a more traditional pinstripe three-piece suit, while Dao-Yi wore a double-breasted suit with a cotton poplin shirt and an exaggerated necktie.

What’s your process for conceptualizing a look? Do you start with references, emotions, or something else entirely?
For me, it always starts with references. I usually gather a large pool of them and then edit down based on what I feel best suits the talent I am dressing. I also do a bit of character exploration, and as the research develops, it becomes more specific to the moment I want to create.

As Style Director of Document Journal, how do you approach storytelling through fashion on an editorial level, and how does that role differ from your work as a stylist?
What I love most about my work at Document Journal is the ability to curate, sometimes even before I know exactly what the message for the issue will be. Document gives me the freedom to dream as big as I can and to bring in other important perspectives to the book. Commercially, my work is more about collaborating toward the outcome of a specific product. I do not prefer one over the other, but I appreciate the balance. Editorial work can be demanding and requires a lot of brain power.

What have you watched/heard/read lately that has inspired you?
Radical Honesty by Brad Blanton, PhD. It is not a typical self-help book, but it examines how the only captivity we are truly bound by is our mind. Before we are judged by others, we judge ourselves first, and that is where the shift has to begin. I think it is a comedic ball buster, but it also reveals how many lies we slowly normalize as truths. I am always listening to The Miseducation of Lauryn Hill, and one line that always stays with me is, “It could all be so simple, but you’d rather make it hard.” I try to apply that sentiment to everything I do.

What’s been the most challenging moment in your career, and what did you take away from it?
I always say you are one check away from being rich, one gig away from becoming a household name, and that anything you want and work hard for can be within reach. But it takes patience, hard work, perseverance, and a little favor from the fashion gods. If you really want something, it is not a matter of if you can have it, but when it is meant for you. I have had frustrating moments in my career when I felt overlooked, undervalued, or like an outsider. Then, suddenly, preparation meets opportunity, and you step into the place you always envisioned for yourself. In that moment, you feel at home, a new level of work begins, and the struggles to get there feel like just a blip in time.

What advice would you give to aspiring stylists looking to break into the industry?
Be a forever student. It is not about the destination, because that is where everything comes to a stop. Be excited about the journey and all you can learn along the way. Take what works from the people you respect, apply it, and continue to work toward what you want, while understanding and embracing the process.

Who do you think is one to watch?
Alainpaul.

Selected Work

Surprising New Shapes for T: The New York Times Style Magazine
The energy, the spirit, the fantasy, and the strength. It is always a great day when I can shoot Comme des Garçons. Théo ( Deguetzl) was the most brilliant collaborator, and dreaming up ideas with him was a joy. We had a few twists and pivots leading up to the shoot, but the day itself was smooth, seamless, and incredibly inspiring. I would also say this shoot changed the way I was perceived as a stylist.

One Thought Fills Immensity for Document Journal
I reference dance a lot in my work, mostly pioneers in modern dance, such as Martha Graham, who creates beautiful compositions with the body.

The promise of a movement is its future
Sheila (Bawar) is one of my favorite models. Her movement style and ability to adapt to a character are super inspiring, and you never want to stop taking photos of her.

Document Journal Special Edition Winter 2024-25 Cover
Solange (Knowles), Josh (Woods) and I traveled to the Phillip Glass house which is known for its incredible interior & exterior design. We explored Solange’s relation to art, design, and fashion in this cover story.

C-Suite Style Has Never Looked So Chic for WSJ
My subjects are often women of color, exploring their beauty and range to adapt to different types of story telling. Awar (Odhiang) is one of the most in demand and hardest working models of the moment, we played on this idea, transforming her into a powerful 90’s exec, showcasing the seasons best suiting looks.