Yuzuru Hanyu
Jayne Torvill & Christopher Dean
Stat by stat
Bars are scaled to the leader in this list.
The verdict
Jayne Torvill & Christopher Dean leads 2 of 4 categories. Our all-time ranking places Yuzuru Hanyu at #1 and Jayne Torvill & Christopher Dean at #8.
The case for Yuzuru Hanyu
The most complete skater of the quadruple era, and the first man in 66 years to defend an Olympic title. Hanyu won gold at Sochi 2014 and Pyeongchang 2018, the first back-to-back men's champion since Dick Button in 1952, and did it in the deepest and most technically inflated field the sport has ever staged. He set 19 world records under the ISU Judging System, more than any skater in any discipline: the first short program over 100 points, 101.45 at Sochi; the first free skate over 200 and first total over 300, 322.40 at the 2015 NHK Trophy; then 330.43 at the 2015 Grand Prix Final. Four consecutive Grand Prix Final titles from 2013 to 2016, two world championships and six Japanese national titles sit alongside a 2020 Four Continents win that completed the Super Slam, every major junior and senior title, a first for a male single skater. He turned professional in 2022 and immediately sold out solo productions at the Tokyo Dome.
The case for Jayne Torvill & Christopher Dean
The most famous four minutes in the history of the sport. At Sarajevo in 1984 the Nottingham pair skated Ravel's Boléro and received nine perfect 6.0s for artistic impression, the only unanimous set of maximum marks ever awarded in an Olympic figure skating event, part of twelve 6.0s across the whole competition. The program was itself a rules exercise: the free dance limit was 4 minutes 10 seconds and the clock started when a blade moved, so they opened kneeling on the ice for the first 18 seconds to fit their 4:28 arrangement inside the rule. They won four consecutive world titles from 1981 to 1984 and four European championships, turned professional, then returned under reinstatement rules to take bronze at Lillehammer in 1994. Their influence on ice dance was structural rather than decorative: they replaced ballroom pastiche with narrative choreography and theatrical staging, and every free dance judged on composition since works in the vocabulary they built.