Christopher Campbell, celebrity stylist and Flaunt’s fashion director, has been working with emerging artist Ashwin Gane to create memorable looks as he kicks off his music career. The duo recently sat down to get Gane’s take on style and how the artist approached the looks for the his recent music video.
Campbell: You dove head first into the fashion game having toured the circuit attending both New York and London Fashion Weeks back-to-back. What inspired you most from that experience?
Gane: Seeing how collections are presented—not just the garments—was huge. Fashion week reminded me that the show, the staging, the world around the clothes carries as much meaning as the pieces themselves. That clicked with how I build my own universe: it’s always more than a song or a single look; it’s an experience people can step into. And yeah, catching the medieval trend on the runway felt like home base for me.
You’ve got a sharp eye. I’m working on a few medieval trend stories as we speak. You kept a very busy schedule in both cities, which shows or designers resonated most?
In London, Sprayground really stood out—playful, immersive, like turning the brand into a literal playground. In both cities, I gravitated toward designers doing strong “character” pieces. Anyone operating in that medieval space rose to the top for me.
Ashwin Gane
Having had a chance to preview your short film/music video “Flip Dat” I was blown away by the strong visual direction you created. I found it quite inspiring and from the onset of working together, I felt it really set the tone for your fashion direction this season at shows. How did the film spark that?
When Fashion Week came up, I saw a chance to push world-building into the physical—take the spirit of Flip Dat and filter it into real-world looks. But I didn’t want to repeat the video. I worked with you to try bolder, even slightly uncomfortable choices—still in the same wheelhouse, but more experimental so people could feel the universe beyond the screen.
Favorite look you wore?
The Hives & Colony ensemble—purple and green—had a playful “Joker” energy. It kept a traditional sartorial backbone but updated it with a modern, high-impact palette that matched where I was creatively.
What stuck with you style-wise after Fashion Week?
I’m doubling down on color experimentation. Flip Dat already tested strong hues, but now I’m pushing even more vibrant. That’s the biggest behavioral shift in my day-to-day wardrobe.
How would you describe your style right now?
I’m a character actor; my look is character-driven. It’s a 1930s–50s homage with a tongue-in-cheek twist, anchored by color theory. I don’t just run complementary opposites; I bend temperatures so hues gel on camera—like warming a blue toward green so it harmonizes instead of shouting. That approach keeps the styling cinematic and cohesive.
Aswhin Gane in Hive & Colony
Did being inside the shows change your perspective on fashion?
It didn’t change it so much as it motivated me. I’m actively exploring an Inspector Gane capsule—bringing that world into accessible ready-to-wear while keeping depth for collectors. Seeing runway ideas up close made me want to manifest the Inspector universe in real product.
Let’s talk future music/visuals! What world are you building next?
I’m working on a project album/EP that’s about a single archetype: the Mastermind. Think Joker, Scarecrow, Ra’s al Ghul, Moriarty—classic villain intellects. The vibe is Tim-Burton-meets-classic gothic horror—Wolfman, Invisible Man—stylized, ominous, and fun, like the Saturday-morning [cartoon] villains we grew up loving. Structurally, it’s top-down: I’m writing the world first and crafting songs to serve that narrative, the opposite of Flip Dat, which started with a Don-Juan-tinged guitar and later birthed the mystery angle.
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