BOU, music you can wear

BOU began far from the runway. In 2020, Alexis Martínez launched a service that allowed businesses and entrepreneurs to store products and ship orders to customers who bought online. Logistics was his first trade: coordinating warehouses, sales and deliveries. Over time, that experience found a different direction in Ecuadorian music and in the clothing that fans wanted to wear beyond a concert.

From logistics to the stage

Martínez was working as manager for the rapper Wanako. Accompanying him brought Martínez closer to artistic creation and helped him recognize an opportunity: official merchandise could be sold online, paid for by card and delivered to customers’ homes, rather than being available only outside a show. BOU’s first collection grew out of that relationship of trust. It also introduced him to photo shoots, wardrobe fittings and the challenge of communicating an idea visually.

In 2023, the project took shape as a fashion and artist merchandise brand. Solving the shipping problem was no longer enough: he had to decide what a garment could express and how to represent the world of a song. For Martínez, these products can also give visibility to musicians’ work and strengthen artists’ connections with their audiences.

“Art is a thread running through the culture, economy and identity of a place.”

How a collection comes to life

Some collections begin with an idea from the brand; others start with an album release or a tour. BOU listens to the music an artist is preparing and looks for references to translate it into images, colors and shapes. Martínez estimates that a collection can take around six months from concept to sale. First, the commercial objective is defined and an agreement is reached with the artist; then visual proposals are developed to guide the design.

Production does not begin immediately. The garments are designed, samples are made and two or three prototypes are usually tested before the full collection goes into production. Quality control, photography, communication and distribution come next. BOU sells at concerts, in stores and online. These separate stages must come together for a music-inspired idea to become clothing that someone wants to wear.

Most of the production takes place in Ecuador. According to Martínez, the garments associated with Ecuadorian music are made primarily in Manabí, Quito and Ambato. For T-shirts and hooded garments, they use cotton, screen printing and embroidery, finishes that the founder values for their artisanal qualities. They have also developed jackets and loose-fitting designs associated with streetwear.

What we wear is also a way to belong

One of its collections, La Piel, draws on the aesthetics of football jerseys and connects them with artists. Designs have featured the map of Ecuador, the condor and other references; the jaguar is another recurring symbol. Martínez uses these images to explore a Latin American identity through contemporary clothing, without reducing the idea to a flag or a decorative motif.

Identity is also shaped by the people who buy the clothes. The founder has noticed that followers of the alternative music scene—from rock to hip-hop—see official merchandise as a way to recognize others with similar tastes. For them, wearing an artist’s name is not necessarily a passing purchase. BOU has sought to bring fashion and music closer together through projects such as live sessions connected to certain collections.

But producing with greater care also presents a challenge: price. Martínez acknowledges that a garment made with better materials or finishes can cost more, and that some buyers are willing to pay for international brands rather than locally made clothing. He believes the challenge is to develop a different appreciation for Ecuadorian products while keeping in mind the relationship between quality and what customers are prepared to pay.

An identity still taking shape

Martínez does not believe BOU’s identity is complete. He wants to bring together two interests: honoring music and showcasing references connected to Ecuador. The Raíz line explores the latter through streetwear. His hope is that these references will also resonate with people from different cities and backgrounds across the country, not just with consumers abroad.

BOU operates in Ecuador and Colombia and ships to other countries. Martínez wants to deepen his collaborations with artists and, eventually, reach Latin American communities abroad. He presents this as a goal, not a market the brand has already reached. His experience in Colombia has shown him that a brand born in Ecuador can find audiences and work opportunities beyond its original market.

“I want to see more Ecuadorian brands around the world.”

BOU has gone from distributing orders to creating collections connected to music. For Martínez, the next challenge is to consolidate an identity that allows Ecuadorian artists and producers to connect with audiences in other countries without losing touch with their followers at home. That work is still underway.