EGHO STUDIOS: fashion, insubmission and a cultural landscape in movement

EGHO STUDIOS has opened its first temporary physical store in São Paulo. The chosen format is a pop-up store in the LAPI space, in Pinheiros. It is a transitory opening, expected to run until the end of August, which favours sensory experience over static permanence. The label took the occasion to launch an exclusive, numbered T-shirt, restricted to just 20 units. The opening action, which gave the first five pieces free to those who arrived on the day, reinforces EGHO's communal and experimental spirit, always more interested in relationships than in mass consumption.

The insubmission that structures EGHO has deep roots. One of Romério's ancestors, Luiz Pedro, was a prominent figure in the cangaço, right hand to Lampião. The story that binds them is one of courage and loyalty: when Luiz Pedro was captured, Lampião returned to die beside him, honouring a pact of fidelity. That genealogy runs through EGHO as a symbol of resistance and creation. The reference is not a postcard-folkloric Brazil, but a Brazil of the sertão, mystical and cinematic, close to the imagination of Glauber Rocha. It is with that country, marked by survival and by poetic excess, that EGHO speaks.

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Within the Egho Ecos project, the label has held musical gatherings that widen the aesthetic world sustaining its clothes. The event, begun in intimate editions in the atelier itself, now takes public shape. The first edition featured the Bahian guitarist Maxon Kennedy, who moves between jazz and soul. The second received the band Medula, also of Northeastern origin. The coincidence, unplanned, revealed a code of the label: to reinforce dialogue with Northeastern artists, expanding a narrative of belonging to a Brazil that rarely occupies the centre of the fashion market.

“It was the first time we had such close physical contact with the public. The experience exceeded expectations. We thought we would close in July, but decided to extend. The reception was far greater than we expected.” The designer stresses that music is in the label's DNA: “I have always been a music guy. It was music that put me inside fashion. Our visual references are closely tied to musical subcultures. Creating Egho Ecos was a way of making that tangible for the public. Moda and music, for me, are inseparable.” On the genealogy of the cangaço, Romério connects past and present: “That inheritance is resistance. It is about creating your own space, even against the current. It is about loyalty, courage and invention.”

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Romério's creative partner, Gabriel, highlights music as the meeting point between them: “We met through music. Romério brought a lot of rock, I brought a lot of the new hip hop. The label is born of that fusion. Hip hop today is the new rock. It has the energy, the aesthetic force and the power to define ways of living.” On the pop-up, Gabriel says: “The response was incredible. The public wants more. We are already thinking of expanding into larger spaces. EGHO's world is too big to fit in one place.” He also stresses the immersive character of the experience: “The visual architecture was fundamental. We brought elements of the shoot into the store: railings, roofing, reclaimed materials. All aligned with our world. The space was not just a store, but a multisensory experience: smell, touch, sound. It was a real immersion.”

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By bringing to the centre narratives of the sertão, of the cangaço, of Northeastern music and of urban subcultures, EGHO reaffirms that fashion is a territory of resistance, of invention and of multiple belonging.

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