This story originally appeared on the Gents Cafe Newsletter. You can subscribe here.
It’s not always easy to navigate the market of menswear and buy with confidence: how is a garment made? Is it worth the price, or is it overprice? These questions often arise, especially when shopping online, and answering them is often difficult – if not impossible.
In an attempt to change this, ISTO. set out on a mission of total transparency: from an honest disclosure of supplier to an accurate cost breakdown of every garment, the Portuguese brand lets customers know everything about what they’re buying.
Pairing this transparency with a genuine commitment to sustainability, ISTO. has built a solid reputation as a no-nonsense brand rooted in tradition but always looking forward. Sofia Seruya, Head of Production, introduced us to the brand’s philosophy.
Can you tell us a bit about your background and what led you to join ISTO.?
After studying Business Administration in Lisbon and completing a master’s degree in Barcelona, I began my career as an accessories buyer at Zara, within Inditex’s headquarters, where I spent five years gaining valuable experience in a fast-paced, large-scale environment. Later, seeking a new challenge (and following my desire to return to Portugal) I joined the H&M Group to oversee leather purchasing across Europe, which marked my first real engagement with sustainability – specifically, by helping streamline the supplier list to those with stronger environmental and labor standards. While working with brands like Arket, COS, and And Other Stories, I became increasingly involved in material innovation, sourcing sustainable leathers such as vegetable-tanned and chrome-free options, or leathers made from wine industry waste.
This period sparked a deeper passion for sustainable fashion and innovation.
Still, I had this feeling – I was working for these massive corporations, and I wanted to have more ownership over my work. I wanted to actually make a difference, to do things in a new way. Around that time, I met Pedro from ISTO. The brand had already been around for a couple of years, and we really clicked. I became one of the first people hired and ended up launching the entire production department – from sourcing suppliers and fabrics to building the production calendar.
At a brand like ISTO., where transparency, independence, and craftsmanship are central, what does being Head of Production mean, and how does your work help bring those values to life?
At ISTO., we aim to be as clear and honest as possible in the way we work. One of our main priorities is to perfect our products: we are absolutely obsessed with making them as high-quality and durable as possible. For us, durability is a form of sustainability. By extending the life of our products, we help customers avoid unnecessary consumption and move away from the constant cycle of buying more.
As Head of Production, my role is deeply connected to that philosophy. We believe Portugal is one of the best sourcing locations in the world, and we’re passionate about working with local partners. Whenever possible, we keep all our sourcing and production here. Of course, there are moments when we need to look abroad, but only after exhausting every option locally. For instance, when we couldn’t find the right denim in Portugal, we turned to Candiani in Italy, a factory known for its innovation and sustainable practices [Candiani was featured in one of our Brand Talks interviews, you can read it here]. We also work with Manteco, another Italian company that specializes in recycled wool. But overall, the core of our production remains proudly Portuguese.
Craftsmanship is essential to us. The quality of each detail has to be impeccable. We invest a great deal of time in sourcing – speaking with different suppliers, testing their capabilities, and always aiming for the best available. Our approach to product development is also very intentional. We don’t rush to release new products. We work on each piece until it’s truly ready, and even after a launch, we continue improving it based on feedback from our customers.
On your website, you describe independence as the freedom to resist fast-paced fashion cycles and external pressures, from investors to seasonal trends. How does this independence shape your production decisions, and what does it allow you to protect that might otherwise be compromised?
Independence is at the core of how we operate at ISTO. It gives us the freedom to design our own pace and priorities, especially when it comes to production. One of our main focuses is maintaining a lean, efficient system, not just for inventory but for the entire production chain. That means we’re constantly working to ensure we have the right amount of product at the right time, and we rely on close collaboration with our suppliers to make that happen.
We also work with a method called the “Garment-Dye” approach. This means we produce garments in an undyed state, and only dye them as demand arises. For example, we might produce a batch of undyed t-shirts, and then gradually dye them in the colors we need based on sales. It’s a more flexible, responsive system that helps prevent overproduction. Of course, there are occasional challenges: for example, if a product suddenly becomes very popular, we might not have stock ready in time. But these are the kinds of trade-offs that come with being independent and self-funded.
At the same time, that independence is exactly what allows us to be more creative. When you don’t have large budgets or external investors, you’re pushed to find simple, smart solutions which often turn out to be the best ones. It also means we can make decisions based on what feels right, not just on what’s most profitable. There are moments when we choose to develop a product not because it has the highest margin, but because it represents who we are and what we stand for as a brand.
That freedom also extends to how we build our collection. We’re not driven by seasonal trends or fast product turnover. When we launch something, the idea is that it becomes a long-term part of the collection – something a customer can come back to again and again. Ideally, if someone buys a product from ISTO. today, they’ll be able to replace it or buy it again in the future. We want to build lasting relationships with our customers, and maybe one day, even their children.
ISTO. is one of the few brands that openly shares the full price breakdown of each product, from fabric and labor to logistics and salaries. Has this level of transparency ever worked against you? And what have you learned from embracing it anyway?
We see transparency as a fundamental value, not something that could work against us. Being open about how much things cost, from fabric to labor to logistics, is really just about being honest. And increasingly, customers are asking for that honesty. They want to understand how products are made, who’s making them, and where their money is going. Transparency helps people make more informed decisions, and we believe that’s something worth supporting.
At ISTO., it goes beyond just showing numbers. We also make it a point to share who our suppliers are, from the fabric mills to the button makers to the manufacturing partners. We want to give visibility into the entire process, so that anyone interested can go deeper. After all, when someone buys a product from us, they’re placing their trust in our brand. So we want to give them every reason to feel confident in that choice.
From a production perspective, transparency brings a strong sense of responsibility. When you know that your work and the partners you choose will be shared publicly, you’re even more committed to doing things right. It becomes a source of pride. You want to stand behind those prices, those names, those choices.
This approach has been part of ISTO. since the very beginning. The founders launched the brand with this principle in mind, especially with the Portuguese market in focus. It was also a clear way to set ourselves apart from fast fashion, which often hides the reality of how clothes are made and sold. We felt people were being misled, and many still have a distorted perception of what clothing should cost.
We believe that if you’re thoughtful about what you eat, what you read, the films you watch, or the art you engage with, then it makes sense to care about where your clothes come from too. It’s all part of the same mindset – living with intention and awareness. Transparency supports that, and it’s a value we’re committed to keeping at the heart of ISTO. as we grow.
What are some of the production choices you’re most proud of? A garment, a fabric, or even a small detail that, to you, truly represents ISTO.?
One of the projects I’m most proud of is our Património capsule collection (património means “heritage” in Portuguese). We launched it last year, and it was very well received, so this year we decided to expand it. We wanted to make it richer, more diverse, and to really deepen the narrative behind it.
The entire capsule is a tribute to Portugal – to our way of living, our values, and our identity. We based the collection around three archetypes that, for us, embody something very genuine about Portuguese life.
The first is the sporty Portuguese man; but not the young, trendy type – the older gentleman playing traditional games. We focused on Jogo da Malha, a classic Portuguese game. Even though we’re a clothing brand, we decided to include the game itself in the collection. So we went on a search for the best local supplier, collaborated with them, and are now selling the game as part of our offering. We’re also planning events to encourage younger generations to reconnect with it, creating a beautiful moment of intergenerational exchange.
The second archetype is centered around the pleasure of being at the table – something we share with cultures like the Italian one. It’s about big tables, lots of conversation, amazing food, and the ritual of coming together. For this, we designed a linen shirt: very light, perfect for a summer barbecue, with two pockets for practicality. We also included vintage ceramic plates made in Portugal, culinary books, and even watches, imagining this character carefully timing the food on the grill. It’s a full sensory world, built around that shared experience.
The third theme is the father-and-son connection, representing family, tradition, and passing values down through generations. We created a kids’ collection to mirror the adults’, designed for days at the beach together. We paired matching t-shirts, a towel made in Portugal, and even a vintage straw hat. It’s about joy, closeness, and continuity.
I’m really proud of this capsule because it goes far beyond garments. It’s deeply thoughtful and rooted in our culture. We spent hours in brainstorming sessions asking, “What does it really mean to be Portuguese?” We wanted to move away from clichés: it’s not just about sardines and tiles. Those are part of our identity, yes, but there’s so much more – the games, the long lunches, the warmth of family life.
Ultimately, Património is about storytelling. It’s a way of welcoming people into Portugal even if they’re visiting one of our stores in Berlin, New York, or soon in London. We want them to step into that feeling of a Portuguese summer.
ISTO. doesn’t follow the traditional rhythm of seasonal collections. Instead, you focus on refining timeless staples using organic and natural materials built to last. What does it take to develop a garment that meets your standards, and how do you know when it’s truly finished?
To be honest, we never really consider a garment truly finished. There’s always something that can be improved – whether it’s the fit, the fabric, or the feel. But of course, at some point, we need to bring it to life and offer it to our clients. So before we do that, we make sure the essentials are absolutely right: the fit has to be spot on, the color palette has to feel timeless, the price has to reflect both quality and fairness, and most of all, it has to be comfortable. If a piece doesn’t check all of those boxes, we’re not going to launch it.
We usually begin by testing prototypes within our own community asking friends, family, people we trust to give us honest feedback. It’s a small circle, but it helps us get a clear sense of how the garment performs in real life. That feedback loop is crucial.
More recently, we’ve been pushing ourselves to go further with that process. For example, we’re about to launch an activewear capsule in August, and we piloted a wear-testing program for it. We didn’t want to do the typical synthetic-heavy activewear. Instead, we wanted something that felt more like ISTO. – casual, versatile, and made with natural materials. The kind of clothes you can wear while working from home, then go for a run, and still grab a coffee with friends afterwards. Not hardcore sports gear, but pieces that adapt to your lifestyle.
So we sourced merino wool from Portuguese suppliers, a material that’s natural, breathable, and thermoregulating. Then we created samples: shorts and t-shirts. And this time, instead of just testing locally, we invited our global community to take part. We sent out the pieces to clients around the world in different sizes and asked them to wear them, wash them, work out in them, and send us their feedback.
It was amazing. The response was overwhelmingly positive, and we only had to make one key adjustment: nearly everyone said the t-shirt was too long. So we shortened it. That’s the kind of detail that might seem small, but makes a big difference. And it came directly from the people who will actually wear the product.
That’s the direction we want to keep moving in: closer to our community, more inclusive in how we shape the final result, and always grounded in the belief that timeless pieces are built slowly, with care.
With ‘Beautiful Losers’, ISTO. gives a second life to items that don’t quite fit the standard criteria, whether it’s a slight color variation or a discontinued fit. What led you to create this collection, and how does it reflect your broader production philosophy?
Every production comes with some degree of imperfection. It’s just part of the process. You end up with pieces that have slight variations: maybe a color is a bit off, maybe the fit isn’t exactly what we approved, or sometimes it’s just samples we developed that never made it into the final collection. But that doesn’t mean these clothes don’t have value. In fact, they’re 100% wearable: the quality is there, the materials are the same, and they still reflect our standards in many ways. They just don’t quite meet the exact criteria for our main line.
So instead of discarding them or letting them sit in storage, we created Beautiful Losers. It’s our way of acknowledging that perfection isn’t the only measure of worth. These pieces might have a small flaw or a unique detail, but they still deserve to be worn and appreciated. And by offering them at a lower price, we’re also making ISTO. more accessible – which we like.
It really ties back to how we think about production overall. We want to keep things lean, reduce waste, and be intentional about every item we put into the world. Beautiful Losers helps close the loop. It’s not just about selling clothes, it’s about respecting what’s already been made.
Which items would you consider ISTO.’s signature pieces, and what do you think makes them so well-loved?
If I had to name just a few, it would start with our Classic T-Shirt and Heavyweight T-Shirt: these are the pieces that put ISTO. on the map. The quality is outstanding and people keep coming back to them. They’ve become staples in a lot of wardrobes.
Then, depending on the season, I’d say our shirts are also key. In the summer, it’s the linen shirts, and in winter, our flannels. What makes these stand out is that we work directly with our Portuguese suppliers to develop fabrics exclusively for us. So the patterns, the textures, the handfeel, it’s all designed from scratch, and the result is something that feels elevated but still very wearable.
Finally there’s our outerwear. I’m really proud of that part of the collection. Our trench coat, for example, is made by one of the best outerwear manufacturers in Portugal, and possibly even in Europe, called Areal & Torres. They also produce for some of the top international brands. We collaborated with them and our fabric supplier to create something special: an organic cotton coat with a chemical-free waterproof membrane, using the same fabric base you’d find in classic English mac coats. But we made it more sustainable, and in my opinion, at a much fairer price point. It’s one of those timeless pieces every man should own.
Your dining guides feel like a love letter to local culture, unexpected for a clothing brand, but deeply aligned with a certain way of living. Where did that idea come from, and what does it say about how you see the role of a brand today?
It actually came about very organically. We never sat down and said, “Let’s make a dining guide.” It started with the founders, who are complete foodies and love exploring new restaurants, great wine, and everything that surrounds Portuguese food culture. That passion has always been part of the brand.
From the beginning, we’ve had strong connections with restaurants and hotels: a lot of them came to us to create their uniforms. We’ve even done uniforms for places like Soho House. So these relationships were already there, and over time, we thought: why not bring our community into these spaces, into the restaurants we love? That’s how the idea of the dining guides saw the light.
Besides the guides, we also started hosting dinners. We call them “Dining Diaries”: we invite customers to have dinner with us at one of our partner restaurants. We design exclusive pieces, like a t-shirt or a cap, just for that night, so it becomes a kind of collector’s item tied to the experience. It’s a way of connecting food and fashion in a very real, personal way.
We also like to highlight these businesses – whether or not we’re doing an event – because we respect their work, their attention to detail, and the way they care about their craft. That’s something we really relate to. We share similar values, and we want to celebrate that.
What we really want is for people to associate ISTO. with Portugal in a deeper way, almost like a local friend who shows you around and introduces you to the best, most authentic parts of the country.
We’ve done this in other ways too. For example, we used to take people on tours of our factories. We’d bring groups to visit our suppliers, from yarn to knitting to final manufacturing, so they could see how the clothes are made. It’s open to anyone, whether they’ve bought from ISTO. or not. It’s all about opening up the process and inviting people in.
Is there a book, film, trip, or place that has inspired your life or helped shape the brand’s direction?
I think for me, it’s not so much a specific book or film or even a trip; it’s more about people. Personally, one of my biggest inspirations is my father. He’s been a huge reference for me, not just in terms of values but also aesthetically, in how he approaches clothing and style.
He’s someone whose style has barely changed over the years, but there’s a quiet elegance to the way he dresses. He wears traditional clothes, yes, but he knows how to take small risks – maybe a pop of color or a unique detail that adds personality. But really, it’s not about the clothes. It’s about the person wearing them. He’s full of love, laughter, and curiosity. He reads a lot, he’s always learning, and that mindset is something I try to bring into ISTO.
And in a way, he’s sustainable without even calling it that. He buys from the same small shops he’s always known, gets his suits made by a local tailor in Lisbon, and he takes care of his clothes. He’s had the same shirts for decades. It’s a kind of heritage, a respect for things, for craftsmanship, and for longevity that I find incredibly inspiring. It’s something I want to pass on through ISTO., to our clients and to our team.
The other big inspiration is Portugal itself. Portuguese people and our way of life. We’re deeply connected to family, to good food, to laughter, to enjoying the little things. Especially in summer, there’s this lightness, this joy that’s hard to put into words. That simple, genuine appreciation of life is something we try to capture in everything we do.
