Santillo was founded in 1970 as the result of a strong passion for handmade shirt which has been handed down from generation to generation. Nowadays the company’s aim is to preserve the ancient tailoring tradition and properly for this reason Santillo 1970 is still a family-run business: in addition to the founder and tailor Angela, her daughter (Annaluce), two sons (Saverio), two embroiderers and three cutters and pattern makers cooperate to create Santillo “Masterpiece” Shirts. Across the years, part of the management of the company has passed from the parents to the children all of whom have projected it into the future by carrying their creations to a higher level. They’ve accomplished this by setting up their own online shop, by carefully studying the different markets and by actively collaborating with numerous established international buyers. The result is their showroom in Milan, which showcases Santillo creations to international markets. This has meant that now one can admire and purchase Santillo wear in New York and Tokyo, as well as in many foremost European capitals. Santillo is actively present on all the major social networks which makes it possible to personally interact with the team, enter into the Santillo world and take in all of that which renders their work unique.


The whole process follows Santillo fully all the proceedings of the highest sartorial tradition.
Even today, few machines, everything is entrusted to the experience of the skillful hands of skilled artisans who sew with needle and thread, and only cut with scissors every single item. Care, attention and pursuit of perfection such well-rooted values in the spirit of the entire production process.
The fabrics, the result of an intense and constant search for Gennaro and Saverio who regularly at trade fairs in Milan, Paris and in the most sought British textures to choose the best quality and the most sought after designs. The shirt with its seams strictly out of 10 points per cm is riveted into English, hand-stitched armholes with our unique boat-point, the sleeve attached to the side closed, pure Australian mother of pearl buttons attached to a lily hand and the inevitable flies . Finally ironing and folding soft also done by hand.


An exclusive guided path in the choice of models and fabrics suitable to their personality.
lovers of elegance and leaders handmade, haute couture lovers come to us aware of finding a flawless service tailored. The first step, that of the fabric choice: this is where craftsman and consumer, in a relaxed atmosphere, they create something unique and innovative, initiate what in time will become a long-standing relationship of mutual trust. A fine selection of white and light blue, fabrics, unique designs, vibrant colors. Hills and cuffs to choose from a wide selection, from the great classics to new constantly updated models. Besides the proven ability to cut that allows the customer to create unique patterns. The most fascinating moment, the measures are a sacred ritual for every piece of couture. It serves to define various measuring ranges and experience in measuring techniques to ensure the customer’s model unparalleled comfort. Buttons, digits, the flies of the details is the one that adorns the head and gives it an inestimable value with a unique twist. All tests are carried out on the prototype that serve as a test to perfect the right shape and keep after delivery all the information in our files.


Our History.

The “quinternetto delle taglie” (literally a “small, five-page list of sizes”) dates to 1663, and amounts to a particularly significant historical document for the Barberis Canonico family. It describes Ajmo Barbero’s sale of a “saia grisa” to the Duke of Savoia, and is essentially the first official document testifying to the company’s wool mill activities. But that’s not all: the document also describes a mastery of the dyeing process (something not everyone possessed) that was jealously guarded and passed down from father to son.Halfway through the nineteenth century, Giuseppe Barberis Canonico, following the transformation introduced by the industrial revolution, decided to increase production, collaborating with the Maurizio Sella company, which had already automated its production processes. Later on his son, also named Giuseppe, aimed to increase the number of machines the company was using and rented out a wool mill in Flecchia. By the end of the 1800s, the company was using no fewer than 800 spindles and 73 frames. When the first mechanical frames arrived in 1868, all weaving, dyeing, brushing and threading activities were concentrated in the Pratrivero factory.


Selected with care, enriched over time, the elements that make up a well-constructed men’s wardrobe allow a gentleman to express his sense of style in any situation. First of all, it’s important to identify what’s truly useful, then choose from amongst those the item’s most correct versions, selecting the one that best reflects your individual taste. A wardrobe should comprehend all the major traditional aesthetic areas: seasonality (winter and summer), context (formal, informal, casual), and type of commitment (daytime, evening, ceremonial). Respecting these guidelines means honoring the concentration of clear values and hidden codes that respond to one, single, universal name: tradition.

GARY COOPER | Enduring Elegance.

In his long career as a film actor, Gary Cooper played every type of role available to a leading man” he was a small-town poet and small-town sheriff, a playboy, an heroic soldier, scientist, spy, professor, French Foreign Legionnaire, swashbuckler, con man, fighter pilot, Indian fighter, Bengal lancer, and of course dozens of cowboys. No matter what costume he put on, he looked like he owned it. The camera loved him, and so did the box office.

But costume is one thing, and clothes are another. In his private life he wore contemporary clothes with a perfection of his own debonair style that combined the fine tailored European wardrobe with all-American casual clothes to produce the first and still finest example of elegant international masculinity.

None other than the great American designer Bill Blass once said that Cooper had the greatest sense of style of anyone he’d ever met. It was the purposeful nonchalance of being able to wear clothes effortlessly, to be entirely at easer even in the most formalwear, that defined Cooper’s approach.

“You see,” Blass wrote, “It was no accident that Cooper looked as terrific as he did … he used to go on these shopping expeditions to Rome and Paris. He’d buy cottons by the yard in Mexico and then send them to his shirtmaker in Italy. He had tailors all over the world, and he was the first to buy jeans and do the stone-washing thing. He’d beat them on a rock and leave them out in the sun all day. Did it himself too.”

This approach of artful nonchalance can be seen hundreds of times in Cooper’s films when he’s wearing modern dress: the jaunty angle of his fedora, the colorful silk scarf at the neck or worn as a belt, the tie allowed to float freely around the upturned points of his shirt collar, the fancy patterned sports jacket worn with a knitted sports shirt, a camel hair polo coat thrown loosely over the shoulders, the lapel of his chalk-striped double-breasted suit casually falling to the lower button.

In all of this he rose above and ignored the contrived glamour and studied posturing that had characterised so many film heroes of those years. And he remains, in his ability to personalise tradition, a model for today.