What are the characteristics of the Polish luxury goods market which, unlike French and Italian brands, is devoid of a long tradition?
The number of Polish luxury brands that do not gleam at least partially with the “reflected glare”, in the meaning of selling the products of other prestigious brands, is limited, and the turnover value of the goods sold by them is very little. Without a doubt, the examples of luxury may be found in the hospitality sector, but there are also restaurants, yachts and beauty products, the proof of which is the Dr Irena Eris brand. But when it comes to designing clothes or accessories, our counterparts of Dior or Armani enjoy rather greater publicity than revenue from their luxury activities.
A while ago we started to notice the blurring boundary between the old luxury and new brands that do not need a long tradition or a centuries-old history to join the previously very hermetic group of luxury brands. For instance, Comité Colbert accepted brands established in the 18th or 19th centuries, such as Louis Vuitton or many champagne houses, but also brands created at the end of the 20th or at the beginning of the 21th centuries.
Since 1960s, specifically since 1959, when the haute couture designer Pierre Cardin released the prêt-à-porter collection signed with his own name, we have witnessed the so-called process of “accessorizing” luxury. For instance, the price of a small Louis Vuitton purse which may be bought in Warsaw boutique is lower than the minimum wage. In short, “accessible luxury” has emerged next to elite luxury. This term was proposed at the end of 1980s by Danielle Allérès, French author of books on luxury goods management. In an extreme case, an accessible luxury class product is a product whose luxurious character is defined only by the presence of a luxury brand logo.