The war between “authentic” luxury pieces and their “counterfeits” is nothing new. Not because the products themselves have changed, but because people’s desire to own luxury has intensified, shifting from a privilege to a symbolic necessity tied to status, identity, and at times, class belonging.
This growing desire has opened a wide door for parallel markets of counterfeit goods, fueled by questions of value, authenticity, and whether it is truly worth paying thousands of riyals for an item that can be found in a cheaper look-alike.
Are all luxury brands really made in China? Where do the vast sums we pay for luxury pieces actually go?
The question may sound simple, but the answer is far more complex. In her detailed take on the topic, content creator Ghadeer Alsharyofi told Mansoooj:
“Some luxury brands move their production lines to China. But what isn’t often said is that this doesn’t necessarily mean lower quality. The real difference lies not in the country, but in the system.”
Ghadir and I converge on a core idea: the factories affiliated with these houses operate under strict oversight, from exclusive contracts and non-disclosure agreements to the use of imported materials, all under the direct supervision of European teams.
By contrast, the counterfeit workshops — as shown in the images — operate without licenses, producing in bulk with cheap materials and often with minimal craftsmanship.
Although some argue that the quality of certain counterfeit products is “high,” with similarities reaching up to 90%, that still does not make them authentic luxury pieces. After all, “almost original” is not original — no matter how close the details may be.
Ghadir and I share a firm belief that true luxury is not measured by leather and stitching alone. What we pay for is the entire experience: the innovation and the idea, the heritage of the house, premium materials, meticulous embroidery, masterful craftsmanship, after-sales services, luxurious packaging, and even the seat and cup of coffee we enjoy inside the boutique. Luxury is a complete ecosystem — it cannot be reduced to a single product.
Nor should the conversation around luxury be limited to where it was made; rather, we must look closely at how it was made, and by whom. Many luxury pieces are not priced solely on their materials, but on the time invested in their creation, the number of hands they passed through, and the skill of the artisan who spent years training to reach such a level of mastery.
That is why, when these pieces are priced fairly, they are not cheap — but neither do they reach astronomical figures merely for carrying a logo. This is also why traditional garments in the past were considered high-value investments: they were hand-embroidered, made with premium fabrics, and at times took months to produce.
But let us turn back for a moment to consumer behavior. Ghadir explains that the collective belief in videos promoting the idea that luxury products are made in the same factories as counterfeits is, in reality, a psychological reaction — a search for inner comfort. Today’s society places immense value on luxury, which puts those with limited incomes under constant pressure. Believing such rumors, therefore, gives some a sense of relief, offering them a justification to stay away from these products, even convincing themselves that everyone is being fooled.
And she concludes:
“Amid all this noise, it is important to understand that part of these narratives is not innocent. There are systematic marketing schemes, orchestrated by counterfeit traders, that exploit global economic and political fluctuations. They inject messages casting doubt on original quality to justify counterfeit products.
These narratives are then wrapped in phrases like ‘first grade’ and ‘exact copy’ to reassure consumers psychologically and push them toward purchase. They are clever attempts to slip through the gate of consumer awareness, especially amid rising global prices and declining purchasing power in some markets.”
And while some global brands do in fact face issues with quality or shifts in manufacturing strategies and raising questions about production sites and costs. An important question emerges: if such ambiguity surrounds international labels, why not turn instead to brands where we know with certainty where, when, and how they were made?
This is where Saudi brands come in. This is a perfect moment to rethink our choices. Today we have local luxury labels designed and overseen by Saudi talent, manufactured either locally or in trusted international facilities, all under the highest standards of craftsmanship and transparency. These are not substitutes; they are authentic choices that belong to us and speak for us.
In the end, it all comes down to personal conviction. Some view luxury as an investment in their taste — a complete experience worth every riyal — while others prefer the economic savvy of buying a look-alike. But it is a mistake to portray those who buy originals as “naïve” or those who buy counterfeits as “smarter and sharper.” What we wear and own is not just leather or fabric; it is an extension of our personal story, our vision of ourselves, and the image we wish to project to the world.
That is why the choice should not stem from social pressure or a passing trend, but from an inner alignment of taste, conviction, and ability.
