Liz Jones road tests high-street lookalikes: price versus polish in two designer-inspired outfits

A fashion writer testing the balance between luxury and high street has turned up mixed results in a two-outfit shoot that pits budget lookalikes against designer originals. Liz Jones, who has long balanced a penchant for designer labels with a practical eye for price, sets out to answer whether the latest high-street copies can truly stand in for the catwalk equivalents. The exercise pulls back the curtain on the gap between price tags and perceived quality, and it comes with plenty of firsthand observations about fit, comfort, and the sometimes fickle judgments of others when labels are visible.

Outfit 1 centers on a dress-and-shoes-and-bag trio that aims to echo Victoria Beckham’s streamlined aesthetic. The tester describes the initial footwear as torture, hopping about in a pair of silver mules and declaring them unwearable. A pink, ruched midi dress is judged at first glance to be a “copy” of VB’s bestseller, but the color looks cheap, the red piping feels busy, and the sleeves strike the eye as too fussy. The zip, a signature detail, is noted as a potential tell. The accompanying bag is deemed unattractive. Later, it becomes clear that the dress is in fact a Victoria Beckham design retailing for £898, while the sandals are by Paris Texas at £382, and the bag is a genuine Jimmy Choo that costs thousands. The lookalike pieces, by contrast, include a dress from Reiss (£230), a Phase Eight bag (£89), and Topshop sandals (£38). The final tally paints a mixed picture: the left-side dupe trio—Dress: Reiss; Bag: Phase Eight; Sandals: Topshop—are the closest approximations, but the overall effect remains imperfect when placed next to an actual VB look.

The testing continues with Outfit 2, which centers on high-street denim and a burgundy ensemble that pairs a crinkly Self-Portrait jacket with high-rise jeans. The budget-minded tester notes the jeans are stiff and heavy, and learns they cost £540 from Khaite, while the jacket reads as a crinkled Self-Portrait piece at £790. The Chloé clogs come in at £690, and the Proenza Schouler bag checked at £655. By comparison, the high-street denim from New Look clocks in at £34.99, with the jacket identified as Marks & Spencer Autograph at £65. A short-sleeved wool sweater is traced to Primark while a similar version from Zara runs about £35. The Asos clogs, priced at £28, prove unexpectedly comfortable, prompting a small concession about comfort versus price. A long-standing admission accompanies the try-on: the tester has long justified designer purchases by the experience of garment factory visits and the ethics she believes those experiences imply. Yet the shoot serves as a humbling reminder that brand prestige doesn’t always translate into a superior personal experience, and that the average observer’s eye may not distinguish a label from a well-chosen dupe.

In the end, the essay of two outfits highlights a recurring truth in fashion coverage: price can signal quality, but it isn’t a guaranteed predictor of fit, comfort, or visual impact. The jeans in Outfit 2—though expensive—are described as stiff and heavy, while the New Look alternative offers a softer, more versatile silhouette. The M&S jacket and Primark sweater demonstrate that mid-priced basics can stand in for similar items from pricier houses, challenging the assumption that more expensive equals more functional. A recurring observation centers on the idea that men’s attention to labels is not reliable enough to justify price inflation for many everyday purchases; the tester notes that men often do not notice a brand label, even when it is clearly displayed on a garment, suggesting that the perceived value of an item is shaped more by fit, comfort, and overall styling than by the logo alone.

As the experiment unfolds, the fact that some designer pieces are surpassed by budget copies becomes a moment of humility. The dupe dress by Reiss, the Phase Eight bag, and the Topshop sandals demonstrate that aesthetic similarity can be achieved at a fraction of the cost, while other items—the Khaite jeans, the Self-Portrait jacket, and the Paris Texas sandals—illustrate that luxury price points still command advantages in materials, cut, and long-term wear. The piece reinforces the broader conversation about fashion sustainability, consumer value, and the balance between indulgence and practicality. It also reflects the ongoing dialogue within Culture & Entertainment about how style icons are interpreted on the street and how readers can navigate the market without sacrificing personal taste or ethical considerations.

In summary, the two-outfit test offers a practical guide to navigating the current fashion marketplace. It underscores that budget pieces can deliver the look, particularly when chosen with attention to fit and finish, but it also confirms that certain luxury items—whether due to fabric quality, construction, or brand heritage—still offer advantages that can be worth the higher price. The result is a nuanced takeaway for readers seeking to blend high-street energy with selective designer investments, a hallmark of modern personal style beyond the runway. The exercise remains a window into how cultural conversations around fashion evolve as shoppers weigh price against polish in real-world shopping, and how the everyday consumer can curate a wardrobe that feels authentic without breaking the bank.