Another important factor of the Hoff collection was the low price of the clothes. The designer even admitted that the clothes were made from cheap cloth, even 'the cheapest, unfashionable ones'. But they were always the latest craze when it came to the style and cut.
I want to create ephemeric things, fashion for one season, a dress for 100 zloty which is super trendy, let the girls run around in it, so they don’t feel estranged from the newest trends in the world. That these dresses get crumpled up? For a hundred zlotych, let them crumple, but let them be picturesque. In other countries, such as England, for example, girls don’t pay attention to this, it’s only the ladies whose wardrobes always look impeccable.
Ulla Stefke, a designer from East Germany called the Poland of 1960s an 'incredibly free, open, and modern country', when comparing it to her own.
We felt that it was a completely different atmosphere than what we had back home in Berlin.
Pelka underscores the fact that the geographical proximity of East Germany and Western countries did not at all mean a better access and knowledge of what was hip in those countries. A review of ladies’ fashion magazines provides excellent proof of this.
While 'in Poland, there were numerous reprints of what was previously published in French and Western German magazines, the papers in East Germany almost never published any such material'.
It turns out that Warsaw of the 1960s was an icon for the Eastern Berliners. The designs of the Moda Polska stirred the curiosity of one of the best fashion photographers of the period, Peter Knapp, who was working for the French Elle magazine in Paris at the time. He came to Warsaw in 1966 and shot a series of images - among them the miniskirts with folk Łowicz motifs, and op-art dresses.