Collecting Vintage Costume Jewelry
Costume jewelry was never meant to be precious, which is exactly why good early pieces are scarce. The best of it was made with the same hand techniques as fine jewelry — prong-set crystal, hand-applied enamel, rhodium plating — and that craftsmanship is what collectors pay for today.
Names worth turning a brooch over for
A signature is the fastest route to value. Look on the back of the pin stem plate, inside a clasp, or on a small applied cartouche.
- Trifari, Coro, Boucher, Mazer
- Mid-century American quality, often rhodium-plated with hand-set stones.
- Eisenberg, Weiss, Schreiner
- Prized for large, high-quality rhinestones and dramatic design.
- Miriam Haskell
- Hand-wired glass beads and pearls on filigree backings — instantly recognisable construction.
- Sherman, Juliana (D&E)
- Exceptional stone quality; Juliana is unsigned and identified by construction alone.
- Monet, Napier, Lisner
- Reliable, wearable mid-market pieces with steady demand.
Construction tells by era
Screw-back and C-clasp fittings point to pre-1950 pieces. Rolled-over safety clasps and lever backs took over mid-century, and modern clip and post fittings follow. Pot metal — a dull grey base — was common during the wartime metal shortages of the 1940s.
Above all, look at how the stones are held. Individually prong-set or foil-backed glass in cut-out seats means hand work and age. Stones glued into flat cups almost always mean later mass production.
Rhinestones, enamel and plating
Old foil-backed rhinestones go cloudy or grey when moisture reaches the foil, and that damage cannot be reversed — only the stone can be replaced. Check under strong light for dead stones and for empty seats.
Enamel should be glossy and unchipped. Rhodium and gold plating wears at high points first; heavy brassing on a signed piece cuts its value considerably.
What collectors actually pay for
Design impact comes first — big, sculptural, unusual pieces sell fastest. Then signature, then condition, then completeness. A matched parure of necklace, bracelet, brooch and earrings is worth substantially more together than the same pieces sold apart.
Figural brooches, unusual colourways, and anything with original tags or boxes carry a premium.
Storing and cleaning
Never soak costume jewelry. Water gets behind foiled stones and lifts the glue that holds them. Wipe with a barely damp cloth, dry immediately, and use a soft brush for crevices.
Store flat, away from humidity, with pieces separated so plating does not scratch. Put jewelry on after perfume and hairspray, not before.
Frequently asked questions
Is unsigned costume jewelry worth collecting?
Yes. A great deal of high-quality mid-century work was never signed, including Juliana pieces. Judge by construction: prong-set stones, weighty castings and clean plating matter more than a name.
How can I tell rhinestones from real crystal?
Leaded crystal stones are heavier, cut more precisely and throw sharper flashes of colour. Cheap glass and acrylic feel light, show soft edges, and often have visible mould seams or bubbles.
Does costume jewelry contain any precious metal?
Rarely. Some 1940s pieces are sterling-based and marked STERLING, and gold-filled or vermeil pieces exist, but most costume jewelry is base metal with plating.
Can dead or missing rhinestones be replaced?
Yes, by a specialist using period-correct foil-backed stones. It is worth doing on a signed piece and rarely worth doing on an unsigned one.
Every listing is photographed, tested and described by hand. Ask us anything before you buy.