In the Know: Vintage Costume Jewelry is Becoming More Collectible
Here's why! (Plus a brief history of American costume jewelry)
BY BELLA NEYMAN
When we look back on jewelry trends of 2025, vintage costume jewelry will inevitably stand out. A new coffee table book on the subject, impressive auction results, and a well-attended exhibition (more on all three in a minute) made this an especially exciting year for a jewelry genre once thought of as irrelevant—a thing of the past.
But first, a little history: Costume jewelry as we know it today really took shape in the 20th century. The term first appeared in a 1907 American fashion magazine, referring to “theatrical costumes” rather than “imitation jewelry.” By the 1930s, though, “fashion jewelry” had become an accepted name for stylish pieces made from non-precious materials, such as imitation gemstones or faux pearls, often set in silver or inexpensive base metals.
These pieces were produced in large quantities to keep up with rapidly changing fashion trends and were often unsigned. The United States quickly became the center of this new industry. While early designs borrowed heavily from European styles, by the 1930s and 1940s many American companies had developed their own distinctive aesthetics
During World War II, costume jewelry became even more popular. It was affordable, beautiful, and offered a practical alternative to fine jewelry, which was considered frivolous at the time. By 1946, costume jewelry sales in the U.S. reached an estimated $200 million. Women, now earning their own paychecks and no longer relying on husbands to purchase precious gems, became the primary consumers. American makers such as Trifari, Krussmann & Fishel, Cohn & Rosenberg, Eisenberg & Sons, Marcel Boucher & Cie, Du Jay, Mazer Bros., Joseff of Hollywood, Staret Jewelry Co. Inc., Pennino Bros., Fred A. Block, and Ralph De Rosa Company filled the market with beautiful, accessible pieces that perfectly captured the spirit of the era.
From the 1960s through the 1980s, jewelry aesthetics were bolder and more playful, a reaction to the somber decades that preceded that era. The youth-quake permeated not only social norms but also personal style. It’s something that we can relate to today—jewelry worn as an expression of self (and a desire to make a statement) is helping costume jewelry regain its “It” status in fashion and collectibles.
Beyond self-expression, two additional factors are driving this renewed interest: sustainability and the price of gold. The latter mirrors the costume jewelry boom of the 1970s, when faux materials emerged as a direct response to soaring gold prices. In the early 1970s, gold was approximately $35 an ounce; by the end of the decade, driven by political instability, it had climbed to roughly $800 an ounce. Since the beginning of this year alone, the price of gold has risen over 65%, and industry experts, along with major banks, predict it could approach $5,000 an ounce in 2026.
The year began with two major auctions of costume jewelry belonging to Iris Apfel, the multi-hyphenate icon who passed away in 2024 at the age of 102. Apfel’s collection of fine and decorative arts—as well as couture fashion and vintage costume jewelry— was offered at Christie’s New York in a sale called Unapologetically Iris: The Collection of Iris Apfel. In February, the auction achieved a total of $930,000, with 100% of the lots sold.
Christie’s disclosed that a “Mixed Group of Turquoise Colored Jewelry in Lucite, Resin and Silvered Metal,” achieved $9,450, more than thirty times its low estimate.
A second (and third) sale of Apfel’s belongings followed at Doyle in March, where some single lots included as many as 50 items of jewelry. Once again, 99% of the lots were sold. Christie’s noted that millennials accounted for 43% of bidders and buyers.
Therefore it’s not surprising that in September, The RealReal and UOVO Fashion partnered on an online sale and shopping event in The RealReal’s SoHo store to offer an edit of over 250 pieces of jewelry also belonging to this rara avis.
Other collectors have also stepped in to give the people what they want. In November, Christie’s offered the Susie Hoimes Collection: The Art of Costume Jewellery as part of their Handbags Online: The New York Edit. Hoimes is a couture costume jewelry expert and proprietor of MDVII, a shop in San Francisco that operated from 1990-2021 and specialized in runway couture pieces.
A standout from the sale was An Extremely Rare Blue & Green Gripoix Glass, Strass Crystal & Faux Pearl Statement Necklace & Brooch Demi-Parure (see it below), attributed to Chanel from the 1930s. The set brought in $20,320 against its estimate of $5,000-$7,000. Notably, the brooch was acquired from the collection of Iris Apfel. The sale also included jewelry by costume jewelry icon Miriam Haskell and fashion design legend Pierre Cardin. And, while MDVII no longer maintains a physical space, jewelry lovers can still shop its website and Instagram for chic, affordable couture pieces and unsigned gems.
Auctions are not the only way to get your hands on vintage costume jewelry. Obviously, the internet is ripe for picking—but cautious collectors can also find costume jewelry at respected galleries like Kentshire, located on the 7th floor of Bergdorf Goodman, and Mahnaz Collection, on Madison Avenue. Most recently, Mahnaz Collection featured an incredible Coppolo e Toppo necklace in the gallery’s holiday exhibition Metamorphosis in Jewelry Design 1950s-1990s, while Kentshire always has some fabulous jewelry by Larry Vrba on view.
Speaking of exhibitions, for this year’s NYC Jewelry Week I co-curated an exhibition called “Vintage Style and Stories: Costume Jewelry Re-Imagined.” Karen Davidov of The Jewelry Library, my co-curator, and I focused on individual artists whose own personal stories might be less known than those of the major houses for which they designed. Mostly women and BIPOC artists, many were art school grads or independent designers who brought innovation and youthful flair to these established houses. In addition to the jewelry on display, we invited four stylists to adorn mannequins in the costume jewelry according to their own personal style.
Finally, for those new to the field and wish to educate themselves before investing, Carol Woolton’s recently authored a gorgeously illustrated 500-plus-page opus featuring more than 500 gems, titled Costume Jewelry: the Collection of Patrizia Sandretto Re Rebaudengo (Taschen, 2025).
The book, which focuses on a collection of American costume jewelry assembled over the course 30 years, not only delves into the subject thematically through essays on topics such as Jelly Bellies and Fruit Salad, but also looks at the work of such notable designers as Hattie Carnegie, Miriam Haskell, and Kenneth Jay Lane.
There is no question that costume jewelry will remain central to the conversation. With new collectors entering the market and seasoned collectors beginning to divest, now is the moment to pile it on!
As someone who had a career working with large houses, Monet, Liz Claiborne, Robert Lee Morris later with mass brands before starting my own business, It's interesting to see the historical context along with the economic insights, then versus now. I re-posted this on my linked in, as I just wrote a personal insight about what has "costume" evolved into today. Always great to read Bella's reflections!