| One of the biggest challenges for the new collector is | | | | profitable or just a hobby. Remember, the most |
| determining which pieces of vintage costume jewelry | | | | popular designs are not necessarily the prettiest or |
| are most profitable to target and which to avoid. | | | | most unique, but they will be more profitable to |
| While fine jewelry was often hand-made using | | | | collect. However, demand for a particular piece is |
| precious materials like diamonds and rubies, costume | | | | stimulated most often by the actual design of the |
| pieces were made in mass batches using | | | | jewelry. Collecting vintage costume jewelry for profit |
| semi-precious materials like quartz and topaz. | | | | is complicated by the fact that most of the pieces |
| However, you should never mistake vintage costume | | | | are actually unsigned. Seasoned collectors will not |
| jewelry with the cheap glittery garbage you see in | | | | hesitate to shun a signed piece in favor of an |
| most department stores today. American soldiers | | | | unsigned one featuring a unique and impressive |
| were the first to purchase costume jewelry in French | | | | design, as unsigned jewelry tends to be undervalued |
| boutiques during WWI, making the jewelry widely | | | | and the most profitable to collect. One sure way to |
| popular after they returned home. In fact, by the | | | | identify a particular manufacturer is by design. Some |
| end of the 1920's, the once-European industry was | | | | manufacturers consistently produced pieces of |
| dominated by American companies like Coventry, | | | | exceptional design and are highly coveted by |
| Eisenberg, and Coro creating many of the most | | | | collectors like those made by Bogoff and Hollycraft. |
| prized collectible pieces. Profitable collecting definitely | | | | Although the design is critical to the overall demand |
| boils down to identifying the valuable pieces while | | | | of any particular piece, the materials and construction |
| avoiding the pretty but worthless ones. Ultimately, | | | | techniques used to make the jewelry ultimately |
| the value of any piece is determined by: Supply | | | | validates or repudiates the legitimacy of the design. |
| Demand Design Materials Condition If other pricing | | | | Pay particular attention to the type and quality of |
| factors are held constant, then the rarity of the | | | | gemstones on any given piece since the stones will |
| piece will greatly determine value. With so many | | | | greatly affect value. Gemstones of exceptional |
| producers of costume jewelry, no uniform batch size | | | | quality were consistently used by a few of the |
| was established, causing supply to vary dramatically | | | | major manufacturers such as: Bogoff Bergere Weiss |
| according to manufacturer. Production runs tended to | | | | Eisenberg As is the case with any vintage costume |
| be relatively large for big companies like Coro and | | | | piece, final antique value assessment will ultimately be |
| Brooks, producing a larger market supply, and thus | | | | based upon condition of the piece. But remember, |
| less demand. As with any product or service, greater | | | | even vintage pieces showing considerable signs of |
| demand will always translate into a higher price. | | | | wear can still command $100 or more. By knowing |
| Eisenberg jewelry will likely always be a hot item in | | | | what to look for, seasoned vintage costume or |
| the collectibles market, but be on the lookout for | | | | fashion jewelry collectors can still make great profits |
| Miriam Haskell pieces as they are popular at the | | | | even off of slightly damaged or worn pieces. |
| moment. Some designs are collectible while others are | | | | Jon Kreps is a vintage costume jewelry collector |
| not. Learning to tell the difference between the two | | | | specializing in period sets. |
| will ultimately determine whether collecting is | | | | |