Costume jewellery has a reputation problem. The category is vast, ranging from mass-produced imitation pieces to handcrafted works that hold their value across decades. What separates high-end costume jewelry brands from the rest is precisely what serious collectors understand — and what casual buyers often miss.
The high-end costume jewelry brands on this list are not interchangeable with fashion jewellery from the high street.
These are fashion houses that worked with the finest European crystal makers, employed skilled artisans, collaborated with couturiers, and produced pieces that are now actively sought by collectors, auction houses, and museums.
Whether you are building a collection, consigning an estate, or simply trying to understand what you have, knowing these names is essential.
This list of high-end costume jewelry designers spans three continents and seven decades: from the Parisian couture houses of the 1920s to the golden age of American costume jewellery from the 50s and beyond. Each brand made the high end of the category its explicit standard. Here is what makes each one worth collecting.
High-End Costume Jewellery Brands - Our Picks
1. Chanel
No list of high-end costume jewelry brands is complete without Chanel — not because it is expected, but because Coco Chanel jewellery fundamentally changed what jewellery could mean.
In the 1920s, at a time when costume jewellery was considered imitation and therefore inferior, she wore it deliberately and defiantly alongside couture. The message was clear: the value of a piece had nothing to do with the cost of its materials.
The earliest Chanel pieces, produced in collaboration with Maison Gripoix using handmade poured glass components, are among the most coveted in any vintage collection. Unsigned and difficult to definitively attribute, they require an expert eye. From the 1970s onward, pieces were marked, making authentication more straightforward. The house’s motifs (Maltese crosses, baroque pearls, layered chains, interlocking CC logos) are immediately recognisable and consistently strong at auction.
One authentication note worth knowing: a script “Chanel” mark was used by Chanel Novelty Co., an American manufacturer, not the House of Chanel. The distinction matters when assessing value.
2. Elsa Schiaparelli
Elsa Schiaparelli was Chanel’s great rival, and in the realm of costume jewellery, arguably her equal. Where Chanel’s aesthetic was refined and wearable, Schiaparelli’s was surrealist and theatrical, shaped by her collaborations with Salvador Dalí and Jean Cocteau. Pieces took the form of lobsters, lips, hands, and circus figures. Nothing was conventional; everything was intentional.
Schiaparelli produced jewellery from the 1930s through the early 1950s, when her Paris house closed. The most collectible pieces date from this period and are often marked “Schiaparelli” in script. The brand was revived in 2012 under new creative direction, and while contemporary pieces are distinguished in their own right, it is the vintage originals that command serious collector interest. Aurora borealis stones, unusual colour combinations, and sculptural forms are signatures of the original house.
3. Miriam Haskell
Miriam Haskell occupies a category of her own among American costume jewellery brands. Her pieces were never mass-produced. They were handmade by artisans in her New York workshop using Russian gilt filigree, Venetian glass beads, freshwater pearls, and intricate hand-stitching techniques that are extraordinarily difficult to replicate. Each piece required hours of skilled labour. The results are unmistakable: layered, organic, and deeply feminine.
Miriam Haskell jewellery was worn by Lucille Ball, Joan Crawford, and Merle Oberon, among others. Her signature pieces, including multi-strand pearl necklaces, floral brooches, and delicately beaded earrings, remain highly sought after. Most pieces from the 1940s and 1950s are marked with an oval brass plaque reading “Miriam Haskell.” Earlier unsigned pieces do exist and are attributable by construction style to collectors familiar with her work.
Haskell is widely considered the standard against which American vintage costume jewellery craftsmanship is measured.
4. Eisenberg
Eisenberg began as a women’s clothing company in Chicago in 1914, and its jewellery, originally designed to accessorise its garments, quickly became more coveted than the clothes themselves. Customers were reportedly removing the brooches from display garments before purchase. By the 1930s, Eisenberg had pivoted to producing jewellery exclusively.
The vintage Eisenberg jewellery, marked “Eisenberg Original,” are the most valuable. These were made with large, high-quality Austrian rhinestones set in rhodium-plated sterling silver, a combination that produced exceptional brilliance. Later pieces marked “Eisenberg Ice” introduced Swarovski crystals and became the house’s most recognisable line. The Ice pieces are more widely available and represent an accessible entry point for new collectors; the Originals are considerably rarer and command higher prices.
Eisenberg’s mark is one of the clearest authentication tools in American vintage costume jewellery. The evolution of the signature, from script to block lettering to the Ice designation, helps date pieces with reasonable accuracy.
5. Trifari
Trifari is perhaps the most storied of the major American costume jewellery houses. Founded in New York in 1910, the brand reached its peak of cultural influence under the design direction of Alfred Philippe, a former fine jewellery designer for Cartier and Van Cleef & Arpels. Philippe brought couture-level design thinking to costume jewellery: his Crown Trifari brooches, Jelly Belly figural pins, and Moghul-inspired cabochon pieces are now icons of the form.
Trifari’s royal connections cemented its reputation: Mamie Eisenhower wore Trifari parures to both of President Eisenhower’s inaugurations in 1953 and 1957, a detail the brand used to considerable marketing effect. The pieces were impeccably made, typically in rhodium-plated base metal with rhinestones, faux pearls, and moulded glass.
Most vintage Trifari jewellery pieces from the 1940s onward are marked, often with a crown above the Trifari name. The Crown Trifari signature, used from the 1950s, is the most recognised. Jelly Belly pins, featuring clear lucite or moulded glass “bellies” on figural animals, are among the most actively collected pieces in the entire vintage costume jewellery market.
6. Christian Dior
Christian Dior was unusual among couturiers in treating jewellery as a design imperative, not a merchandising afterthought. His first collection in 1947 introduced the New Look, and the jewellery was designed to complete it. Early pieces were produced by Maison Gripoix and other Parisian paruriers using poured glass and Austrian crystals. The standard of craftsmanship was exceptional from the outset.
The most significant manufacturing partnership began in 1955 with Henkel & Grosé of Pforzheim, Germany, which produced Dior costume jewellery for fifty years. Grosé pieces are typically marked with an oval cartouche reading “Christian Dior” or “Chr. Dior,” often with a year of manufacture, making Dior one of the most accurately datable of all vintage costume jewellery brands. The same year, Dior collaborated with Swarovski to develop the aurora borealis crystal, an iridescent colour-shifting stone that became an industry standard.
The 1950s and 1960s pieces are the most collectible, particularly complete parures and pieces by the early French paruriers. Dated Grosé cartouches make mid-century pieces highly desirable for collectors who value provenance.
7. Joseff of Hollywood
Joseff of Hollywood occupies a singular position: it is the only high-end costume jewellery brand built entirely on the needs of the film industry. Eugene Joseff began supplying jewellery to Hollywood studios in the 1930s, and by the height of the golden age of cinema, his pieces had appeared in over 90 percent of Hollywood films. Greta Garbo, Vivien Leigh, Marilyn Monroe, and Katharine Hepburn all wore Joseff on screen.
Joseff’s design innovation was practical as much as aesthetic: he developed a matte Russian gold finish that photographed without glare, solving a significant problem for costume departments. The finish became his signature. His pieces were bold, sculptural, and theatrical, designed to read clearly on camera, which gives them a distinctive visual weight that translates beautifully to in-person wear.
Joseff retained ownership of his studio pieces rather than selling them, renting them back to productions for repeat use. This means that many pieces in the retail market are from his consumer line, sold under the Joseff of Hollywood or Joan Castle Joseff label. Film-documented pieces with verifiable provenance represent a separate and significantly more valuable category.
8. Kenneth Jay Lane
Kenneth Jay Lane was called the “King of Costume Jewellery” by Time magazine, and the designation holds up. Beginning in the 1960s, Lane made it his mission to produce jewellery of genuine glamour at a price that, while not inexpensive, was accessible relative to fine jewellery. His clients included Jackie Kennedy, Audrey Hepburn, the Duchess of Windsor, and Diana Vreeland. That was not aspirational marketing; those women genuinely wore his pieces.
Lane’s aesthetic was deliberately maximalist: oversized faux gems, sculptural gold-tone settings, bold animal motifs, and Mughal-inspired designs. His technical quality was high: pieces were well-constructed and intended to last. The KJL signature, typically stamped on a metal plaque or the back of a piece, is the primary authentication marker.
Lane’s archive is substantial, spanning six decades of production. Vintage Kenneth Jay Lane pieces from the 1960s and 1970s are the most collectible; later production from the 1980s and 1990s is more widely available and represents a strong entry point. His influence on contemporary fashion jewellery design is considerable and ongoing.
9. Sherman
Sherman is the only Canadian brand on this list, and its inclusion is not a concession to local pride. It is a matter of quality. Gustave Sherman founded his Montreal company in 1947 with an explicit ambition: to produce the highest-quality costume jewellery in North America. By the 1950s, he had largely succeeded. Sherman pieces were sold at Eaton’s, Hudson’s Bay, and Birks, and the brand earned a following that extended well beyond Canada.
What distinguishes Sherman from comparable American producers is the level of material investment: Swarovski crystals ordered to custom specifications, triple rhodium or heavy gold plating, hand-set stones, and limited production runs that were sometimes made to order for individual retailers. The tagline “Jewels of Elegance” was not hyperbole. Sherman pieces were expensive when new and remain so on the secondary market.
The brand’s signature, “Sherman” in block capitals or script, is the primary authentication marker. Rare colourways including black, fuchsia, deep purple, and red command the highest prices among collectors. Complete parures in unusual colours represent the pinnacle of Sherman collecting. The company closed in 1981; pieces in the Royal Ontario Museum and McCord Museum collections attest to the brand’s cultural standing.
Comparison Chart: Top Luxury Costume Jewellry Brands At A Glance
Entry points and authentication signals for the most collectible high-end vintage costume jewellery brands.
| Brand | Prime era | Entry point | Holy grail piece | Key authentication signal |
|---|---|---|---|---|
| Chanel | 1920s–present | 1970s+ marked pieces | Gripoix poured glass parure | Oval CC cartouche; script “Chanel” alone = Chanel Novelty Co., not the house |
| Schiaparelli | 1930s–1954 | Aurora borealis brooches | Circus collection piece | “Schiaparelli” in block or cursive script; revival pieces post-2012 are marked differently |
| Miriam Haskell | 1940s–1960s | Single-strand pearl necklace | Signed early floral parure | Oval brass plaque; pre-1940s pieces unsigned but attributable by hand-stitching construction |
| Eisenberg | 1930s–1970s | Eisenberg Ice pieces | Eisenberg Original rhinestone brooch | “Eisenberg Original” = pre-1945; “Eisenberg Ice” = post-1955 Swarovski line |
| Trifari | 1940s–1960s | Crown Trifari brooch | Jelly Belly figural pin | Crown above Trifari name from 1950s; earlier pieces marked “Trifari” or “KTF” |
| Christian Dior | 1950s–1970s | Dated Grosé cartouche piece | Complete 1950s Gripoix parure | Oval cartouche with year of manufacture; “Chr. Dior” = post-1960s production |
| Joseff of Hollywood | 1930s–1950s | Consumer line pieces | Film-documented studio piece | “Joseff of Hollywood” or “Joan Castle Joseff” stamp; matte Russian gold finish is a signature |
| Kenneth Jay Lane | 1960s–1980s | 1980s–1990s production | 1960s Mughal-inspired parure | KJL stamp on metal plaque or back of piece |
| Sherman Canadian | 1947–1981 | Common colourway pieces | Rare colourway complete parure | “Sherman” in block capitals or script; rare colourways (black, fuchsia, deep purple, red) command highest prices |
How to Identify High-End Costume Jewelry Brands: What to Look For
One of the most common questions we hear at Around the Block is how to tell genuine high-end costume jewelry brands apart from lower-quality vintage pieces. The markers are consistent across the category, and once you know them, they become second nature.
Costume jewelry from the 50s and 60s in particular rewards careful examination, as this was the golden era of production for most of the houses on this list. Construction standards were high, materials were exceptional, and the best pieces were built to last.
The five principles that apply across all nine of these brands:
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Signatures and marks: Most high-end vintage costume jewellery is signed. Learn the specific marks for each house: the style and format of the mark often helps date a piece as precisely as any other factor.
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Weight and construction: High-end pieces feel substantial. Settings are precise, stones are fully secured, and clasps are well-engineered. Lightweight or imprecise construction is a reliable indicator of lower quality.
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Stone quality: The difference between Swarovski crystals and cheaper glass is visible and tactile. High-end houses used the best available stones; the brilliance and clarity of those stones endures.
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Completeness: Complete parures (matched sets of necklace, earrings, bracelet, and brooch) are rarer and more valuable than individual pieces. A matched set in original condition represents the highest collectible value.
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Provenance: Original boxes, paper tags, and documented ownership history all increase value. For Joseff pieces, screen-worn provenance is a separate and significant category.
Frequently Asked Questions
What are the most collectible high-end costume jewelry brands?
The most consistently collectible high-end costume jewelry brands are Chanel, Miriam Haskell, Eisenberg, Trifari, and Christian Dior. Each has a strong, documented collector market and sustained auction presence. Sherman is the most collectible Canadian brand. Joseff of Hollywood commands a premium when pieces have verifiable film provenance.
How do I know if my vintage costume jewellery is valuable?
The most reliable indicators are: a clear signature from a known high-end house, quality construction (substantial weight, precise settings, well-engineered clasps), high-grade stones such as Swarovski crystals, and original packaging. A professional assessment from a CPPAG-accredited appraiser is the most accurate way to establish value.
Which vintage costume jewelry brands are worth money?
Signed pieces from Chanel, Schiaparelli, Miriam Haskell, Eisenberg Original, Trifari (especially Crown Trifari and Jelly Belly pieces), Christian Dior, Joseff of Hollywood, Kenneth Jay Lane, and Sherman all command real value in today’s market. Other influential costume jewelry brands can also command good value. Complete parures in good condition, rare colourways, and pieces with original boxes are consistently the strongest performers.
What is the difference between costume jewellery and high-end costume jewellery?
The distinction lies in materials, construction, and provenance. High-end costume jewelry brands used premium crystals (often Swarovski), quality metal plating, and skilled hand-assembly. Pieces were sold through luxury retailers, signed by the maker, and designed to last. Mass-market costume jewellery uses lower-grade materials, machine assembly, and rarely retains value over time.
Is costume jewelry from the 50s and 60s worth collecting?
Yes. Costume jewelry from the 50s and 60s represents the peak production era for most of the major high-end houses. Eisenberg, Trifari, Miriam Haskell, Christian Dior, and Sherman were all producing their finest work during this period. Pieces from these decades are widely considered the most collectible in the entire vintage costume jewellery category.
Buying, Consigning, or Assessing High End Costume Jewellery in Toronto
At Around the Block, our CPPAG-accredited appraisers work regularly with signed pieces from the high-end costume jewelry brands on this list. Whether you are looking to understand the value of a piece, consign a collection, or explore what is currently available, we are equipped to help.
We offer the highest consignment return rate in the GTA (60%) and our team brings genuine expertise to every assessment. Estate jewellery, inherited collections, and single statement pieces are all welcome.
Explore our current selection of signed vintage and designer costume jewellery or schedule a consignment appointment to bring a piece in for a professional assessment.
