We are the #1 Buyer of Costume Jewelry in Las Vegas.

We are the ONLY place in the greater Las Vegas area that buys Costume Jewelry.

 Costume Jewelry is typically bought in the following order:

1. Is it a signed or signature piece that can be resold for a higher value?

  • Brand names (Tiffany, etc.)
  • Vintage jewelry

2. Does it have any precious metal in it?  

  • Usually silver or white gold (hard to tell by looking at it)
  • We test it for you on the X-Ray Spectrometer to find out if there are any precious metals
  • the ones we look for are: platinum, palladium, gold, silver
  • We then pay the customer based on the amount of precious metal we can sell to the refiner.

3. If none of the above, and is it STILL legitimate Costume Jewelry, we will buy it by the Pound.

  • We then sell it to Auctioneers, at bulk, and our goal is to make a 15% commission as the middlemen between you and the Auctioneer.

Typically people will bring in a large jewelry box, or a box, or a bag filled with items.  We go through it carefully looking for the 3 steps above, to make sure the client is getting paid the most – in each of the 3 steps.

Even though a lot of it is out of style, and people want to get rid of it, we still buy all of it.

Costume Jewelry is one of the categories we buy that really personifies TRASH into CASH.  We take things that nobody wants in Vegas, and we disseminate it to the rest of the world that does want it.

That is how we provide Value to the customer.  We take what you don’t want and find someone that wants it, and will pay for it.

Outfit gems, knickknacks, form gems, garbage gems, counterfeit adornments, or fallalery is gems produced as ornamentation to supplement a specific stylish ensemble or piece of clothing instead of “genuine” (fine) gems which might be viewed principally as collectibles, tokens, or ventures.

The term ensemble adornments go back to the mid-twentieth century. It mirrors the utilization of “ensemble” to allude to what is presently called an “outfit”.

In the twentieth century, on account of new materials and industrialization, form originators began to explore different avenues regarding gems as a statement of style and imagination, utilizing non-valuable materials so pieces could be greater and bolder, in accordance with the Art Deco style and flapper molds that were rising. Since these pieces were made of cheap materials and not intended to be remembrances or treasures, they could be more in vogue and unbelievable, hurled in the junk or supplanted when a specific watch left design.

As it were, the underlying foundations of this development can be followed to the seventeenth and eighteenth hundreds of years, when Europe’s aggregate desire for valuable gemstones, specifically precious stones, incited numerous diamond setters to search for more moderate substitutes in glass. In 1724, a youthful gem dealer named Georges Frédéric Strass built up a unique leaded glass known as a glue that could be cut and cleaned with metal powder so it appeared to twinkle like a precious stone in candlelight. After a short time, his “diamante” manifestations were extremely popular in Parisian culture.

Affected by Queen Victoria and her unfortunate sentiment, nineteenth-century ladies took to wearing adornments made with non-valuable materials, for example, glue, reflected back glass, human hair, and dark fly for particular, wistful reasons, for example, sentiment or grieving. At that point, by 1892, Austrian gem dealer Daniel Swarovski built up his pined for fine precious stone rhinestones, made with high-lead-content glass and a changeless thwart backing. This enabled his rhinestones to successfully emulate the aspects and radiance of any gemstone, from precious stones and rubies to sapphires and emeralds.

In any case, the idea of outfit adornments, in essence, wasn’t presented until the late 1920s, when Coco Chanel propelled a line of strong “explanation” frill. Made to look like vast blooms or frogs, these pieces were intended to be worn like workmanship as opposed to as pointers of riches. Chanel’s adornments was uncontrollably not the same as anything that had preceded—it was a huge hit. Riding a similar influx of motivation, Elsa Schiaparelli made a line of adornments with vast phony stones on intense wrist trinkets whose plans were propelled by the Dada workmanship development.

Costume jewelry can be characterized by the period:

Art Deco period (1920–1930s) Characteristics:

The Art Deco development was an endeavor to join the cruelty of large-scale manufacturing with the affectability of craftsmanship and plan. It was amid this period that Coco Chanel acquainted outfit adornments with finish the ensemble. The Art Deco development passed on with the beginning of the Great Depression and the flare-up of World War II.

As indicated by Schiffer, a portion of the attributes of the ensemble adornments in the Art Deco period was:

  • Free-streaming bends were supplanted with a cruelly geometric and symmetrical topic
  • Long pendants, bangle arm ornaments, mixed drink rings, and expand frill things, for example, cigarette cases and holders

Retro period (1935 to 1950) Characteristics:

In the Retro time frame, planners battled with the craftsmanship versus large scale manufacturing difficulty. Characteristic materials converged with plastics. The retro time frame principally included American-made adornments, which has a particular American look.

  • Marvelousness, style, and modernity
  • Blooms, bows, and sunburst outlines with a Hollywood style
  • Moonstones, horse themes, military impact, and ballet performers
  • Bakelite and other plastic gems

Art Modern period (1945 to 1960) Characteristics:

  • Bold, lavish jewelry
  • Large, chunky bracelets, charm bracelets, Jade/opal, charm bracelets, citrine, topaz
  • Poodle pins, Christmas tree pins, and other Christmas jewelry
  • Rhinestones

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To know the value of your Costume Jewelry, bring it into Nevada Coin Mart for a free verbal appraisal and evaluation today!