Oh. My. God. Iâve just been given the location of the largest stash of Golden Age Hollywood jewelry in the world. Worn by stars like Marilyn Monroe, Elizabeth Taylor, Grace Kelly, and Greta Garbo, thousands of gems have apparently been gathering dust in an unmarked warehouse, unmolested for half a century. It sounds too good to be true.
What are the chances, I wonder, that the treasures are still there? Wouldnât they be in the worldâs biggest museums by now? Worn by the starsâ great-granddaughters? Divided up and sold at auction?
I have to see for myself, so I book a flight to L.A. Hereâs my story.
First Impressions

This entrance doesnât do justice to the treasures found inside.
As the cab drops me off deep in industrial land, I wonder if Iâm in the right place. This is purportedly the longtime studio of Joseff of Hollywood, jewelry maker to the biggest Golden Era movie stars.
Could this really be it? From the outside, it looks like any other drab warehouse. Then, I notice the weathered door and spy the metal lettering bearing the signature âJoseffâ logo. Thereâs no doorbell, so I knock.
Tina Joseff, the daughter-in-law of company founder Eugene Joseff, greets me at the door with a hug. An old-fashioned chime sounds as I step into the lobby. The humble gray entry only hints at the treasures inside: Movie stills hang in frames. To me, it feels as though nothing has changed since 1940.
Tina leads me to the studio, andâwhoa! The tiny space, maybe 100 square feet, is entirely painted a startling turquoise blue. A crowned Buddhist-inspired god of jewels welcomes me from the back-wall mural, where he is portrayed dusting the sky with stars (real Swarovski crystals). Another wall is lined with bright blue drawers, topped with golden and bejeweled crowns, tiaras, scepters, and armor, some of which peep out of pirateâs chests. As I walk onto the faded palm-tree carpet, it dawns on me that I am entering a truly magical space.

Michele (left) and Tina Joseff in front of trays housing thousands of famous jewelry pieces.
Tinaâs daughter, Michele, and her assistant, Dawn, meet us there, and soon we are joined by Cameron Silver, co-owner of the famous L.A. vintage shop, Decades Inc. I donât know why I am surprised the studio is so small; jewelry doesnât take up a lot of space.
Here, thousands of pieces of Hollywood history are crammed into drawers and trays. Open up one blue drawer, and you might find snakes; another could be all bejeweled daggers. The opposite wall is stacked floor to ceiling with black velvet-lined trays. This is where the most coveted pieces have been carefully catalogued, ordered first by type, and then by gem color.

The âmost spectular necklace in the world,â a giant bib worn by Ona Munson in âShanghai Gesture.â
With all the pieces of history around me, I feel completely overwhelmed. I donât know where to start or what to ask to see, but Tina and Michele know where to begin. They take out the breathtaking âtopazâ bib necklace first worn by Ona Munson in 1941âs âShangai Gesture.â Dubbed âthe most spectacular necklace in the world,â this âwowâ piece has appeared in more movies than any piece in the whole collection. I can see why. I canât take my eyes off it.
The Crown Jewels

The crown jewels of Hollywood, including the snake bracelets worn by Rita Hayworth in 1947âs âDown to Earth,â the leaf brooch worn by Jean Harlow in 1936âs âLibeled Lady,â and the bird bracelets worn in 1944âs âDesert Hawk.â Click on the image to take a closer look.
âThis is where we keep the most famous pieces,â says Michele, pointing to a circular glass display case in the corner. Thereâs Elizabeth Taylorâs serpent belt from âCleopatra,â Marilyn Monroeâs pearl earrings from âGentlemen Prefer Blondes,â Scarlet OâHaraâs necklace, and Rhett Butlerâs cigar case. Not to mention Jean Harlowâs glamorous âLibeled Ladyâ brooch, Judy Garlandâs âZiegfeld Folliesâ lariat necklace, and the exotic bird bracelets from âDesert Hawk.â
The reason this stuff is all here, I think to myself, is a testament to Joseffâs business savvy. Instead of letting the studios keep the best pieces, he held on to them and rented them over and over across the decades. Moreover, since it is âonlyâ costume jewelry, it wasnât regarded as particularly valuable until very recently.

Open one of the turquoise blue drawers at the Joseff studio, and you might find bejeweled daggers.
I want to absorb everything, to drink it all in. This is my only chance to see all these glimmering bits of history and hear the stories straight from the mouths of the family. Tina and Michele bring me back to earth, offering to let me have a closer look at items in the case. They even let me try a couple of pieces on, including the snake bracelets worn by Rita Hayworth when she played a goddess in 1947âs âDown to Earth.â Right away, I can tell those were definitely made for tiny wrists, as I can barely get them on.
Next, I take a closer look at the snake belt famously worn by Liz Taylor in 1963âs âCleopatra.â Tina explains that Joseff and his wife and business partner, Joan Castle Joseff, worked mostly with the costume designers. But at times, they got to fit the stars directly, as with this belt.

Elizabeth Taylor insisted that this Joseff of Hollwood snake belt, which she wore in 1963âs âCleopatra,â had been measured wrong. It now lives in the glass display with other Joseff treasures.
âJoan had gone out to the studios and measured Liz Taylor for a belt for one of the costumes,â Tina recalls. âBy the time the belt was created and she took it back for the fitting, it was about 2 1/2 inches too small. Liz Taylor was known for her fluctuating weight back then. But she blamed it on Joan and said that Joan had not measured her correctly. Of course, Joan didnât argue with her, but she told me, âI know I measured right.â The rule is measure twice, cut once, and Joan was very thorough.
âThose are things that happen in Hollywood,â Tina continues. âShe would go with the flow and do whatever was needed to make it work. That was the way both of them were.â

At left, the giant nine-strand faux pearl necklace worn by Bette Davis in 1939âs âThe Private Lives of Elizabeth and Essex.â At right, the choker Greta Garbo refused to wear for 1936âs âCamille.â
Going back to the black velvet trays, Tina and Michele bring out a tremendous necklace, worn by Bette Davis in 1939âs âThe Private Lives of Elizabeth and Essexâ and the manly Tyrone Power in 1939âs âThe Rains Came,â which may be my favorite thing Iâve seen so far. It has nine long strands of faux-pearls, connected down the middle by crystals set in Joseffâs trademark golden-plated filigree. Itâs just so classy, and with a backless gown, it could definitely be red-carpet worthy. I start to wonder: If todayâs stars knew about Joseff of Hollywood, would they dare wear it in the spotlight?
With all the pieces of history around me, I feel completely overwhelmed.
As Iâm pondering this, the Joseffs take out the elaborate âemeraldâ and âdiamondâ necklace that Greta Garbo refused to wear in 1936âs âCamille.â Itâs beautiful, but I can see her objections: It appears to be a tight-fitting choker, with uncomfortably pointy sterling silver leaves. âIn the scene where she was going to wear the necklace, she was required to have a cape over it,â Tina says. âThe necklace cut her from the weight of the cape, so she wouldnât wear it. The scenes filmed with the necklace ended up on the cutting room floor.â
One thing I donât see was the single pearl drop Errol Flynn wore in âThe Adventures of Don Juan.â Top costume jewelry expert and antique book publisher Judith Miller had told me a particularly amusing story Joan Castle Joseff relayed to her about Flynn, who was rumored to be gay, and this particular earring.

Katharine Hepburn wore this Joseff dual brooch, meant to look like an arrow going through her heart-shaped dress, in 1947âs âSea of Grass.â The set is one of Tina Joseffâs favorites in the collection.
âJoan told me, âNo, he really did love the gals, especially between takes,ââ Miller said. âThey ended up making him 22 of those earrings. Apparently, he lost 21 with the ladies in his dressing room.â
Joseff didnât mind the hard work. Some movies required hundreds of pieces, Tina explains. âIn âAnna and the King of Siam,â the king had multiple wives and 67 children, and they all had to have jewelry,â she says. In fact, 1942âs live-action âThe Jungle Bookâ demanded Joseff provide thousands of pieces.

A thiefâs armor for 1942âs âThe Jungle Book.â
From the top of the ledge of drawers, Tina and Michele take down a large, red breastplate from âThe Jungle Book,â with swirling bejeweled strips of golden metal and golden faces, and put it on the mannequin. This is from one of the sets of armor made for the three thieves in the movie. Tina says that several times a day during the filming, someone from Joseff would have to replace rhinestones that had fallen off the armor due to all the jumping and wrestling the actors had to do.
âFor âThe Jungle Book,â there were metal vests, large cuffs, and big, heavy belts with a lot of chains that were created specifically for that movie,â she says. âBut then, for the treasure trove the thieves discover in the cave, it was full of scrap or broken jewelry pieces and regular coins that were plated to look bright and shiny.â
Michele explains that the jewelry in the trays wasnât all made by Joseff. Some of it is Trifari. âWhen he couldnât make it or even when he just was out somewhere, he bought jewelry just to have it in the rental collection,â she says. âThere were thousands of pieces that are ours. Thereâs probably hundreds of pieces that are by other makers.â

Eugene Joseff dons the crown and scepter worn by Ronald Colman in 1937âs âThe Prisoner of Zenda.â Seventy-some years later, Decades Inc. co-owner Cameron Silver poses in the same crown.
Cameron Silver, a big player in the current Hollywood vintage scene, says he walked in having no idea about Joseff of Hollywoodâwhich tells you something about how out of the spotlight the companyâs been in recent decades. But as the magnificent pieces come out, one by one, he gets more and more excited, and begins to bubble with ideas about how to make the companyâs legacy known.
Silver dons the crown and scepter worn by Ronald Coleman in 1937âs âThe Prisoner of Zenda.â Amusingly enough, an old image of Eugene Joseff shows him looking regal in that very same crown. When Silver puts it on, he resembles Joseff an uncanny amount. âIâm going to call this one âCrowning Around,â Silver declares.

From left: Tina and Michele Joseff, me, and Cameron Silver. Iâm thinking, âPlease donât let Shirley Templeâs crown fall off my head!â
Inspired by Silver, we decide to get a picture of all of us in crowns, everyone picking one from the stash on the ledge. Michele says to me, âHere, do you want to wear Shirley Templeâs crown?â and hands me the tiara and scepter the child star wore in 1939âs âThe Little Princess.â It feels very precarious on my head. I nervously imagine it crashing to the ground, but it doesnât.
How It All Started
Crowns and scepters were probably the last things on Eugene Joseffâs mind when he started working in the advertising business in Chicago, where he also did an apprenticeship in an art foundry. There, he learned how to forge statuettes and other decorative items out of bronze. He left in 1928 to make his future in California, specifically, Hollywood.
Thanks to his âoutgoing and wild personality,â Eugene Joseff quickly fell into the movie-making crowd when he landed in Hollywood in the late 1920s. âHe just was the type that attracted people to him,â says Tina, who started working for the company in 1972.

Joseff and his brother Jimmy Glaser look at their wares. The huge acrylic headpiece was worn by Virginia Bruce in 1936âs âThe Great Ziegfeld.â
The year after his move, the Great Stock Market Crash sent the economy into a devastating tailspin that left a large number of Americans broke and jobless. Fortunately for Joseff, Hollywood was the place to be during the â30s and â40s, when impoverished Americans found refuge in films. For a couple dimes, they could fantasize about times of wealth and glamour.
âEugene Joseff revolutionized the way jewelry was used in movies.â
Joseffâs Hollywood-insider friends, like costume designer Walter Plunkett, would take him to the movies they made or invite him to visit their movie sets. Instead of being intimidated, Joseff would loudly mock the jewelry the costumers put on the actresses.
âHe wasnât shy,â Tina says. âHe was criticizing the use of modern jewelry in period films. It became a challengeâwhat can you do to make it better?âand he did.â
Joseff accepted this challenge, and set out to make the most historically accurate costume jewelry possible. He dug into historical books and piles of bound magazines like âLadies Fieldâ and âHarperâs Bazarâ from the Victorian Era. He traveled, visited museums, and studied pieces from the Renaissance and ancient times in detail.
âHe wasnât shy. He was going on set and criticizing that they were using modern jewelry on period films.â
At his Sunset Boulevard home in Hollywood, Joseff began experimenting with processes for making costume jewelry in his garage. With his brother Jimmy Glaser, he founded Sunset Jewelry Manufacturing. After a couple years Jimmyâwho was married to Hollywood costume designer Leah Rhodesâleft the company, and Eugene began to look for jewelry craftsmen to work with, while continuing to tinker on his own.
âHe did a lot self-taught and through trial and error,â Tina says. âHe had a creative mind, and he didnât mind making mistakes. When he first started out, he was gathering leaves and little acorns and bugs and cabinet knobs, turning those into castings. He was doing a lot of experiments with what he could accomplish with pouring metal.â
Groundbreaking Innovations

Grace Kelly wore Joseff of Hollywood chandelier earrings in 1956âs âHigh Society.â
According to Tina, he started perusing industry publications like âHollywood Reporterâ or âVarietyâ to find out what films were in the works. Then heâd call up the studios to say, âI think I can provide jewelry for this. Give me a script,â or âGive me some sketches.â
âJewelry didnât really appear in movies too much before he came along,â Tina says. âI think the costumers had either just gone to a department store and bought the jewelry, or in many cases, it probably belonged to the star herself and she just accessorized her own outfit.â
At first, Joseff was working with a limited budget, making pieces to order, which inspired him to start renting his jewelry to studios, a concept he pioneered.

Vivian Leigh wears Joseff in a dining scene with Clark Gable in 1939âs âGone With the Wind.â
âWhen he started out, he didnât have a collection; he only had pieces as he made them.â Tina explains. âSo he thought, âI spent so much money making this piece; how am I going to get my money back?â Then it occurred to him, âI can make it once, and rent it 10 times.â If he had just sold it, he wouldâve been out the piece, he wouldnât have developed a collection, and everything wouldâve been back to square one.â
In the â30s and â40s, Joseff was supplying over 90 percent of the jewelry in the movies. according to Michele. âAntiques Roadshowâ appraiser Rosalie Sayyah, a costume jewelry expert who goes by the name âRhinestone Rosie,â agrees that Joseff, who employed between 35 and 70 during his companyâs peak years, made an impact on Hollywood and fashion that cannot be underestimated.

Rhett Butlerâs one-of-a-kind cigar case from âGone With the Windâ will never be rented to a movie studio again. Same goes for his belt buckle and Scarlett OâHaraâs jewelry.
âHands down, Eugene Joseff revolutionized the way jewelry was used in movies,â Sayyah says. âHe was also a marketing genius and a perfectionist. He manufactured his own jewelry because the manufacturers told him, âYou canât make this look as good as you want it to be,â so he did his own thing.â
Not only did he set high standards for himself, Joseff was also thrifty and resourceful, Sayyah says. âHe would make a piece for one movie and then it might be disassembled and reassembled in another way for another movie,â she explains. âHe was very organized, so he could either re-create something using parts he already had, or he would say, âYes, I can have that for you,â and he would build the piece from the ground up.â
Where Itâs Still Made

Jewelry parts are still stored in cigar boxes, as they were in Joseffâs time. The writing on the boxes has yet to be decoded, but Tina and Michele know the numbers have to do with the dealer Joseff bought his parts from and the price he paid. Click image for a larger view.
âWhen he first started out, he cast leaves, acorns, bugs, and cabinet knobs in metal.â
The workshop where Joseff kept all of his parts and forged his famous pieces is still there, in the room behind the studio. Tina and Michele take me there next. We greet Lucy Koch, whoâs been with the company for 50 years and still puts the jewelry together by hand.
This room has a wall stacked floor to ceiling with old cigar boxesâthe same ones used by Joseff all those years ago. Theyâre filled with large metal findings shaped like flowers, skulls, and animals like snakes or elephants. Small findings are kept in a card catalog, while a rainbow of Swarovski crystals are stored in clear glass jars and chains hang from the ceilings and walls.

Joseff and actress Katherine Wilson look over his supply of chains. Joseff always kept plenty of chains on hand to meet emergency studio orders. The cigar boxes behind Wilson are the same ones used today.
Iâm shocked at the cluttered, messy state of the two work tables. As I study the jumble on a table, I find it hard to believe this is where those exotic pieces worn by Hollywoodâs biggest stars were born. Itâs like a woodshop, but instead of sawdust, the table is covered with glittery rhinestones, and a Bunsen burner is still aflame.

A work station where jewelry has been made for Hollywoodâs biggest stars. Click image for a larger view.
After we leave the studio, Tina takes me and Silver outside and then to the manufacturing plant, where Joseffâs trademark metal jewelry findings are cast. As World War II began brewing in 1939, Joseff also turned his metalworking talents toward developing techniques for manufacturing airplane parts for McDonnell Douglas, and founded Precision Investment Castings, the successful jet-parts company the Joseffs are still running today. At the same time, the Joseff of Hollywood retail and Hollywood rental businesses were flourishing.
Surprisingly, the process for making airplane parts isnât all that different from making jewelry. All the jewelry findings are cast in pot metal while the plane parts are cast in stainless steel. Tina says it doesnât make much difference to the workers whether theyâre casting jewelry or jet pieces. âIt basically goes down the same assembly line,â Tina explains.

Rows of Swarovski rhinestones (Joseff uses no other) adorn the walls of the tiny Joseff workshop.
âItâs so ironic that these two things are being made the same way and are so different,â Silver says later, in the studio. âIt just is kind of bizarre.â
Michele agrees, âOne is so beautiful and the other is so utilitarian.â
One reason Joseff was so successful in Hollywood was that he developed a special plating technique known as the âantiqueâ or âRenaissance lookâ that gave his jewelry a veneer of authenticity, Tina says. Even better, his pieces didnât reflect the bright lights used during the filming.
âToday, people are still trying to figure out his plating technique that creates that Renaissance feel, which gives a piece a look like it has an age about it,â Tina says. âIt isnât just bright and shinyâit has depth. No one else has actually figured out that process yet. Iâve seen some people try to replicate it, and so far theyâve been unsuccessful. The pieces that they make are sort of muddy looking, almost like theyâve got dirt on them. His movie pieces were quite vibrant. That antique look was his signature in Hollywood.â

The Joseff manufacturing plant is in the small building behind the studio. This is where the pieces are cast, before they become the beautiful baubles we see onscreen.
After casting, the jewelry bits are brought to the plating area. Tina points it out: This is where the Joseff magic happens. Each piece is plated with Joseffâs âsecret sauce,â a recipe and technique that will forever remain a Joseff family secret. This plating sauce used to simmer in much larger pots, Tina explains. But because it involves cyanide, the company switched to these surprisingly small Pyrex dishes, the sort youâd make soup in.

After casting, pieces are brought to the plating area. Each piece of metal is plated with Joseffâs âsecret sauce,â which gives Joseff pieces their signature antique look.
In addition to this âantique look,â Joseff made his period jewelry even more authentic by employing ancient setting techniques, says âAntiques Roadshowâ appraiser Rosalie Sayyah.
âHe used a lot of what we call a bezel set,â she says. âIn other words, it was not simply prongs holding the stones in. It was a smooth crown that encased the stones. He used a bezel setting because thatâs how a lot of the older period pieces he was emulating were set.â
Going Retail

Joseff is pictured delivering his wares to Buffums department store in a newspaper ad from 1948.
Thanks to his cunning and innovative approach to movie jewelry, Joseff became something of a celebrity in his own right. He went as far as to legally change his name to just Joseff.
âBefore Cher, before Madonna, there was Joseff,â Tina says. âHe worked side-by-side with famous Hollywood costume designers including Walter Plunkett, Rene Hubert, Milo Anderson, Orry-Kelly, and Charles LeMaire, creating the pieces along with their costumes.â

Carole Lombard wears Joseff on the January 1940âs âPhotoplay,â and Joan Crawford flaunts a Joseff brooch on the February 1948 issue of âMotion Picture.â February 1948âs âMovie Show,â with Tyrone Power and Ann Blyth on the cover, features an article penned by Joseff entitled, âLetâs Be Glamorous!â
In the mid-â30s, many actresses asked Joseff for copies of the pieces they wore in their films. âActresses wore Joseff on the set, and then they wore it when they went out,â says costume jewelry expert Judith Miller. âPeople felt that anybody who was wealthy could buy precious jewelry. There was a bit of a Hollywood cachet to wearing costume.â
Regular women, in turn, would see photos of their favorite stars in magazines like âCoronet,â âMovie Stars Parade,â or âMovie Secretsâ and covet them. And it struck Joseff, âWhy shouldnât we make every woman in the world feel like a movie star?â And so he expanded his business to retail around 1937, offering pieces for as much as $2.50, a steep price for the time. The line was sold at Nordstromâs, Neiman Marcus, Bullockâs, Macyâs, Saks, all over.
âThe women in the movies of the â30s and â40s were very brassy and bold,â Sayyah says. âIt changed after that. But with those Golden Era women, there was something different going on. Even if you werenât that type of woman, it made you feel proud and a little sassy yourself when you would wear something you saw in a movie. These women are solving crimes, theyâre newspaper reporters, theyâre running around. They usually end up in the lead. They were ahead of the liberated woman craze in the â60s and â70s. These were women that rose above the commonplace, so we also associate the jewelry with that.â
Love and Tragedy
While he was great at designing the jewelry, as well as socializing and networking, Joseff found the demands of managing a retail business overwhelming. So in the late 1930s, he made a call to Sawyerâs Business College for a secretary to help him manage the retail side. The school sent a sharp business-minded young woman by the name of Joan Castle, or âJ.C.,â who was also working on a Ph.D. in psychology from UCLA.

Newlyweds Joan Castle Joseff and Eugene Joseff at Lake Mead, Nevada, for their 1942 honeymoon. Joan wears the 10 bells necklace from the retail line.
âShe fell in love with him immediately, and Iâm sure he was attracted to her also,â Tina says. âAs they worked close for hours and hours a day, their personalities clicked. What one lacked, the other had, and so they just fell in love. She married the boss in 1942, and they had a son, Jeff, in 1947. They worked hand-in-hand, creating the pieces. They just had a marvelous relationship. They both were vivacious personalities, and very self-confident. Both of them had this great aura about them that they were destined to do greater things.â
Unfortunately, as Joseff of Hollywood was reaching its peak in the late 1940s, tragedy struck. When he was 42 years old, flying his own plane out of Newhall, California, in 1948, Joseff crashed his aircraft, and everyone on the plane was killed. Joan, his surviving wife and partner, took over his businesses, which she stayed involved with until her death at age 97 in 2010. All three still operate out of the Burbank studio Iâm visiting.

Joan is pictured in the Joseff library in 1937, wearing a Joseff sun brooch. The necklace shown in the book was replicated for Norma Shearer in 1938âs âMarie Antoinette.â
âOur family is so proud and happy that Joan continued the businesses after he passed away under such tragic circumstances,â Tina says. âTo be a businesswoman running three businesses in the â40s was just unheard of. She wasnât a quitter. She just kept it going, and if it hadnât been for her, it wouldnât be here today.â
Why Joseff Lost Its Crown
Joan was a savvy businesswoman, so she recognized that tides were turning in the 1950s: As Americans became prosperous and had more access to precious metals and gemstones, regular women wanting glamour began to turn their noses up at over-the-top costume jewelry in favor of more discrete fine jewelry. In 1956, Prince Rainer III of Monaco adorned his bride, Hollywood star Grace Kelly, with a real diamond tiara and necklace by Cartier, and that seems to have snowballed into the current trend of celebrities wearing only fine jewelry on the red carpet.
âIn Hollywoodâs Golden Age, stars would wear our necklaces and earrings to the Academy Awards, but these days they get lent the real stuff worth millions,â Michele says.

Joan Castle Joseff looks on, horrified, as Shirley Jones, who starred in many Rodgers & Hammerstein musicals, pretends to touch a Christmas tree made of Joseff jewelry during a company holiday party.
As tastes changed in the 1950s, Joan adapted the retail line to focus on cute, figural brooches, which were tremendously popular. At the same time, Joseff of Hollywood was making its mark on the young medium of television, on shows like âI Love Lucyâ and âQueen for a Day,â while Joan became active in the Republican Party. Meanwhile, the airplane-parts side of business, Precision Investment Castings, got a contract making military plane parts for the Korean War, employing as many as 240 people at its peak.
Movie studios themselves are partially to blame for the end of Joseffâs reign. For decades, while they rented and returned Joseff pieces, the studios had also been building their own permanent costume jewelry collections. By the late â60s, they didnât have to rely on Joseff as much. But the â70s delivered the most devastating blow to Joseffâs reign, thanks to the newfound taste for realism and naturalism in film. Suddenly, the grandiose escapism of the Golden Era was gone.
However, Joan kept the companies afloat. She found a new niche for Joseff of Hollywood in â80s primetime soap operas like âDallasâ and âDynastyâ that reveled in ostentatious displays of wealth. As Joseff jewelry faded into obscurity, Precision Investment Castingsâfor airplanes and now NASA space crafts as wellâthrived.

Lucille Ball wears a Joseff of Hollywood necklace and bracelet set. The company provided much of the jewelry seen in âI Love Lucyâ and was even a plot point in an episode.
These days, Tina runs the jet-part sales side, which dominates the family business by a ratio of 95 to 5 percent. But Joseff of Hollywood costume jewelry still sells in specialty boutiques, for prices ranging from $100 to $2,000. And it pops up occasionally on the Nickelodeon kidsâ TV show, âSupah Ninjas,â as well as movies like the first âPirates of the Caribbean,â 2011âs âAtlas Shrugged: Part 1,â and the Harvey Keitel mob-movie spoof, âThe Last Godfather.â
Joseff of Hollywood also remains a favorite of costume jewelry fanatics, who mobbed Tina and Micheleâs booth at the last Costume Jewelry Collectors International Convention and snapped up every piece of Joseff they could get their hands on.
How Little Has Changed

Joan shown at her desk at the Joseff of Hollywood studio in 1953.
Back in the studio, Tina and Michele show me several of Kochâs latest pieces. Itâs impossible to tell the difference between whatâs new and whatâs vintage because many pieces are made from those same vintage findings weâd seen earlier in the workshop.
From the looks of the file cabinet stuffed to the gills with archives, itâs obvious that Joan also had an obsessive side, which most collectors can appreciate. Thereâs a file of just photos from the fabulous Christmas parties they used to throw. Not only do they have the memory, but they also have the proof.

One studio wall is lined with trays of Joseff jewelry. The pieces are organized by type and by color. This is funny because the movie stills the Joseffs have to identify pieces are in black-and-white.
âWe also have a whole building thatâs nothing but storage, and itâs box after box after box of papers, newspaper articles, and magazine articles,â Tina Joseff says. âShe saved things like airline tickets and matchbooks from hotels, so I know where sheâs been and I know how long she stayed. She kept just all sorts of odd, little things that you wouldnât even know people collect, but she did. She just saved everything. She really left behind quite an archive.â
âIn the â30s and â40s, it made you feel a little sassy when you wore something you saw in a movie.â
Tina Joseffâs daughter, Michele, is currently working on photographing and archiving the whole collection to post it on the company web site, in hopes of making the studio rental process smoother, and breathing new life into the once-bustling movie rental business.
That said, the Joseffs are particular about who they rent their jewelry to. Not just any Joe can walk in off the street and walk away with a historic piece of jewelry.
âThere are people that we work with all the time that we trust and that I know take very good care,â Tina says. âIf itâs somebody new that Iâve never met, Iâm a little more leery about renting to them. When I see how they treat the jewelry after they bring it backâif itâs all in the trays, itâs laid out nice, and theyâve got the covers on itâI know they respect the jewelry for what it is.â

This turquoise vault of Hollywood treasures has been meticulously preserved through half a century.
But some pieces, naturally, can never be rented, because theyâre irreplaceable historical film artifacts. Theyâve traveled the world appearing in museum shows in Barcelona, Paris, Milan, and London, as well as the L.A. County Museum of Art, and the Academy of Motion Pictures, but theyâll never see the bright studio lights again.
âThereâs only one of the Clark Gable cigar case from âGone With the Wind,ââ Tina explains as we wrap up the tour. âThat piece will never leave our studio except maybe as a museum exhibit. Its rental days are over.â
Which makes this visit to the hidden Joseff of Hollywood studio all the more magical. Rarely would someone like me get the chance to seeâmuch less touch or try onâthese valuable Hollywood treasures, without a personal invitation from Tina Joseff herself.
Donât even think of asking me for the addressâIâll never tell!

Joan poses wearing her companyâs crown jewels on her voluminous skirt.
(All movie stills and archival photos courtesy Joseff of Hollywood. Contemporary photos of the Joseff studio and workshop by Joanna Mangan. Special thanks to Cameron Silver of Decades Inc. for crowning around with me.)
MichelleâŠâŠShould you ever come across a silver heart ring that says within a scroll âEverything leads me to theeâ â I would do almost anything to own it again. I wore it for two years before one odd night, Mrs. Joseff noticed it and took it off my finger. It was only then that I realized Jeff must have taken it from the amazing collection of jewelry he obviously felt privy to. NOT. It was the most beautiful ring Iâve ever worn. Iâve always felt so sad about that, especially since Mrs. Joseff really cared about meâŠ..even in her last days. Thanks Michelle.
Thank you for a fantastic and fascinating article! Iâm not a costume jewelry person â I primarily deal in gold & silver antique pieces â but Iâm a big movie fan, and love learning about the jewelry in films!
Thank you so much for this excellent article, and a rare trip into the beautiful world of exquisite Hollywood Jewelry, and itâs âone of a kindâ pioneer, innovator and creator of such historical movie gems! I would like to find out if Joseff made the HUGE, magnificent, âemerald greenâ solitare ring that Cyd Charisse wore in one of the fantasy scenes with Fred Astaire in the film âBand Wagon.â It was a stunning ring, my favorite color/stoneâŠemerald green. I am obsessed with finding out who owns that âpropâ ring? Did Joseff make that particular piece, and is it in his collection? Thanks again so much!
Would like to get a catalog of all Joseff jewelry.
Thank you so much for this article. I hope one day, I can visit also to Joseff of Hollywood so I can personally see the collections.
I am the great, great niece of joan castle joseff , I am looking to collect any of the jewelry but am having a hard time finding pieces , any advice . Thankyou for sharing this wonderful look into her life
My uncle was a representative of Joseff of Hollywood in the early to mid-1930s. He met a young actress named Harriet Lake at Joseffâs office and dated her for a while, but she was only interested her career. She later changed her name to Ann Sothern. My mother remembers waiting in her brotherâs car at the studios while he was inside their wardrobe departments.
Thanks so much for creating this webpage! A wonderful insight of, behind the scenes, Hollywood glitter and glam.
I have to say I am terrible about reading and keeping focused but this article you couldnât tear me away from. That piece that Lucille Ball wore was amazing and I can see people wearing it today. I am so blessed to have stumbled onto your article..so impressed!!
Thank you SO MUCH for such a riveting article.
I have a fabulous necklace and earrings that are signed âJoseff.â The stones are purple and they are set with arrows pointing downward. My Mother gave this set to me 30 years ago. I donât wear it very often but when I do, I get bombarded by women! I will take a picture of it and send it to you, maybe you can tell me a little bit about it. Thank you.
This brought back memories of my mom . What a wonderful, magical era. Thank you for the story, it was wonderful!!
For anyone in the San Francisco area, thereâs a wonderful small exhibit of Joseff jewelry on display at SFO until July 2015. It includes many of the pieces featured in this article, including Scarlettâs necklace, as well as photographs of the stars wearing them. Itâs in the international terminal: you do not need an airline ticket to visit, and there is no admission charge. The display is very near the BART (public subway) entrance. More info here: http://www.flysfo.com/museum/exhibitions/joseff-hollywood-jeweler-stars
I found this absolutely engaging article because I googled âgame piece jewelryâ! I read it non-stop as it has everything my dreams are made of: jewelry, history, film, cigar boxes, shelves and drawers (in turquoise for crying out loud), rhinestones, jewelry trays, findings, card catalogs, a tree made of costume jewelry, creative studios, warehouses (chock full of jewelry), and best of all , my vintage man crush â Tyrone Power. Thanks for opening up my little world to the legacy of Joseff jewelry. If the collection were made into a catalog, it would be a best seller.
âHidden Gems: Lost Hollywood Jewelry Trove Uncovered in Burbank Warehouseâ
So these were not actually lost at allâŠ
Just an incredible story full of details and history of the incredible creative and visionary artist Joseff. Thank you for sharing this with those of us who sell, collect, and wear pieces from the past⊠today and for years to come. This would make a great book or Movie.
I have just come across this website and am absolutely blown away by all the information and fantastic stories especially this article on Joseff jewellery. Now I have to find time to read all the other articles.
Thank you so much.
Thank you for such an informative and entertaining article about one of my passionsâŠ.
the Golden Age of HollywoodâŠand itâs jewelry!!! spending time with the Joseffâs and their never to be duplicated legacyâŠ.was a wonderful step back into time, How I envy your trip back in the âtime machine.â Please keep us updated on the JoseffâsâŠ..and please suggest to them a possible tour open to the (paying) publicâŠ.I think there would be fantastic support from the (paying) public to be able to see this spectacular representation of what weâve seen on the Silver Screen.
This must be where heaven is.
Thanks a lot for this lovely article , love it :)
Fabulous read and a real insight to what he and his team were doing.
Amazing article! I loved reading it. I own earrings and a bracelet given to me by a former worker who lived in Glendale around 1987, and I treasure it. It still looks brand new.
I found this site so wonderful and brought back many memories. My father worked there for several year back when I was a teenager. I actually still have a necklace and ear rings set my dad had made for me. I attended two of Joanâs Christmas partyâs both were held at the Beverly Hills Hotel. I could name several movie legends and their current spouses. Also went a few times to the races At Hollywood park. Oh the flood of memories. Thanks so much for the blast from the past. I grew up in Burbank, California, but now reside in Texas. Maybe next trip back to Cali maybe I could arrange a visit of my own. Who knows. Thanks again. Nancy Filson Anderson
I have long- admired the Joseff style â so prolific in its form. I stumbled upon a book about him in 1998 in a San Diego used bookstore entitled, âJoseff: Jeweler to the Stars.â Later that same week, oddly enough, I stumbled upon a signed Joan Castle piece I. A thrift store! The crown pendant which she designed as a promotional piece for the the -popular radio show, Queen for a Day (which was later televised.). The crown pendant has an aged patina but the Joan Castle insignia is clear. I find everything about this couple and their era fascinating. A more graceful time aesthetically speaking.
Hi,
Loved the info on your site. I am looking for info on a necklace I found that is a large link chain with a pendant of a chariot race, it read Ben Hur on the top. I was wondering if this was a tie in to the movie and if it was possible Joseff made it. Any info is appreciated,
Thank you, Lisa Braig
These pieces are now going up for auction at Julienâs. November 2017
Fantastic article! Thanks for taking us on this special tour.
Just curiousâŠ.Do you know if Joseffâs of Hollywood, designed the one of a kind 6-strand pearl and gold bead bracelet with the 6 over sized gold charms attached to each bracelet; worn by Grace Kelly in Alfred HitchcockâsâŠâRear Window?â I read that the large gold charms were the property of Edith HeadâŠ.and that she had Joseffâs put the bracelet together. It is my absolute favoriteâŠ.and I have duplicated my own embellished version of that iconic treasure. Thank You.
Engaging and well-researched article about a fascinating subject, even if the title is a red herring. Although the museum professional in me is horrified to see people actually touching and wearing pieces of film history like that. Nice to know that some of the more influential pieces are loaned to museums for exhibit though!
On May 5 2014 my cousin Robyn OâNeill wrote a comment on this page. Unfortunately she has passed and by chance I found this article because in her estate there are some costume jewelry pieces and they maybe samples from Joseff, because my dad was the sales rep.
Is it possible, probably not, to visit the warehouse and to see what my dad experienced.
Thank you
It would be great if they could do a temporary exhibit (like the one at SFO) at the Legions of Honor building in San Francisco. I know I wouldnât mind paying just to get a glimpse of these treasures! Itâs a shame to keep them hidden. Thank you.
An amazing article, thank you. I collect Gone With The Wind memorabilia and saw
several pieces before them being offered at auction. I also purchased the Joseff Jewelry book, a great reference.
I found a pearl necklace marked Reynold & Helene Art Jewelry Co. I know Joseff did some jewelry for her. Do you know anything about this Company?
I own a pair of Marilynâs eisenberg clipon earings. How do I find out which movie she wore them in?