Costume shops exist because owning is the wrong answer for anything worn once. A showgirl headdress needs storage, upkeep and somewhere to live that is not a closet. A screen accurate breastplate is a project rather than a purchase. Renting converts all of it into a date on a calendar and a deposit, which is why theatrical wardrobe has worked this way for about a century.
Cosplayers and photographers extended the same logic years ago without calling it that. Lenses come from rental houses. Studios come by the hour. Backdrops, hazers, wigs and armor all move through the same borrow and return cycle. Once a shooter accepts the model for a two thousand dollar lens, the objection to it tends to disappear everywhere else in the budget.
Vehicles are the place people forget they have the option. Plenty of characters read wrong without a car in frame, and a lot of Vegas shoots want something low and expensive looking parked behind the subject. That does not require owning one or knowing a collector. A local company rents exotic cars and supercars by the day in Las Vegas, with pickup on the Strip, so a photographer can hold the car for the same block of hours as the wardrobe. Readers can judge for themselves whether it fits a given shoot, and we are only naming an option.
Wardrobe and hardware fight each other in ways worth planning around. Structured costumes do not bend at the waist, and a low door sill plus a fixed seat means somebody has to get in without crushing a shoulder piece. Capes and long trains catch on everything near a wheel arch. Dark paint in this climate reaches temperatures that will mark bare skin by mid morning, so anything skin exposed belongs in the first hour of light or the last. Bring a sheet for the seats, and ask the rental desk directly whether latex, body paint or loose glitter is a problem in their interiors.
Location is the other thing costume shooters underestimate. Casino property is private, security moves people along quickly, and a tripod tends to be the thing that ends a session. Industrial streets off Main, public parking structures with a view of the skyline, and the desert washes at either end of the valley all work better and ask fewer questions. Whoever holds the car keys should know where the shoot is happening before it starts.
Book both rentals against the same day and the budget stops looking strange. One fitting, one pickup, one shoot, both returns before close. Shooters who work this way build the shot list before they touch anything, because the meter runs on the costume and the car at the same time and neither one waits for a change of plan.