Updated May 2026

Zara Tindall has continued to refine her jewellery wardrobe through 2025 and into 2026, with several notable appearances that confirm her place as one of the most quietly influential royal jewellery wearers. Her recent choices have leaned toward British independent jewellers – Hector Lion, Kiki McDonough, Laurence Coste. These alongside the ongoing relationship with Australian designer John Calleija that has produced her own jewellery collection.

The 2026 Cheltenham Festival saw her in particularly strong form. On day three, she paired a velvet Me+Em suit with Kiki McDonough’s lemon quartz, peridot and diamond hoops. This is a brand the Princess of Wales has worn throughout her royal career (See our story about Kiki McDonough receiving a Royal Warrant).

For Cheltenham Ladies Day, returning after a five-year hiatus, Zara wore Hector Lion gold earrings, the same brand whose £135 designs she has been quietly championing across multiple appearances. The British label was new to royal circles before Zara discovered it.

At Royal Ascot 2025, she alternated between Calleija’s 18-carat rose gold morganite and diamond drop earrings on day two, and Laurence Coste’s sculptural designs on day five — the Chelsea-based sustainable jeweller has become a Tindall favourite, with her wearing the brand at successive Cheltenham Festivals through 2022, 2023, and 2025.

Beyond the racecourse, the 2025 Tusk Conservation Awards saw her in a £9,000 Kiki McDonough silver bracelet and matching earrings, paired with a Rebecca Vallance cut-out cocktail dress. December 2024’s Cheltenham Racecourse Christmas Meeting featured £265 Alighieri earrings — a contemporary London brand with a literary, antique-inspired aesthetic that suits Zara’s increasingly curated direction.

Her own Calleija collaboration, launched in 2015, has expanded significantly. The Zara Tindall Collection now covers the whole jewellery suite – rings, earrings, bracelets and pendants across a variety of metals and diamond settings. The Saddle Suite in particular draws on her love of riding and on riding equipment, the Coronet Suite is named after the band on a horse’s hoof. She wore new earrings from the collection at Cheltenham in 2026. Zara Tindall is a notable example of a royal not just wearing jewellery but designing it commercially, but not leaning on a royal title to do so.

Engagement Ring

Zara Tindall said ‘yes’ to former rugby player Mike Tindall in a private proposal at their Gloucestershire home in 2010. Many consider Mike’s choice of engagement ring “incredibly romantic” not only due to its simple elegance, but its practicality, too. The ring features a platinum split shank, covered in pavé diamonds, which beautifully frames a central, large brilliant-cut diamond. The choice of a low-set diamond is perfect for Tindall, who boasts an impressive equestrian career, as it means she doesn’t have to take the ring off while competing.

Wedding Jewellery

On her wedding day, Zara wore a beautiful Greek tiara which belongs to her mother, Princess Anne. The tiara features a brilliant-cut diamond surrounded by a glittering laurel wreath and two honeysuckle elements.

A family heirloom, the tiara originated in Greece’s royal family, with the late Prince Philip’s mother Princess Alice of Greece and Denmark gifting the tiara to the late Queen Elizabeth II, whom subsequently passed it to her daughter Princess Anne. Today, the tiara is known as the Meander tiara, the name being a Greek reference to its intricate design.

The structure of the tiara suggests that it was created in the early 20th century. Some experts believe the piece was made by Cartier, however, officially, the maker is not known. It has an estimated value of up to £4 million.

For her wedding, Tindall paired the Meander tiara with a stunning pair of teardrop shape earrings, also given to her by Princess Anne. The diamond earrings are similar to Queen Elizabeth’s diamond pendant earrings, but in smaller form.

Princess Anne’s Ribbon and Tassel Brooch 

For the coronation of King Charles III and Queen Camilla, Tindall wore a decorative brooch from her mother, Princess Anne. The diamond ribbon and tassel brooch was a wedding present to the Princess Royal from His Majesty, making it a particularly significant choice for the coronation. It was last worn by Princess Anne for the Guildhall Banquet in 2017, during a visit from the Spanish royal family.

On this occasion, Tindall paired the brooch with 18K white gold Nieva earrings from Australian jeweller Calleija, hung with brilliant white diamond drops.

Calleija Earrings 

The coronation isn’t the first time Tindall has opted for jewels by John Calleija, nor will it be the last. The Australian-born, London-based jeweller has been her most consistent professional collaborator for more than a decade, and his pieces appear across the most significant moments of her public life. At the 2019 Royal Ascot, she wore a set of simple diamond hoops framed by white diamonds on the inside and black diamonds on the outside. It was a quietly clever choice for a daytime royal event, where the contrast read as graphic from a distance and detailed up close.

Calleija’s appeal for Tindall is partly that he occupies a category of his own: high-end without being a heritage maison, contemporary without being trend-driven. His Bond Street boutique is small, his client list is private, and his pieces are made in limited numbers. For a royal-adjacent figure who has spent her adult life sidestepping the more obvious luxury houses, that combination of quality and discretion is exactly the proposition.

The relationship has gone further than client and jeweller. Tindall launched her own collection with Calleija in 2015 – the Zara Phillips Collection by Calleija. And today she continues to wear pieces from the collaboration at major appearances, including new earrings from the suite at Cheltenham 2026. It is one of the few examples in the contemporary royal world of a family member building a genuine commercial jewellery line rather than simply lending a name to one.

Laurence Coste Earrings 

Another of Tindall’s most-worn jewellers is Laurence Coste, the Chelsea-based French-born designer whose sustainable, ethically sourced pieces have built a quiet following among women who want something distinctive without the heritage-maison price tag. Tindall has worn Coste’s sculptural earring designs at successive Cheltenham Festivals — including the 2022 and 2023 meetings, and again at Royal Ascot 2025 — and the consistency of the choice is part of the story.

Coste’s pieces sit in the £200 to £600 range, which is unusual for a jeweller whose work appears repeatedly on a member of the royal family. Most royal-adjacent women dress in pieces that broadcast their cost. Tindall does the opposite. The Coste earrings she favours are sculptural, often gold-toned, frequently asymmetric — pieces that catch the eye on the racecourse photographs and reward a closer look without announcing themselves.

What’s notable is how little the brand has leveraged the connection. Coste does not appear to have run a single press campaign on the strength of Tindall’s patronage, and the designer’s Chelsea boutique remains modest enough that most of her clientele still arrive by word of mouth. For Tindall, the appeal is presumably part of the point: a jeweller whose work she likes, who hasn’t turned the relationship into marketing.

Funeral Pearls

At Queen Elizabeth II’s lying-in-state, Tindall paid homage to the late monarch with pearl-encrusted gold hoops with black accents, coordinating elegantly with her black midi dress.

The Zara Phillips by Calleija Collection 

Besides her personal collection, Tindall has previously collaborated with designer John Calleija in 2015 on a modern, timeless jewellery collection. The Zara Phillips Collection by Calleija was unveiled at the Royal Arcade in London in 2015, and the pieces range from £3,350 to £26,490. Many of the designs take inspiration from saddle structures, but in a subtle manner which makes the collection suitable for both horse-lovers and non-horse lovers alike.

The collection is split into two groups: the Saddle Suite and the Coronet Suite. The first is inspired by the shape and structure of horse-riding saddles, while the second is named after the band on a horse’s hoof, which the brand considers a symbol of resilience and power, and a nod to Tindall’s royal associations. Highlights include the Saddle Suite ring, available in various finishes including pavé set, edge set and filigree, and in a range of metals including platinum, white gold, yellow gold, and rose gold.

The collaboration has continued to evolve since launch. Where many celebrity jewellery collaborations are launched with fanfare and quietly retired within a few seasons, the Zara Phillips Collection has expanded steadily over the decade, with new pieces continuing to enter the range. Tindall wore previously unseen earrings from the Saddle Suite at Cheltenham 2026, suggesting the collaboration remains very much active. It is also worth noting that Tindall is involved in the design and creative direction of the line, rather than simply lending her name to it.

This makes the collection an unusual proposition in the contemporary royal world. There is no recent precedent for a member of the family building and sustaining a designed-from-scratch jewellery line at this price point over a ten-year arc. Princess Eugenie’s involvement with the Anti-Slavery Collective operates as a fundraising venture rather than a commercial design enterprise, and Sarah Ferguson’s various brand ventures have generally been licensing rather than design. Tindall is a working designer with a decade-long collection to her name, which is a quietly significant departure from the royal norm.

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