Harriet Sperling breaks royal bridal precedent with tiara and Emilia Wickstead gown

That tiara choice is the real story here. Modern royal second brides such as Queen Camilla and Princess Anne skipped the sparkle, which is exactly why Sperling’s decision felt sharp and current rather than nostalgic. In a bridal moment crowded with minimal satin slips, restrained veils and barely-there jewelry, Sperling leaned into formality with intent. She looked less interested in blending in than in signaling that ceremony still matters, and that heirloom pieces can carry as much modern edge as a sculptural heel or a severe neckline.

The Pragnell Tiara brought more than surface shine. It was reportedly borrowed from Pragnell, the same jeweler that made Sperling’s engagement ring and supplied her diamond-and-pearl earrings, which gave the whole look a tight, coordinated finish. The tiara itself has been described as mixing Edwardian and Deco design elements, with links to the coronations of King George VI and Queen Elizabeth, so the choice carried royal symbolism as well as visual weight. This was not jewelry as decoration alone. It was jewelry as lineage.

Sperling’s gown matched that level of intent. Emilia Wickstead made the dress with long lace sleeves, a high neckline and a three-metre train, a silhouette that felt disciplined and formal without tipping into costume. Reports say the dress took months to plan and involved hundreds of hours of handwork, and that attention showed in the controlled, polished finish. The lace had the kind of texture that reads elegantly from a distance and richly up close, exactly what a bride needs when the accessories are doing such heavy lifting.