On Christmas Day 2025, the Princess of Wales departed from her usual festive colours, choosing rich brown tones for the annual royal Christmas service at St Mary Magdalene Church in Sandringham.
She attended the service with Prince William and their children, Prince George, Princess Charlotte and Prince Louis, wearing a brown plaid coat by Blazé Milano. The coat was previously worn earlier in the year, including during a visit to the Royal Marsden Hospital in January.

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The coat was paired with a chocolate-brown hat and a silk patterned scarf in complementary shades, creating a cohesive and sophisticated look appropriate for the occasion.
Accessories included Cartier Trinity hoop earrings, a favourite in her jewellery rotation, and boots that matched the tone of the outfit.

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Princess Charlotte’s outfit coordinated with her mother’s, featuring a camel-coloured coat accented in brown, reinforcing the harmonious family appearance.
Historically, the Princess of Wales has favoured traditional holiday colours such as greens, reds, or jewel tones for Christmas services. Last year, she wore forest green, and in previous years, she chose cobalt blue or maroon.
This year’s brown choice reflects a broader interest in earthy tones and demonstrates her ability to make contemporary fashion choices while respecting tradition. She is known for re-wearing meaningful pieces and adapting them for different events with care and thoughtfulness.

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The Blazé Milano coat carries additional significance, as it was previously worn during a public engagement following the Princess’s cancer remission earlier in 2025. Reusing a piece with personal meaning adds an extra dimension to the ensemble.
Despite a challenging year for the royal family, including ongoing health matters for King Charles and wider institutional pressures, the Christmas Day service remained a symbol of continuity and family presence. Her outfit complemented the event, making a refined, intentional statement about combining modern style with long-standing tradition.

The British Royal Family’s Christmas cards have long functioned as controlled public statements rather than informal holiday greetings. From their earliest appearances in the early twentieth century, the cards have reflected how the monarchy responds to public expectation, national mood, and shifts in media culture. What appears simple on the surface is, in practice, carefully managed communication.
The tradition emerged during the First World War. In 1914, Princess Mary included a Christmas card in tins sent to British soldiers serving overseas. The image was formal, and the message restrained. It was not designed for sentimentality but for reassurance. During the Second World War, the practice continued when Princess Elizabeth, years before her accession, sent Christmas cards to the Grenadier Guards. Photographs from that period frequently showed her in uniform, reinforcing duty and national service rather than family life.

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After the war, the emphasis changed. As Britain moved into a period of rebuilding, royal Christmas cards increasingly featured family imagery. Queen Elizabeth II and Prince Philip used photographs of their children to communicate continuity at a time when the monarchy was redefining its place in a changing society. These images were neither spontaneous nor intimate. They were staged, selected months in advance, and intended to project order and stability.
By the late twentieth century, particularly during the marriage of Prince Charles and Princess Diana, the visual language of the cards shifted again. Images of Princes William and Harry appeared less formal and more domestic in tone. Outdoor settings and relaxed poses suggested a softer image of royal life. This change coincided with increased media scrutiny and a public appetite for accessibility. The cards responded to that pressure while maintaining tight control over presentation.
One consistent feature across decades is the absence of traditional winter imagery. Snow, fireplaces, and overt seasonal symbolism are largely avoided. The photographs are typically taken in neutral or warm-weather settings, allowing the image to remain usable beyond the holiday period and preventing associations with hardship or austerity. The timing of professional photo sessions also plays a role, reinforcing practicality over seasonal accuracy.

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In her later years, Queen Elizabeth II maintained a steady approach. Her Christmas cards often used photographs taken at royal residences, sometimes captured by family members. Exhibitions of these cards later revealed how little the formula changed over time. The consistency was deliberate. Variation risked distraction, while repetition reinforced familiarity and permanence.
The Prince and Princess of Wales have continued this approach with subtle adjustments. Their cards usually feature coordinated but understated family portraits with their three children. The tone suggests ease without relinquishing control. Every element, from clothing to setting, contributes to a message of reliability and continuity rather than spontaneity.

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The Duke and Duchess of Sussex have adopted a different model. Their recent Christmas greetings have often been digital and message-led, incorporating images tied to public engagements or charitable work rather than a single posed family portrait. The focus shifts from tradition to narrative, using the card as a platform for outlining priorities and values rather than reinforcing established royal imagery.
Taken together, royal Christmas cards form an informal visual archive of the monarchy’s evolving relationship with the public. They document how the institution adapts to social change while maintaining authority. Far from being decorative seasonal gestures, the cards reveal a long-standing effort to manage visibility, project reassurance, and signal continuity at the close of each year.

Kate Middleton attended King Charles III’s annual Christmas lunch at Buckingham Palace this week, joining senior members of the royal family for the private pre-Christmas gathering. The occasion offered a rare view of the royals in a family-focused setting ahead of the Sandringham celebrations later in the month.

For the event, Kate chose a red patterned dress she has previously worn for family-facing engagements. She paired it with minimal accessories, creating a composed and tasteful appearance that suited the festive setting. Princess Charlotte complemented her mother in a burgundy velvet dress and a matching hair bow, sharing a subtle seasonal connection with Kate’s outfit. The mother-daughter pairing was simple and harmonious, highlighting the festive tone of the gathering without being showy.

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Other members of the royal family kept to classic, understated attire. Prince William and the younger royals wore dark tailored jackets and ties, while Princess Anne and Sir Timothy Laurence, the Duke and Duchess of Edinburgh with Lady Louise Windsor, and Princesses Beatrice and Eugenie opted for traditional, familiar choices. Across the gathering, the focus remained on family and seasonal tradition rather than fashion statements.

The Christmas lunch is a long-standing royal tradition, held privately at Buckingham Palace each December. For Kate, these events often provide an opportunity to return to wardrobe favourites. Her repeated choices reflect a practical, thoughtful approach to dressing for family occasions, ensuring consistency and cohesion without unnecessary attention. Coordinating with Charlotte has become a subtle pattern at these gatherings, with both wearing colours that complement the seasonal atmosphere.

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This year’s event offered a rare glimpse of a private royal occasion. Kate’s decision to revisit a classic dress brought warmth and seasonal charm to the lunch while keeping the emphasis on family togetherness. The mother-daughter pairing presented a composed and understated presence, illustrating how the Princess of Wales combines style, practicality, and tradition for intimate royal gatherings.