Meghan’s signature, which she left today in a guest book in Dublin, demonstrates her ability to ‘charm the most stiff upper-lipped people’.
The Duchess of Sussex left her swirling cursive in the visitor book at President Michael Higgins residence in Dublin on Wednesday alongside that of her husband’s.
And her penmanship is demonstrative of the way the 36-year-old has negotiated the well-to-do according to handwriting analyst Tracey Trussell.
A handwriting analyst says that Meghan’s signature reveals that she is able to ‘charm the stiff upper-lipped’
The Duchess of Sussex today signed the guestbook at President Michael Higgins residence in Dublin and Tracey Trussell of Handright says that it shows how she uses her ‘feminine wiles’
Tracey, of Handright, told Femail: ‘The style of signature or ‘persona’ tells us that brand Meghan is particularly adept at using her feminine wiles to charm the most stiff upper-lipped people.’
The expert adds that the positioning of both Meghan and Harry’s names on the page shows how the newly-minted royal is settling into her new role.
She continued: ‘The spacing of the layout on the page is interesting because the last time this couple signed a visitors book (back in March 2018 in Belfast) it was clear that Meghan sought protection from her betrothed.
‘In spite of huge personal self discipline, she tends to be a little apprehensive in the face of anything new. Now she’s in ‘The Firm’, she’s sending out a message that she’s far from vulnerable. Meghan’s telling us that she’s a strong independent woman in her own right.’
Tracey added that the position that Meghan left her signature in suggests that she is becoming more independent and settled in ‘the fold’
While Meghan may be feeling more independent Tracey says that the couple are still showing great unity.
She adds: ‘Aside from this observation, in many other ways their signatures (which incidentally represent the individual’s shop front) are beginning to look remarkably similar, as if they are reflections in the same mirror.
‘There are matching features that reveal a desire for synchronicity and stability. They are also both instinctively in tune with the soul.’
She continues: ‘Meghan invests more energy and flaunts her proactive compassion more than Harry.
Meghan pictured in 1993, around the time she is believed to have penned the handwritten note to her classmate Michelle which shows her ‘disciplined and confident’ personality
In the handwritten note, Meghan says: ‘You are so strong and so wonderful – your courage in strength in times of hardships is as admirable as your optimism and friendly nature’
‘But Harry knows he doesn’t have to try so hard, and he’s more natural and selfless. But then he has had many more years practice of being Royalty!
‘The Duke and Duchess of Sussex poignantly need each other, and I think he’s certainly found his match in Meghan.’
Meghan’s latest scrawl tells us a different story than that of her younger days.
A letter from Meghan’s high school days, that appeared in the documentary How to Bag a Prince on the Paramount Network, is scrawled in a flawless hand which suggests a ‘disciplined and confident’ young lady with a ‘selfish’ streak, according to handwriting analyst Tracey.
The Duchess, who is known for her perfect handwriting and once worked as a calligrapher as a jobbing actress, penned the note to a shy girl in her class praising her ‘beautiful spirit’ during her time at Immaculate Heart High School in California.
Tracey said: ‘We can see her penchant for perfection, even as a teenager.
‘However, it seems she struggles to see any grey areas in life, and although she genuinely wants to do good deeds, there is an element of a selfish, ‘what’s in it for me’ attitude.’
Tracey says she came to this conclusion after noticing Meghan’s handwriting was ‘regular with zonal balance’.
She explained: ‘The letters are formed with arcades and joined up with garlands and angles. The rhythm is stilted with a marked right slant.
‘The baseline space line is also regular, stable, and fairly wide. There’s a narrow and slightly widening left margin. And last but not least, the end strokes are upwards (and left tending).’