Last week, Meghan Sussex appeared in a holiday trailer for her Netflix special With Love, Meghan, wearing a familiar green Galvan gown. The dress, seen in her 2022 Variety shoot, quickly became the centre of a bizarre and defamatory narrative. Without evidence, multiple outlets suggested she had taken the dress without permission. Her spokesperson dismissed the story as “categorically false” and “highly defamatory,” but the headline frenzy had already taken hold. The story is not about fashion. It is about the media’s long and documented habit of criminalising Meghan Sussex in ways that align with historic racial and gendered framing.

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Tabloid spin targets Meghan yet again

Page Six, NewsNation, and other outlets ran claims from unnamed sources alleging the Duchess of Sussex had kept the Galvan dress from a 2022 shoot without approval. One source alleged she simply took it. Another insisted it was common for royals to archive wardrobe pieces. A third said that no one had ever heard of that rule. The reporting offered no on-the-record confirmation from Variety, Netflix, or Galvan London. Nor did any of them publicly accuse Meghan of wrongdoing.Instead, the coverage relied on anonymous insiders and assumptions. By the time Meghan’s spokesperson issued a formal denial, the damage had already been done.

Screenshot collage of headlines from Page Six, New York Post, and Inkl falsely accusing Meghan Sussex of taking a $1,700 dress
Three media outlets speculated on a false claim that Meghan Sussex kept a green dress from a 2022 shoot, despite no confirmed complaint from the designer.

This fits a pattern. When Meghan wore a Chanel dress in New York—also previously seen in a 2022 shoot—the same accusations followed. No such scrutiny is applied to other royals. When Kate Middleton wore an emerald wrap dress this week closely resembling Meghan’s 2022 gown, the media praised her for its elegance. Meghan, however, faced theft allegations for wearing a dress she had clearly owned and used publicly.

Historical Framing Drives Current Narratives

The suggestion that Meghan Sussex had no right to the dress mirrors a long and racialised history of portraying Black and biracial women as deceptive, grasping, or undeserving. In 2016, the Daily Mail published a headline calling her “(Almost) Straight Outta Compton,” accompanied by gang statistics and misleading references to deprived neighbourhoods.

A Daily Mail article using racially charged language to frame Meghan Sussex’s background in a negative light.
From the start, Meghan faced dog-whistle attacks, subtle racism disguised as concern over her suitability for the royal family.

Prince Harry publicly condemned the Straight Outta Compton headline for its racist framing. The royal family later removed his statement from their official site, a choice that showed a reluctance to confront the hostility directed at Meghan. Or perhaps they approve of it?

The racist article placed Meghan in a world she never lived in and treated a middle‑class Los Angeles upbringing as criminal. That tone has shaped later coverage. Some outlets revived the theme through satire, including the BBC’s Royal Sparkle, which turned her into a caricature instead of a public figure. The pattern expanded through unfounded claims repeated as fact. The avocado story is one example. Meghan’s snack was linked to drought, conflict, and guilt, while similar coverage framed Kate and Charles as wholesome. These choices built a consistent picture of a woman treated as a target rather than a person.

Collage of news headlines praising Kate and Charles for eating avocados while blaming Meghan Markle for human rights issues linked to the same fruit.
Headlines praise Kate and Charles for eating avocados while blaming Meghan for global harm, exposing racial bias in royal media coverage.

These stories are deliberate and serve a purpose: to push harmful stereotypes about Black women being problematic, dangerous, even criminal. Today, it’s a dress. Tomorrow, they may accuse her of something darker. Meghan’s silence has, at times, allowed these narratives to flourish unchallenged. In staying quiet, she is not complicit, but the press has taken her restraint as an invitation to escalate. They have lied repeatedly, and because she has chosen not to respond to every slur, they believe they can keep doing it. This is racism, repackaged as gossip, and legitimised by headlines.

The Weaponisation of Anonymous Sources

Many of these recent headlines originate from what are described as fashion insiders or royal sources. In reality, many of these are unverifiable and echo language circulated on social media by anti-Meghan accounts.

Meghan Sussex sets a holiday table in a green Galvan gown as a tabloid commentator’s face is overlaid, framing the coverage as scandalous.
Behind every fabricated Meghan scandal is a grinning white commentator ready to twist lighting a candle into larceny. It’s always the same faces.

A common tabloid technique involves reframing online hate as widespread sentiment, with phrases like “royal fans furious” or “critics claim.” This tactic converts digital harassment into a cycle of damaging stories legitimised by mainstream platforms. It is a form of media laundering that gives cover to racism while pretending to report news.

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When the claim is theft, the implications are especially damaging. Giving talent clothing after a shoot is not unusual, it is a common practice in fashion, often considered a form of payment or part of security protocol. Meghan, who paid for her own wardrobe during her time in the royal family, is now being accused of stealing from brands that never made such claims themselves. If this were truly about journalistic ethics, those outlets would have verified the facts. Instead, they ran the story because it fits a racist template that has worked profitably for nearly a decade.

Final Thoughts

I believe the timing of this manufactured dress story is deliberate. Meghan Sussex’s holiday special premieres on Netflix next week and it follows a familiar pattern. When Season 1 of With Love, Meghan launched, similar anonymous “sources” claimed Netflix would cancel it, citing poor reviews from a narrow set of media critics. Many of those voices seem to believe that only white tastemakers can define what works in entertainment, particularly when the talent is Black or biracial.

Netflix did not cancel the show. They celebrated it. Later that year, co-CEO Ted Sarandos approved a second season. The backlash returned on cue. Headlines insisted the Sussexes’ Netflix deal had ended. That too was false.

Now, with Masaka Kids A Rhythm Within and Meghan’s holiday special set to stream in December, I fully expect the noise to escalate. The British press, unable to accept that a woman like Meghan can build success on her own terms, will likely treat her wins as threats. These outlets do not simply dislike her. They cannot tolerate the idea that a Black woman, once inside the royal machine, could walk away and thrive.

A black woman wears a gown on her own show, and the media call her a thief. I do not believe this is sloppy journalism. I believe it is a campaign. And I believe it is racial motivated.

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