How in God's name does a magazine like Allure survive year after Creme de la Mer-laden year? Well, besides lots of quid pro quo between advertisers and beauty editors, the continued durability of the magazine owes a lot to Linda Wells, who went from being a Connecticut-born, über-blonde beauty/style reporter for the NY Times to a 5th Avenue-residing, über-blonde editor of Si Newhouse's paean to everything pretty, polished, or associated with Patricia Wexler. After the jump, graphologist Sheila Kurtz analyzes Wells' tomato-red scribble (try the aptly-named Fifth Avenue from Essie Cosmetics, $8, to get the look at home!) and finds that behind the fine lines and plumped-up curves lurks a judgmental, direct, suprisingly-deep thinker who is most definitely set in her WASP-y ways.
What stands out in this signature is that you cannot read Linda Wells' first name. The form she uses seems to be a series of poetic sweeps. There is a hook at the end, a sign of tenacity. The writer will hold on tightly to hard-won gains and whatever else is important to her. There is a slash at the top of the first-name form, an indication of impatience, perhaps born in frustration, perhaps annoyance with a slow pace, perhaps with too many duties and details.
This writer communicates directly and does not like to waste time. The roundedness of the forms is a sign of methodical thinking, where the writer steps from one fact to another and another to reach a logical conclusion.
However, the last name, Wells, is clear and readable.
The "e" loop is closed, a sign that the writer filters new ideas through a screen of prejudgments and/or preconceptions.
One "l" of the two l's shows a narrow loop, a sign of some proficiency in abstract thinking (music, mathematics, philosophy).
The small loop visible in the middle of the "W" is a sign that that the writer tends to worry an issue (and gets impatient with herself and others) until the issue is resolved.