If The Devil Wears Prada taught us anything, it’s that one look from Anna Wintour (or her on-screen alter ego Miranda Priestly) could melt your Gucci before you even reached the elevator. For decades, the line between fashion and fear ran through a single door on the 25th floor of Condé Nast. That door has now opened — or rather, changed hands. Anna Wintour has just handed over her editor’s chair to Chloe Malle.

More Than Just Candice Bergen’s Daughter

Yes, Chloe Malle is the daughter of Candice Bergen — the iconic actress, five-time Emmy winner for Murphy Brown, a 1960s fashion muse immortalized by Avedon and Newton, and one of the first women in Hollywood to pair elegance with sharp wit. And yes, her father was Louis Malle, one of France’s greatest filmmakers (Au Revoir les Enfants, Elevator to the Gallows), a cinematic philosopher with a love for difficult subjects and quiet tension.

In short, Chloe Malle grew up surrounded by screenplays, haute couture, and existential debates. She wasn’t handed a free pass, but she inherited the tools to tell stories worth publishing. Her childhood homes were lined with bookshelves that smelled of Chanel No. 5 and echoed with conversations about Jean-Luc Godard.

Not Your Typical “Nepo Baby”

Born in New York in 1985 and educated in literature at Brown University, Chloe Malle didn’t enter through a VIP door. She started out as a reporter for the New York Observer and went on to write for The New York Times, The Wall Street Journal, Marie Claire, and Architectural Digest. She joined Vogue in 2011 as social editor, quietly making her mark. No selfies. No gossip. No “followers-first” mentality. Just serious editorial work.

She is married to Graham Albert and is mother to Louis Albert, 5, and Alice Malle Albert, 3. Though she has lived in both Los Angeles and New York, she has always loved France, her late father’s homeland. In July 2015, she and Albert married at Le Coual, her family’s country home near Cahors in southwestern France.

Anna Isn’t Leaving — She’s Zooming Out

Wintour will remain Condé Nast’s Chief Content Officer, continuing to wield global influence over the Vogue brand. The Met Gala is still firmly under her command. But the day-to-day — who shoots whom, which star lands the next cover, and why someone isn’t wearing Balenciaga — is now Chloe Malle’s territory.

Here’s the elegant twist: Chloe doesn’t need to “replace” Anna, because she isn’t playing the same role. Anna was imperial. Chloe is more discreet, more editorially focused, a quieter kind of power. She was the one who delicately crafted Lauren Sánchez’s profile ahead of her wedding to Jeff Bezos, and the cover that made Vogue.com feel more human without losing its polish. She hosts the podcast The Run-Through without sounding like an ad for handbags.

Vogue in the “Post-Anna” Era

Vogue is changing its skin, not its DNA. Don’t expect a magazine filled with sneakers and TikTok trends. Chloe Malle’s appointment signals something else: continuity with awareness. Luxury isn’t dying — it’s being filtered more carefully. Status isn’t disappearing — it’s just speaking in a quieter voice.

No one steps into Anna Wintour’s place. You honor it, evolve it, deconstruct it — as much as she allows. And Chloe seems poised to do so with a more human smile than Miranda Priestly’s, but with the same lethal precision in her choice of words, images, and people.

Vogue’s post-Anna chapter begins in the best possible way: without feeling like anything has ended. Chloe Malle is not a revolution, but a refined transition. Not a reboot. A redesign.

The only question left: what will be on her first cover?
If she has a sense of humor, it might be a plain white T-shirt.
If she has nerve, it might be herself.