摘要：Ms. Malle, 39, succeeds Anna Wintour, a titan in fashion. “There has to be a noticeable shift that makes this mine,” Ms. Malle sai

译文为原创，仅供个人学习使用

The New York Times｜The Front Page

纽约时报｜头版

Vogue Names Chloe Malle as Its New Editor

Vogue任命克洛伊·马尔为新主编

Ms. Malle, 39, succeeds Anna Wintour, a titan in fashion. “There has to be a noticeable shift that makes this mine,” Ms. Malle said in an interview.

现年39岁的马尔女士接替了时尚界巨头安娜·温图尔。“必须要有明显的转变，使其成为我的Vogue，”马尔女士在接受采访时表示。

By Jessica Testa

Chloe Malle’s official title is head of editorial content.

Amir Hamja for The New York Times

克洛伊·马尔的正式头衔是编辑内容主管

37年来，美国版《Vogue》首次迎来新主编。安娜·温图尔交出了这个使她成为时尚和出版界巨头的头衔，并亲手挑选了继任者——某种程度上是这样。

该出版机构于周二宣布，这一角色现在属于39岁的克洛伊·马尔，她此前是Vogue网站编辑及其播客的联合主持人。

不过，马尔女士的头衔并非“主编”，而是“编辑内容主管”——这标志着自Vogue确立其作为时尚界月度印刷圣经的地位、并以珠光宝气的铁腕统治该行业以来，杂志行业已发生了巨大变化。

到2025年，Vogue与其他传统媒体公司一样，正面临着同样的威胁。现代编辑被期望能开辟新的收入来源、执行大型活动并销售电视剧或产品线。那些曾对适应数字时代（以及现在的人工智能）犹豫不决的机构，已经流失了资金和影响力——它们正拼命争取新受众并试图保住现有的读者群。

尽管如此，Vogue仍然是媒体界的重心。至少十年来，业内一直在疯狂猜测谁可能接替75岁的温图尔女士。对马尔女士来说，这个问题成了一个常规的“晚宴客厅游戏”，她在接受《纽约时报》的深度采访时说道。

被称为“时尚女魔头”的Anna Wintour

“事实是，没有人能取代安娜，”马尔女士说，她已立即开始履职。这本可能看似交接班的时刻，却因温图尔在Vogue的出版商康泰纳仕集团内的特殊地位而变得复杂。

温图尔女士并未退休。她仍然是该公司的首席内容官。事实上，她仍然是马尔女士的直属上司，掌管着所有28个国际版本的Vogue。她甚至没有搬出她的办公室。

电影中的时尚女魔头形象

两位女性都承认这种安排的奇特之处。在周二的员工讲话中，温图尔女士称自己既是马尔女士的导师，也是她的学生。而在接受《纽约时报》采访时，马尔女士借用了极限高空钢丝艺术家菲利普·珀蒂的形象，他曾在1974年冒险行走于双子塔之间。

“我知道一些对这个职位感兴趣的人，想到安娜就在走廊那头，会有些望而却步，”马尔女士说。“我很高兴她就在走廊那头，和她的克拉丽斯·克利夫陶器在一起。”

尽管如此，马尔女士在整个申请过程中一直明确表示，“任何接任这项工作的人，如果他们的成果是‘安娜精简版’，就不会成功。”她说。“在这本杂志上留下我自己的印记，将是这项工作取得成功最重要的部分。必须要有明显的转变，使其成为我的Vogue。”

到劳动节马尔女士接受《纽约时报》采访时，她得知自己获得这份工作已有一周左右，不过这是根据温图尔女士的严格保密要求。她说，她当时仍然对她母亲、女演员坎迪斯·伯根保密。

几小时后——在经过数周猜测马尔女士是领先人选之后——Puck的Line Sheet在Vogue计划宣布之前报道了她被聘用的消息。

然而，尚未被报道的是马尔女士向康泰纳仕提出的构想：一个关于“孩童般兴奋感”的命题，其中包括对Vogue印刷产品的重大改变。

马尔女士认为，杂志应该减少出版频率，并围绕特定主题或文化时刻发布，打破目前每月出刊的周期。这些期号应更被视为可收藏版本，采用厚重、高质量的纸张印刷。她的首期印刷版杂志很可能会在明年出版。

“我保留了我所有的《世界室内设计》，”马尔女士继续说道，她指的是康泰纳仕旗下的设计杂志。“它们给人的感觉是不应该被扔掉，这与用纸有关，它们在某种程度上感觉像是历史文献。”

马尔女士同样认为，Vogue网站（她自2023年10月起领导该网站，监督了如“Dogue”（为狗狗举办的精美封面比赛）、报道WNBA突发新闻以及在去年总统选举期间聘请 provocative 的约翰·F·肯尼迪总统的孙子杰克·施洛斯伯格担任政治记者等项目）也应遵循“少即是多”的原则。

马尔女士说，她希望通过“提供原创、机智、不拘一格、令人愉悦的观点”，建立一个“更直接、更精炼、更健康的受众群体”——专注于Vogue的细分市场，而非迎合大众受众。

这可能意味着减少发布那些充斥在线新闻媒体、旨在捕获大量搜索流量的快速趋势性文章。最近的一个例子是：像其他所有媒体机构一样，Vogue竞相在网上发布了一篇关于泰勒·斯威夫特与特拉维斯·凯尔西订婚的预先写好的文章。然而，据马尔女士称，最终获得更多网络流量的文章是Vogue对斯威夫特女士的巨钻戒指的分析。

马尔女士如今描述Vogue运营方式所用的词语——“足智多谋、灵活敏捷、斗志昂扬”——可能与公众对光鲜时尚杂志的看法（由2006年电影《穿普拉达的女魔头》等流行文化标志所延续）似乎不一致。那些冷酷无情、令人陶醉的浮华日子 largely 已经结束了。

马尔女士是这种变革的一个有用化身，她轻松自在且富有魅力，同时又植根于纽约社交圈。她厌恶时尚势利眼。她曾在汤米·希尔费格的时装秀上应音乐家乔恩·巴蒂斯特的怂恿起身与他共舞。她的办公室里装饰着用乐高拼成的迪士尼反派模型（玛琳菲森和库伊拉·德·维尔，由她5岁的儿子组装）。

马尔女士也承认自己是一个“自豪的‘裙带关系宝宝’”。

马尔女士的父亲是导演路易·马勒。她在洛杉矶和纽约长大，之后在布朗大学学习文学艺术和比较文学。大学毕业后，她曾为《纽约观察家报》工作。她为许多出版物供稿，包括《纽约时报》。（她第一次被《纽约时报》提及是在3岁时。）

“毫无疑问，我百分百受益于我成长过程中享有的特权，”马尔女士说。“否则就是自欺欺人。不过，我要说，这总是让我工作更加努力。在我生命中的很长一段时间里，我的目标就是证明我不只是坎迪斯·伯根的女儿，或者某个在比弗利山庄长大的人。”

她更认同自己是一名记者，而非时尚或视觉方面的权威——尽管Vogue更因后者而闻名。（在一封致员工的电子邮件中，温图尔女士特意赞扬了这两种品质，称马尔女士是一位“求知若渴、投入专注的记者”，同时拥有“对标志性图像的独到眼光”。）

杂志经常派她撰写重要人物特写，尤其是与婚礼相关的报道。她说，自2023年以来，她在线上将婚礼报道内容扩大了30%。

她最近为劳伦·桑切斯·贝索斯撰写的数字版封面故事在社交媒体上引起了轩然大波，评论者暗示作为杰夫·贝索斯的新娘，她还不配获得Vogue封面的殊荣。

“我确实认为Vogue封面带有一种认可的成分，我也确实认为值得去冒一个经过计算的风险，”马尔女士说，她表示自己在文章发布后收到了死亡威胁。

“你希望某件事成为一个时刻，而那对我们来说就是一个巨大的时刻，”她继续说道。“那是每个人都在谈论的事情。而我们抓住了它，并且主导了它。”

当被问及是否会让梅拉尼娅·特朗普登上封面时，马尔女士拒绝回答。◾

For the first time in 37 years, there is a new editor of American Vogue. Anna Wintour has surrendered the title that transformed her into a titan of fashion and publishing, and handpicked a successor — sort of.

The role now belongs to Chloe Malle, the 39-year-old editor of Vogue’s website and co-host of its podcast, the publication said on Tuesday.

Rather than editor, though, Ms. Malle is the “head of editorial content” — a sign of how much the magazine business has changed since Vogue established itself as fashion’s monthly print bible, ruling the industry with a bejeweled iron fist.

In 2025, Vogue is fending off the same threats as any other legacy media company. Modern editors are expectedto devise new revenue streams, execute cinematic events and sell television series or lines of merch. Institutions that hesitated to adapt to the digital age (and now artificial intelligence) have bled money and power — scrambling to reach new audiences and hang on to their existing base.

Still, Vogue remains a center of gravity in media. For at least a decade, the industry has speculated wildly about who might replace Ms. Wintour, 75. For Ms. Malle, the question became a routine “dinner party parlor game,” she said in an extended interview with The New York Times.

“The truth is that no one’s going to replace Anna,” said Ms. Malle, who begins her job immediately. What might have seemed like a moment of baton passing was complicated by Ms. Wintour’s unusual standing at Condé Nast, the publisher of Vogue.

Ms. Wintour is not retiring. She is still the company’s chief content officer. She is still, in fact, Ms. Malle’s direct supervisor, overseeing all 28 international editions of Vogue. She isn’t even moving outof her office.

Both women have acknowledged the strangeness of this arrangement. In remarks to staff members on Tuesday, Ms. Wintour referred to herself as both Ms. Malle’s mentor and her student. And in the interview with The Times, Ms. Malle called upon the image of Philippe Petit, the extreme high-wire artist, who in 1974 balanced precariously between the twin towers.

“I know that some people who were interested in this job were sort of daunted by the idea of Anna being down the hall,” Ms. Malle said. “I’m very happy she’s down the hall with her Clarice Cliff pottery.”

Still, Ms. Malle was vocal throughout her application process that “whoever took on this job would not succeed if what they produced was ‘Anna lite,’” she said. “Placing my own stamp on this is going to be the most important part of this being a success. There has to be a noticeable shift that makes this mine.”

By the time Ms. Malle spoke to The Times on Labor Day, she had known about the job for about a week, though under strict confidentiality orders from Ms. Wintour. She was still withholding the news from her mother, the actress Candice Bergen, she said.

A few hours later — and after weeks of speculating that Ms. Malle was the front-runner — Puck’s Line Sheet reported the news of her hiring ahead of Vogue’s planned announcement.

What has not yet been reported, however, was Ms. Malle’s pitch to Condé Nast: a thesis of “childlike excitement” that includes major changes to Vogue’s print product.

Ms. Malle believes issues should be released less frequently and around specific themes or cultural moments, upending its current monthly schedule. These issues should be viewed more as collectible editions, printed on thick, high-quality paper. Her first print issue will most likely be published next year.

“I keep all my World of Interiors,” Ms. Malle continued, referring to the Condé Nast design magazine. “They feel like something that shouldn’t be thrown away, and that has to do with paper stock, and that they feel like historical documents in a way.”

Ms. Malle similarly believes that less is more on Vogue’s website, which she has led since October 2023, overseeing projects like Dogue (an elaborate cover contest for dogs), breaking W.N.B.A. newsand hiring Jack Schlossberg, the provocative grandson of President John F. Kennedy, as a political correspondent during last year’s presidential election.

She wants to build “a more direct, smaller, healthier audience,” Ms. Malle said — leaning into Vogue’s niche rather than appealing to a general audience — through “giving original, witty, irreverent, joyful points of view on things.”

This may mean publishing fewer of the quick trending stories saturating online news outlets that are designed to capturewide swaths of search traffic. One recent example: Like every other media organization, Vogue raced to publish a prewritten story online about Taylor Swift’s engagement to Travis Kelce. Yet the story that ultimately received more web traffic, according to Ms. Malle, was a Vogue analysisof Ms. Swift’s jumbo diamond ring.

The way in which Ms. Malle describes Vogue’s operations today — “resourceful and nimble and scrappy” — may seem at odds with the public’s perception of glossy fashion magazines, perpetuated by such pop culture touchstones as the 2006 film “The Devil Wears Prada.” Those heady daysof cold and cutthroat glamour are largely over

Ms. Malle is a useful avatar for that change, relaxed and charismatic, yet rooted in New York society. She has an aversion to fashion snobs. She once stood up at a Tommy Hilfiger runway show and began dancing with the musician Jon Batiste at his urging. Her office is decorated with Lego models of Disney villains (Maleficent and Cruella de Vil, assembled by her 5-year-old son).

She is also a “proud ‘nepo baby,’” Ms. Malle admitted.

Ms. Malle’s father was the director Louis Malle. She grew up in Los Angeles and New York before studying literary arts and comparative literature at Brown University. After college, she worked for The New York Observer. She has contributed articles to many publications, including The Times. (Her first mention in The Times came at age 3.)

“There is no question that I have 100 percent benefited from the privilege I grew up in,” Ms. Malle said. “It’s delusional to say otherwise. I will say, though, that it has always made me work much harder. It has been a goal for a lot of my life to prove that I’m more than Candice Bergen’s daughter, or someone who grew up in Beverly Hills.”

She also identifies more as a journalist than an authority on fashion or visuals — though Vogue is more known for the latter. (In an email to staff, Ms. Wintour made a point to praise both qualities, calling Ms. Malle a “voracious, engaged journalist” with an “eye for the definitive image.”)

The magazine often dispatches her to write major profiles, particularly related to weddings. Online, she has expanded wedding coverage by 30 percent since 2023, she said.

Her recent digital cover story on Lauren Sánchez Bezos caused an uproaron social media, with commenters suggesting that as Jeff Bezos’ new bride, she hadn’t earned the prestige of a Vogue cover.

“I do think there is an element of endorsement with a Vogue cover, and I do think that it is worth taking a calculated risk,” said Ms. Malle, who said she received death threats in the aftermath of the article.

“You want something to be a moment, and that was a huge moment for us,” she continued. “That was what everyone was talking about. And we had that, and we owned it.”

When asked if she would ever put Melania Trump on the cover, Ms. Malle declined to answer.

来源：左右图史