Anna Wintour has announced that she is looking for a “head of editorial content” for her beloved American edition of what has been dubbed as the “fashion bible”. The high priestess is stepping down, but not quite

Whatever is happening in the fashion world now, whether the decline in the luxury business or the much-anticipated debut of Jonathan Anderson at Dior later today, there is no news as big as Anna Wintour stepping down from her beloved American Vogue after 37 years. Ms Wintour made the announcement during an editorial meeting yesterday, first reported by WWD. While she is transitioning from her daily editorial duties at American Vogue, it is crucial to note—especially for those keenly observing the industry’s intricate shifts or waiting for her to truly retire—that she isn’t leaving Condé Nast or even Vogue entirely. She will retain her roles as Global Editorial Director of Vogue and Chief Content Officer for Condé Nast, both of which will not diminish her legendary power. As Donald Trump would concur, power is hard to forgo.

For American Vogue specifically, a new position, “head of editorial content,” will be introduced to handle the day-to-day operations of the title. This new lead will report directly to Ms Wintour in her capacity as global editorial director. This restructuring is part of a broader shift at Condé Nast to centralize editorial teams across its global markets. But cost control and optimising editorial budgets are significant drivers, if not the primary drivers, behind Condé Nast’s global significant revamp. While the official narrative often focuses on “global reach”, “consistent brand messaging” “leveraging talent” and, less convincing, “meeting audiences where they are”, it’s clear that the underlying financial pressures in the publishing industry are immense, particularly as the costs associated with luxury fashion publishing have skyrocketed in the past ten years.

She isn’t leaving Condé Nast or even Vogue entirely. She will retain her roles as global editorial director of Vogue and chief content officer for Condé Nast, both of which will not diminish her legendary power

Rumors of Ms Wintour stepping down from American Vogue had been circulating for years, to the point that it became almost a running joke in the fashion industry. Every few years, speculation would mount, fueled by various factors: her extraordinarily long tenure (37 years as editor-in-chief of American Vogue, and even longer within the Condé Nast empire); her increasing responsibilities at the publishing house; the undeniable fact that her chairing of the Met Gala is, in itself, practically a full-time job; and, perhaps most pertinently, the belief that a younger, more digitally-native leader might be better suited to ushering Vogue into a new era. Yet she persisted, strategically ensuring her global influence was secured and formalised before transitioning from the direct editorship of American Vogue. In doing so, she has not only effectively orchestrated her passage but also maintained a powerful, albeit different, form of control over Condé Nast’s entire portfolio, with Vogue still very much at its heart.

Despite her evident success, Ms. Wintour has never been able to shake off her reputation as one who is tough, demanding, aloof, and even intimidating to work with. Even in her earlier years, she was dubbed “Nuclear Wintour”, a moniker perhaps best left in the past given present geopolitical climes. Other epithets, including “ice queen” and the cleverest, “Wintour of our Discontent” (a nod to the internal strife her arrival often caused), all reflect a tenacious perception of her as cold, unemotional, and sometimes ruthless. The most famous manifestation of this reputation is the novel that became a highly successful film, The Devil Wears Prada. Written by her former assistant Lauren Weisberger, the character of Miranda Priestly, played by Meryl Streep, is widely believed to be a thinly veiled portrayal of Ms Wintour’s demanding nature, icy demeanor, and ruthless pursuit of perfection

And there are the stinging, reputation-affirming descriptions in the memoir The Chiffon Trenches, by the late André Leon Talley, her former staffer, who wrote extensively about their complex relationship and ultimate, very public falling out. Although he stated that he owed much of his career to her, Mr Talley did not mince words when he described Ms Wintour’s “coldness”, “cruelty”, and absence of “simple human kindness”. He characterised her famous penchant for not saying much as “sphinx-like silence”, especially pronounced when issues arose, and her tendency to deal with problems by simply cutting people off. According to Mr. Talley, their relationship began to strain around 2018. A key turning point was that year’s Met Gala, where Mr Talley, a prominent red-carpet interviewer for Vogue, was allegedly sidelined and replaced by a young YouTube personality, all without any direct communication or explanation from Ms Wintour. He felt deeply hurt and “thrown under the bus”.

Beyond Anna Wintour and Condé Nast’s internal shifts, American Vogue’s continued relevance in the global fashion discourse faces external scrutiny, particularly given the less than desirable standing of the U.S. in the world today. As with the geopolitical influence of the United States in doubt, its cultural soft power, particularly in areas like fashion, is waning. American Vogue is, however, intrinsically linked to a fashion industry that is profoundly globalized: an American designing for a French brand might be heavily influenced by the street style of his home turf and then disseminated globally by a British model on TikTok. In this interconnected ecosystem, American Vogue functions less as a purely national arbiter and more as a crucial hub within a sprawling, international network. Even with declining advertising power (particularly in its print edition), the title still possess the unparalleled access and celebrity pull that lures a global audience to its content, even if the U.S. government presents a problematic foreign-policy front.

Beyond Anna Wintour and Condé Nast’s internal shifts, American Vogue’s continued relevance in the global fashion discourse faces external scrutiny, particularly given the less than desirable standing of the U.S. in the world today

This globalized reality inevitably leads to questions about the nationality of the next American “Head of Editorial Content”. While Vogue has historically been associated with a distinct American vision under Wintour, Condé Nast’s ongoing centralization strategy has seen its international editions often led by editors from diverse backgrounds. The global chief content officer role held by Ms. Wintour inherently suggests a focus on talent, vision, and commercial acumen above national origin. It is highly probable that Condé Nast will prioritise finding a leader who understands the nuances of the digital landscape, champions diversity and inclusivity, and can translate American fashion and culture into universally resonant content, regardless of their passport. This reflects a pragmatic move to secure the one skilled individual to navigate Vogue’s future, further blurring the lines of purely national fashion authority.

Unlike André Leon Talley, however, Anna Wintour would not be anywhere near a bus— the ride to greater heights for her would go on. Her decision to step down from the direct editorship of American Vogue, while retaining immense global authority, signals a profound evolution—for her career and for the very core of luxury fashion media. The successor to the American “Head of Editorial Content” role has not been announced, but he or she will inherit not only a storied legacy, but also the formidable challenge of navigating a volatile industry where print is battling digital dominance, where authenticity vies with aspirational imagery, and where the demand for diversity and inclusivity is non-negotiable. Her silence, the envy of ancient Egyptian stone figures, will, no doubt, continue to shape Condé Nast’s global strategy, but this transition truly marks the end of an era for American Vogue. In a rapidly transforming world, even Anna Wintour’s impenetrably dark sunglasses won’t hide the uncertainty the enduring fashion bible must confront.