po polsku
illustration: DALL-EThe face of fashion in Poland is changing - and it`s happening on screens, not just catwalks. According to the latest report by the Institute of Media Monitoring and Forbes Women, personal brands in fashion now gain value through visibility and influence rather than tradition.
In the “Top 100 Most Valuable Female Personal Brands in Poland 2025” report, media coverage was analyzed across TV, radio, print, web, and social platforms. Only neutral or positive mentions were included. The final ranking was based on Advertising Value Equivalent (AVE) - a method that estimates how much the coverage would cost if it were paid advertising.
| Name | Media Value (PLN million) | Media Reach (million) |
|---|---|---|
| Maffashion | 81.9 | 536.7 |
| Anja Rubik | 56.2 | 237.7 |
| Jessica Mercedes | 52.5 | 275.1 |
| Joanna Przetakiewicz | 50.4 | 211.1 |
| Magda Butrym | 40.7 | 70.4 |
| Gosia Baczyńska | 25.7 | 30.1 |
| Ewa Minge | 23.4 | 63.6 |
| Zofia Ślotała | 21.7 | 20.9 |
| Karolina Pisarek | 20.9 | 57.7 |
| Joanna Horodyńska | 18.1 | 30.2 |
Together, the top ten fashion personalities generated over 1.5 billion media contacts, translating into a staggering PLN 390 million in total media value - a figure that rivals full-year marketing budgets of global fashion brands.
Maffashion, Rubik and Mercedes
At the top of the list is Julia Kuczyńska, known online as Maffashion. Her personal brand reached a media value of PLN 81.9 million, with over 536 million media contacts - that’s about 17 appearances per person in the 15+ age group.
Maffashion started as a fashion blogger and evolved into a full-fledged media personality. In the past year, she starred in “Dancing with the Stars”, sat on beauty award juries, walked red carpets, and drove massive engagement on Instagram - over 3.5 million interactions, the highest across all ranked figures.
Second place goes to Anja Rubik, whose brand was valued at PLN 56.2 million, with a reach of 237.7 million. A globally renowned supermodel, Rubik now channels her influence into activism. Through her foundation Sexed.pl, she pushes for proper sex education in Poland and speaks at conferences like Impact’25. She also received the Freedom of Speech Medal from the Grand Press Foundation.
Jessica Mercedes, another early influencer, took third place with PLN 52.5 million AVE and 275 million in media reach. Known for launching Veclaim and Moiess, she blends business with personal branding. Last year, she appeared on “Asia Express”, attended fashion weeks in New York and Paris, and co-hosted a charity auction with Magda Gessler.
All you need is a strong message
Behind the top three, names like Joanna Przetakiewicz and Magda Butrym demonstrate that designer status still carries weight - but must be backed by media savvy. Meanwhile, long-established fashion figures like Ewa Minge, Gosia Baczyńska, and Joanna Horodyńska continue to command attention.
Before 2010, building a fashion brand required access to industry events and glossy magazines. Now, it starts on Instagram. You no longer need to be a top model or luxury designer to make it in fashion. All you need is a strong message, creativity, and a loyal online audience.
Influencer marketing seems to be the new infrastructure of fashion success. Authenticity, relatability, and consistent digital presence are the engines behind the most valuable names in the industry. You can find the full ranking of The 100 most valuable female personal brands in Poland ‘25 in the July issue of "Forbes Women" Poland.
COMMERCIAL BREAK
New articles in section Media industry
New generations and the end of traditional news. Reuters Institute report
Krzysztof Fiedorek
Traditional news media are losing touch with the youngest generation of audiences, who grew up in a digital environment. Young people aged 18 to 24 spend time online continuously and expect publishers to take a fresh approach to presenting reality, according to a report by the Reuters Institute.
TVs in Europe, the USA and China. What and how we watch on them
Paweł Sobczak
The Living Room Study shows significant differences in video content consumption across different regions of the world. This is the result of diverse media ecosystems shaped by decades of local broadcasting, channel availability, and strong cultural factors.
Cinema in the era of algorithms and AI
Arkadiusz Murenia
Will artificial intelligence kill the creativity of filmmakers? The most honest answer is: no, AI is unlikely to kill the creativity of filmmakers, but it will very clearly change the place where this creativity manifests itself and, above all, how.
See articles on a similar topic:
Video content in Poland. What and how we watch
Paweł Sobczak
Video content is watched remotely, but streaming services are mainly enjoyed in the comfort of home. This is how the consumption of audiovisual content by Poles in 2025 can be summarized. This is the result of an analysis of a study conducted by SW Research and data from the company MEGOGO.
Radio, Streaming, and Podcasts. Total Audio 2024 Report about Poland
Krzysztof Fiedorek
Audio content is a daily companion for Poles. According to the Total Audio 2024 study conducted by Adres:Media on behalf of the Radio Research Committee, as many as 90% of respondents listen to audio content at least once a week, and 80% do so daily. The average listening time is nearly five hours per day.
Press Readership in Poland. The Wealthy Read Ten Times More Often
BARD
Wealthy individuals in Poland read newspapers and magazines up to ten times more frequently than the average Pole, according to a report by Polish Readership Research. They mainly read monthly magazines and dedicate about an hour per day to reading. Only 18% of people in this group do not read any press at all.
Digital media addiction. Why the brain can’t cope
KFi
Digital media can hijack the brain's reward system in ways similar to drugs and alcohol, warned psychiatrist and author Anna Lembke. She emphasized that compulsive use of digital platforms can become a serious addiction. Not just a bad habit or risky behavior.
