Is a Personal Brand the Key to Surviving Fashion Journalism?

As if we weren't doing enough already.

“A personal brand is non-negotiable today in the age of the digital footprint,” shares Editor in Chief of In the Fashion Focus, Munashe Ashlyn. And correctly put, because everyone and their mothers (literally) are actively on social media building their personal “brand.” In this economy, the broader your skill set, the brighter you stand out as a job candidate—especially in the fashion industry. “I’ve worked with some of my dream publications because of my Instagram,” Ashlyn tells me.

With last week’s news that the British legacy publication The Face is officially closing down, it’s clearer than ever that fashion journalists can no longer view editorial roles as a stable, long-term career path. This comes alongside the harsher reality that “nobody reads anymore,” as Polyester columnist and Glamour fashion writer Anastasia Vartanian, puts it. Full-time roles are disappearing, replaced by a constant pool of freelancers. That’s why personal branding is more important than ever.

“The job market is not in a great place for a variety of reasons, be that the rise of AI taking entry level roles, the economic downturn, plus the decline of print magazines and publishing. So, applying for employment through the traditional CV route is getting increasingly hard,” Vartanian shares.

It’s even more concerning that we see high-profile figures like Susanna Lau AKA Susie Bubble, posting outfit videos and fashion vlogs. After rising as a mid-2010s blogger to a respected journalist at titles like Business of Fashion and System magazine, she recently started to create Instagram Reels. If someone at her level (mind you, she has almost a million followers) feels the need to outshow her skills in content creation, what does that say about the industry? “(Having a strong social presence) will make people more willing to work with you than if they see you as just your CV,” Vartanian says.

Why personal branding matters

The term “personal brand” is often tied to traditional influencer culture, lifestyle aesthetics, and a highly curated online persona which is essentially their brand. But for journalists and writers, it means something different. As Amy Francombe—writer of the Substack newsletter Amy Coded and contributing editor at Vogue Business—puts it, “a personal brand for journalists is more about a distinct, recognisable voice, which can be seen in the content you write, or perhaps more experimentation on places like Substack.”

Francombe’s own work is a clear example. Her writing—sharp, intellectually driven, and full of obscure academic references—has become instantly recognisable. She focuses on building autonomy and ownership over work that feels distinctly hers, which has led to a loyal following. Her Substack delivers brain-food content that pulls readers out of mindless TikTok doomscrolling and she’s positioned herself as an academically minded commentator on culture and modern anthropology—someone whose work makes readers feel smarter.

In the age of AI, your personal voice matters more than ever. Roles like copywriters and SEO writers are shrinking - after all, tools like ChatGPT can generate similar content in seconds. A recent The Guardian article even reported a 41% drop in UK journalism job postings, as more publications turn to in-house AI systems to produce daily news content.

Substack VS Editorial: who pays better?

Currently “9-5s don’t pay much more than the bills these days, especially in fashion, and having things you do on the side not only fulfils you creatively, but opens the door for paid opportunities that can be so beneficial to your finances,” shares Hypebae’s Managing Editor, Navi Ahluwalia. And since we haven’t reached the peak saturation of Substack, that might be where the future of any writer might bloom.

“We have 1-2 years before that happens,” Francombe notes. Referring to the recent article from the New Yorker, which transparently showed that one substacker’s annual income came to $275,300 USD, the writer behind Amy Coded insists that “there is money underpinning it all.” Not only is there more creative freedom and experimentation on substack for your personal voice to shine through, but also potential to be making a lot of money. “Building voice and personal brands is really lucrative for writers.” So, why not maximise our monetisation on it?

What Does Personal Branding Look Like in Practice?

Freelance culture writer Bea Isaacson, with bylines in titles like PAPER, Condé Nast Traveller and Rolling Stone, explains that the rules of networking have already changed. “I’m not going to be at the same party as an editor and start talking shop. That’s rude,” she tells me. Instagram, however, “is a platform that allows you to seamlessly merge personhood, portfolio, and personal interactions within a context of industry casualness.”

In this sense, platforms like Instagram and Substack have become the infrastructure of the industry itself. Writers are building visibility, relationships, and opportunities in real time, outside the confines of traditional editorial spaces. What Isaacson describes as an “Instagram cafe society” reflects a new kind of professional ecosystem, where freelancers operate as both colleagues and collaborators, supporting each other’s wins even without ever meeting in person.

But this increased accessibility comes with its own pressure. If more voices are able to enter the space, standing out becomes harder - which only reinforces the need for a distinct, recognisable personal brand. And while that democratisation is arguably a positive change, it also makes one thing clear: personal branding is no longer optional. In an industry that is increasingly decentralised, competitive, and digitally driven, it’s the foundation of a sustainable writing career.