霹雳一声巨响,她已闪亮登场。她头戴一顶驼色帽子,头发蓬乱,穿着紧身的牛仔裤,脚蹬华伦天奴的高跟鞋。她从2010年代借着移动互联网的东风登上时尚舞台,她的一言一行足以影响甚至引领全社会的品味和风尚。像这样的“她”,在互联网上何止千万,她,就是一个“网红”。
虽然她的风格未必会成为经典,但她的收入却令人咂舌。有的网红,比如琪亚拉·法拉格尼和艾米·宋,已经分别靠当网红赚了800万和500万美元,她们各自还有几百万粉丝以及自己的带货品牌。网红开启了“美国梦”的新时代,任何人都可以通过彰显个性获得成功。十几年前美国人都想在Tumblr上出名,但是现在人人都想在TikTok上当网红,有的秀烹饪技术,有的秀穿搭,有的还化装成中世纪的酒保。据说现在美国有一多半的95后青少年表示,只要有机会,他们都想当网红。据高盛公司分析师预测,到2027年,美国的“网红经济”价值将达到4800亿美元。
如果你的梦想是在网络时代淘金,那么当网红也是一份灵活、自由且相当赚钱的职业。但随着想当网红的人越来越多,网红这个赛道也变得越来越拥挤,想当一个有钱可赚的头部网红也变得越来越困难。有三位网红向《财富》透露了普通人成为网红的必由之路——在网络上装X是需要付出代价的,这个代价就是花光存款,然后信用卡欠债,最后靠人接济或免费商品来勉强度日。
2015年前后正是Instagram爆火的时代,今年30岁的莉塞特·卡尔维罗当时正是看中了网红生活的自由和乐趣,而借了1万美元的信用卡债去包装自己。她用这笔钱去奥斯汀旅游,在网红商店里购物,还在网红必吃餐厅里打卡。她对《财富》表示:“你会觉得,你必须要支撑起这种有趣的或者说‘高大上’的生活。你仿佛是要告诉所有人:‘我每天都过的是这种生活,你们看见没有?’”
当网红的门槛也是不低的,首先你得有台相机,这差不多就得5000美元,就算退而求其次,也至少得有部iPhone手机。而卡尔维罗当时只是媒体营销行业一个刚大学毕业的新人,年收入只有3万美元,所以这无疑是一笔不小的开销。不过她觉得自己还远远不算奢侈:“如果我每天都买衣服,在网上每天秀不一样的穿搭,这几乎是不现实的。”
现在的卡尔维罗是一名生活方式领域的网红,也是一名网红导师,她在Instagram上有8万粉丝,在TikTok上也有4.5万粉丝。《财富》看到的文件显示,去年她的业务收入超过了52.5万美元,其中仅内容创作收入就有12.2万美元。不过颇具讽刺意味的是,她之所以有了这么多粉丝,反而是因为她真诚地吐槽了自己当网红的负债之路,这让她赢得了不少粉丝的信任,带货合同也就随之而来了。
卡尔维罗表示:“在我公开我的财务状况时,我只有1万个粉丝,不是100万,但是我确实是在模仿那些百万粉丝网红所做的事情。”
卡尔维罗表示,很多网红“不断花钱买那些超出了他们经济承受能力的东西和体验。”有些网红会进行自我安慰,觉得这些只不过是打造人设的必要投资,从而合理化这些消费。她还指出,自从十几年前有了网红这个职业以来,虽然网红的生活也变得更加透明了,但是很多网红“肯定还过着某种不为人知的生活”。
要么富二代,要么去借债
康奈尔大学传播学副教授布鲁克·艾琳·达菲指出,现在的很多网红本身就来自经济和社会食物链的顶端。她从10年前网红经济刚刚兴起时就开始关注网红现象。她对《财富》杂志表示:“要在这样一个高度饱和的市场上取得成功,光靠勇气和运气是不够的。”
Bad Bitch Book Club的创始人麦肯齐·纽科姆对《财富》指出:“大多数成功的网红,背后都是有人可以依靠的,比如一个有钱的家人或其他什么贵人。”麦肯齐·纽科姆自己也是10年代一个炙手可热的网红,现在也在Instagram和TikTok上拥有8万粉丝,但即便是在她当时最红的时候,她也很少处于没有负债的状况。她对《财富》感叹道,如果你是单身,或者不是富二代,要当网红就更难了。“要当一个Instagram上的网红,你必须很有钱,没钱的话就得去借债。”
如果你小有积蓄的话,那么当网红的第一步就是要掏空你的存款。比如卡尔维罗花了整整一年半才还清了自己的信用卡债,为了避免这种拆东墙补西墙的行为,卡尔维罗在2020年4月决定当全职网红后不久,便决心动用自己的应急存款,因为她当时已经到了连一分钱收入都没有的地步。作为一个生活方式和美妆网红,艾玛·罗斯·莱热表示她从来不借信用卡债,“但我确实曾经好几次把银行账户里的钱花得一分不剩。”
2018年,在莱热刚进入网红圈的时候,她曾经在Instagram上发过一个帖子,那是经典的小红书风格,通篇是海滩烘焙棕榈树的精致生活,与她同框的还有一帮同样精致的网红闺蜜。但在相机之外,她当时的生活就远远谈不上精致了。为了买机票,她提高了信用卡的消费额度,刚一到目的地就没钱花了。她甚至买不起那个网红晚宴的入场券,只能在酒店大堂里吃免费的招待水果。最后还是她姐姐给她汇钱来救急,她才勉强撑过了那个周末。
莱热在Instagram上有62.3万粉丝,在TikTok上有23.6万粉丝。她对《财富》表示:“真实的网红生活是什么样的,你从局外人的角度,或者从社交媒体上都是无从得知的。在那个周末,我的银行账户里真的是一分钱都没有了。”
莱热说,在成为一名全职网红之前,她为了赚钱,差不多干了“天底下所有的工作”,包括遛狗、在餐厅当服务员、在服装店当售货员,以及做社交媒体运营,等等。卡尔维罗也有类似的经理,不过她同时还有一份朝九晚五的媒体营销工作保底。即便她后来选择当一名全职网红,她时不时也会接受其他网红的咨询,并且帮助其他品牌创作商业内容,以开拓收入流。她表示:“大多数网红都有其他的收入来源,只是他们自己不会说,因为一说就会掉‘逼格’。”
既要正能量,也要透明度
到10年代中期,网红经济缺乏透明度的特点日益成了一个大问题,特别是网红们都不会公开他们收到的打赏或礼物——比如一个包、一个价值200美元的护肤品之类。网络文化记者泰勒·洛伦兹就在她的新书《极度在线》(Extremely Online)中指出,很多名人和网红都在自己的帖子和视频里“夹带私货”“隐性带货”。2017年,美国联邦贸易委员会对这一问题开展了打击,并发出信件提醒这些网红,必须要让粉丝们知道他们与收到的打赏或礼物与其背后关联企业的关系。然而此举却起到了反效果,网红们夹带私货和隐性带货成了常态,甚至以此为荣,将其成为了地位的象征,没有带货的网红甚至还会假装自己在带货,以显示自己有咖位。
网红们还有很多其他方法伪装高大上的生活方式。比如莱热有时候会从朋友那里借一个好看的包包,有的时候甚至从商店里租借,为的就是发一张好看的照片。2016年,麦肯齐·纽科姆也成了租衣网站Rent the Runway的会员,但她从来没有跟粉丝透露过这件事。“我会仔细检查我穿的衣服的品牌,即使它们是租来的,就好像它们本来就是我的衣服一样。”而且有意思的是,“所有网红都觉得我肯定是借了信用卡债。”
后来,莱热开始在TikTok上拍了一系列租衣穿搭的短视频。达菲认为,康奈尔大学传播学副教授布鲁克·艾琳·达菲表示,该系列短视频的爆火,正是20年代“疫情时代TikTok崛起”所带来的社交媒体格局大转型的一个标志。不过转型带来的一个新特点,就是最成功的网红未必都是有钱人了,“因为它更强调‘关联性’,推荐算法也更强调‘适合你’。”
达菲还指出,病毒式传播未必等于持续走红。随着TikTok等新兴平台的兴起,加上短视频、网店等功能的不断更新,市场对内容的要求日益苛刻,网红必须投入更多精力和资金来创造优秀的内容。比如现在市面上出现了很多教你学习推荐算法和标签策略的网课,这就是一个例子。
达菲指出,目前要加强对网红发布内容真实性的监管和规范仍然比较困难。很多网红也唯恐自己“造人设”的伎俩被戳穿,因为这将面临“掉粉”的风险。《财富》杂志采访的所有网红都表示,他们发现网友开始越来越青睐真实的网红人设,但真实也是一柄双刃剑——粉丝之所以喜欢网红,一定程度上也是为了逃避现实,所以网红们也是很难承受展示真实的自己可能带来的后果的。
纽科姆表示:“所以这需要一种平衡,你既要当一个正能量的网红,但同时你也不想给人留下一个高高在上的印象,因为人们很快就会做出判断的,尤其是在目前的经济形势下。”
“我们工作的目的,就是要为粉丝‘造梦’,给他们带来正能量。”莱热说。这就像她当时刚加入网红圈时,很多旅行博主会拼命P图,好让景色变得更美一样。“当时,一切都是为了造梦。”(财富中文网)
译者:朴成奎
霹雳一声巨响,她已闪亮登场。她头戴一顶驼色帽子,头发蓬乱,穿着紧身的牛仔裤,脚蹬华伦天奴的高跟鞋。她从2010年代借着移动互联网的东风登上时尚舞台,她的一言一行足以影响甚至引领全社会的品味和风尚。像这样的“她”,在互联网上何止千万,她,就是一个“网红”。
虽然她的风格未必会成为经典,但她的收入却令人咂舌。有的网红,比如琪亚拉·法拉格尼和艾米·宋,已经分别靠当网红赚了800万和500万美元,她们各自还有几百万粉丝以及自己的带货品牌。网红开启了“美国梦”的新时代,任何人都可以通过彰显个性获得成功。十几年前美国人都想在Tumblr上出名,但是现在人人都想在TikTok上当网红,有的秀烹饪技术,有的秀穿搭,有的还化装成中世纪的酒保。据说现在美国有一多半的95后青少年表示,只要有机会,他们都想当网红。据高盛公司分析师预测,到2027年,美国的“网红经济”价值将达到4800亿美元。
如果你的梦想是在网络时代淘金,那么当网红也是一份灵活、自由且相当赚钱的职业。但随着想当网红的人越来越多,网红这个赛道也变得越来越拥挤,想当一个有钱可赚的头部网红也变得越来越困难。有三位网红向《财富》透露了普通人成为网红的必由之路——在网络上装X是需要付出代价的,这个代价就是花光存款,然后信用卡欠债,最后靠人接济或免费商品来勉强度日。
2015年前后正是Instagram爆火的时代,今年30岁的莉塞特·卡尔维罗当时正是看中了网红生活的自由和乐趣,而借了1万美元的信用卡债去包装自己。她用这笔钱去奥斯汀旅游,在网红商店里购物,还在网红必吃餐厅里打卡。她对《财富》表示:“你会觉得,你必须要支撑起这种有趣的或者说‘高大上’的生活。你仿佛是要告诉所有人:‘我每天都过的是这种生活,你们看见没有?’”
当网红的门槛也是不低的,首先你得有台相机,这差不多就得5000美元,就算退而求其次,也至少得有部iPhone手机。而卡尔维罗当时只是媒体营销行业一个刚大学毕业的新人,年收入只有3万美元,所以这无疑是一笔不小的开销。不过她觉得自己还远远不算奢侈:“如果我每天都买衣服,在网上每天秀不一样的穿搭,这几乎是不现实的。”
现在的卡尔维罗是一名生活方式领域的网红,也是一名网红导师,她在Instagram上有8万粉丝,在TikTok上也有4.5万粉丝。《财富》看到的文件显示,去年她的业务收入超过了52.5万美元,其中仅内容创作收入就有12.2万美元。不过颇具讽刺意味的是,她之所以有了这么多粉丝,反而是因为她真诚地吐槽了自己当网红的负债之路,这让她赢得了不少粉丝的信任,带货合同也就随之而来了。
卡尔维罗表示:“在我公开我的财务状况时,我只有1万个粉丝,不是100万,但是我确实是在模仿那些百万粉丝网红所做的事情。”
卡尔维罗表示,很多网红“不断花钱买那些超出了他们经济承受能力的东西和体验。”有些网红会进行自我安慰,觉得这些只不过是打造人设的必要投资,从而合理化这些消费。她还指出,自从十几年前有了网红这个职业以来,虽然网红的生活也变得更加透明了,但是很多网红“肯定还过着某种不为人知的生活”。
要么富二代,要么去借债
康奈尔大学传播学副教授布鲁克·艾琳·达菲指出,现在的很多网红本身就来自经济和社会食物链的顶端。她从10年前网红经济刚刚兴起时就开始关注网红现象。她对《财富》杂志表示:“要在这样一个高度饱和的市场上取得成功,光靠勇气和运气是不够的。”
Bad Bitch Book Club的创始人麦肯齐·纽科姆对《财富》指出:“大多数成功的网红,背后都是有人可以依靠的,比如一个有钱的家人或其他什么贵人。”麦肯齐·纽科姆自己也是10年代一个炙手可热的网红,现在也在Instagram和TikTok上拥有8万粉丝,但即便是在她当时最红的时候,她也很少处于没有负债的状况。她对《财富》感叹道,如果你是单身,或者不是富二代,要当网红就更难了。“要当一个Instagram上的网红,你必须很有钱,没钱的话就得去借债。”
如果你小有积蓄的话,那么当网红的第一步就是要掏空你的存款。比如卡尔维罗花了整整一年半才还清了自己的信用卡债,为了避免这种拆东墙补西墙的行为,卡尔维罗在2020年4月决定当全职网红后不久,便决心动用自己的应急存款,因为她当时已经到了连一分钱收入都没有的地步。作为一个生活方式和美妆网红,艾玛·罗斯·莱热表示她从来不借信用卡债,“但我确实曾经好几次把银行账户里的钱花得一分不剩。”
2018年,在莱热刚进入网红圈的时候,她曾经在Instagram上发过一个帖子,那是经典的小红书风格,通篇是海滩烘焙棕榈树的精致生活,与她同框的还有一帮同样精致的网红闺蜜。但在相机之外,她当时的生活就远远谈不上精致了。为了买机票,她提高了信用卡的消费额度,刚一到目的地就没钱花了。她甚至买不起那个网红晚宴的入场券,只能在酒店大堂里吃免费的招待水果。最后还是她姐姐给她汇钱来救急,她才勉强撑过了那个周末。
莱热在Instagram上有62.3万粉丝,在TikTok上有23.6万粉丝。她对《财富》表示:“真实的网红生活是什么样的,你从局外人的角度,或者从社交媒体上都是无从得知的。在那个周末,我的银行账户里真的是一分钱都没有了。”
莱热说,在成为一名全职网红之前,她为了赚钱,差不多干了“天底下所有的工作”,包括遛狗、在餐厅当服务员、在服装店当售货员,以及做社交媒体运营,等等。卡尔维罗也有类似的经理,不过她同时还有一份朝九晚五的媒体营销工作保底。即便她后来选择当一名全职网红,她时不时也会接受其他网红的咨询,并且帮助其他品牌创作商业内容,以开拓收入流。她表示:“大多数网红都有其他的收入来源,只是他们自己不会说,因为一说就会掉‘逼格’。”
既要正能量,也要透明度
到10年代中期,网红经济缺乏透明度的特点日益成了一个大问题,特别是网红们都不会公开他们收到的打赏或礼物——比如一个包、一个价值200美元的护肤品之类。网络文化记者泰勒·洛伦兹就在她的新书《极度在线》(Extremely Online)中指出,很多名人和网红都在自己的帖子和视频里“夹带私货”“隐性带货”。2017年,美国联邦贸易委员会对这一问题开展了打击,并发出信件提醒这些网红,必须要让粉丝们知道他们与收到的打赏或礼物与其背后关联企业的关系。然而此举却起到了反效果,网红们夹带私货和隐性带货成了常态,甚至以此为荣,将其成为了地位的象征,没有带货的网红甚至还会假装自己在带货,以显示自己有咖位。
网红们还有很多其他方法伪装高大上的生活方式。比如莱热有时候会从朋友那里借一个好看的包包,有的时候甚至从商店里租借,为的就是发一张好看的照片。2016年,麦肯齐·纽科姆也成了租衣网站Rent the Runway的会员,但她从来没有跟粉丝透露过这件事。“我会仔细检查我穿的衣服的品牌,即使它们是租来的,就好像它们本来就是我的衣服一样。”而且有意思的是,“所有网红都觉得我肯定是借了信用卡债。”
后来,莱热开始在TikTok上拍了一系列租衣穿搭的短视频。达菲认为,康奈尔大学传播学副教授布鲁克·艾琳·达菲表示,该系列短视频的爆火,正是20年代“疫情时代TikTok崛起”所带来的社交媒体格局大转型的一个标志。不过转型带来的一个新特点,就是最成功的网红未必都是有钱人了,“因为它更强调‘关联性’,推荐算法也更强调‘适合你’。”
达菲还指出,病毒式传播未必等于持续走红。随着TikTok等新兴平台的兴起,加上短视频、网店等功能的不断更新,市场对内容的要求日益苛刻,网红必须投入更多精力和资金来创造优秀的内容。比如现在市面上出现了很多教你学习推荐算法和标签策略的网课,这就是一个例子。
达菲指出,目前要加强对网红发布内容真实性的监管和规范仍然比较困难。很多网红也唯恐自己“造人设”的伎俩被戳穿,因为这将面临“掉粉”的风险。《财富》杂志采访的所有网红都表示,他们发现网友开始越来越青睐真实的网红人设,但真实也是一柄双刃剑——粉丝之所以喜欢网红,一定程度上也是为了逃避现实,所以网红们也是很难承受展示真实的自己可能带来的后果的。
纽科姆表示:“所以这需要一种平衡,你既要当一个正能量的网红,但同时你也不想给人留下一个高高在上的印象,因为人们很快就会做出判断的,尤其是在目前的经济形势下。”
“我们工作的目的,就是要为粉丝‘造梦’,给他们带来正能量。”莱热说。这就像她当时刚加入网红圈时,很多旅行博主会拼命P图,好让景色变得更美一样。“当时,一切都是为了造梦。”(财富中文网)
译者:朴成奎
Like Athena breaking through Zeus’ head, an icon was born into the blogosphere in the 2010s. She wore a camel hat askew her long ombré hair, skinny jeans, and Valentino Rockstud heels. Known simply as “the influencer,” she was the latest evolution of the decades-old goal of becoming a tastemaker or socialite—something that seemed easier than ever to do in the age of social media.
Even if her style wasn’t eternal, her influence—or at least her income—was. Some, like Chiara Ferragini and Aimee Song came to earn upwards of $8 million and $5 million, respectively, complete with millions of followers and their own retail brands. Such success put the content creator not just on the map, but on a pedestal of a newly fabled American Dream where anyone could make it by showcasing their individuality. More than a decade after the rise of Tumblr stars, there’s a TikTok niche for anyone, whether it’s sharing recipes or outfit ideas or even pretending to be a medieval barkeep. Even now, more than half of Gen Zers would become an influencer if given the chance. No wonder Goldman Sachs analysts project that the creator economy will be worth $480 billion by 2027.
If you strike gold, being a social media influencer is a flexible, autonomous, and lucrative career. But as more people try it out, competition gets more fierce and rising to the well-paid top becomes more difficult. Three influencers Fortune spoke with pulled back the curtain on what it actually takes to get there: Crafting an illusion of wealth that comes at a cost—credit card debt, draining savings, and hiding behind a facade of financial support and freebies.
Lissette Calveiro, 30, took on $10,000 in credit card debt in the mid-2010s trying to mimic the carefree, fun, and busy influencer lifestyle that dominated Instagram at the time: taking a trip to Austin, shopping at influencer-favorite stores, or dining at trendy new restaurants. “You feel like you have to put up this interesting lifestyle, less so a premium lifestyle,” she tells Fortune. “It’s like, ‘Oh, I have things going on every day, don’t you see?’”
There’s also the high price of entry—up to $5,000 on average for cameras or even an iPhone, she says—hardly feasible on her $30,000 annual entry-level salary in media advertising. “If I’m buying clothes every day to be able to have a different outfit on my feed, that’s not realistic,” she adds.
Today, Calveiro is a lifestyle creator and business coach for creators, with 80,000 Instagram followers and 45,000 TikTok followers. Fortune reviewed documents that showed Calveiro’s business raked in more than $525,000 last year, $122,000 of which came from content creation alone. Ironically, being transparent about her financial missteps helped Calveiro build a following, establish trust, and get brand deals.
“By the time I opened up about my finances, I had 10,000 followers, not a million,” Calveiro notes. “But I was trying to copy what the girls who have a million were doing.”
Influencers “just keep investing in these experiences or things that aren’t at their level of affordability for their lifestyle,” Calveiro says, adding that thinking of these purchases as business expenses helps some rationalize the behavior. While creators have become a bit more transparent since first hitting the scene a decade ago, she adds, many are still “definitely leading some sort of back-end life.”
A foundation of generational wealth—or debt and $0 savings
Many top influencers come from an existing economic and social privilege, says Brooke Erin Duffy, an associate communications professor at Cornell University who has been studying social media influencers and the creator economy since their rise in the 2010s. “It takes more than pluck and luck to succeed in such a saturated marketplace,” she tells Fortune.
“The majority of people who have made it, especially on Instagram, had someone to lean back on, like a family member or a significant other that made more money,” explains blogger and founder of Bad Bitch Book Club Mackenzie Newcomb. Not being in debt during the 2010s heyday of the Instagram influencer was a rarity, she tells Fortune—especially if you were a single person who didn’t come from generational wealth. “To be an Instagram influencer, you literally had to be rich,” says the book influencer, who has nearly 80,000 followers across Instagram and TikTok. “And if you weren’t rich, then you were gonna have to be in debt.”
Or, you might have to empty out your savings—which seemed like a lesser evil for some influencers, but a different kind of punch to their finances. Wary of accruing debt again after spending over a year-and-a-half paying it off, Calveiro turned to her emergency funds shortly after becoming a full-time influencer in April 2020 when she brought in $0 in revenue. And while lifestyle and beauty influencer Emma Rose Léger says she never allowed herself to go into credit card debt, “I definitely did drain my bank account multiple times.”
Her 2018 Coachella Instagram posts during her early influencer days depict a colorful world of palm trees, space buns, and friends having a blast while wearing fringe jackets. But the reality was less of a galaxy paradise; she says she increased her credit card limit to buy the tickets and had no spending money by the time she arrived. She couldn’t even afford the influencer dinner she attended and got by eating the free fruit in the hotel lobby; her sister had to wire her cash for the weekend.
“No one would have known from an outsider’s perspective and from social media,” Léger, who has 623,000 Instagram followers and 236,000 TikTok subscribers, tells Fortune. “I literally had no money in my bank account that weekend.”
That’s despite juggling “everything under the sun” to make money until becoming a full-time influencer—dog walking, working at a restaurant and fashion boutique, and helping coordinate social media content. Calveiro had a similar strategy, balancing her 9-to-5 in marketing with her influencer veneer, which felt like a second job in itself. When she finally became a full-time creator, she took on consulting gigs helping brands create content. “Most content creators have other streams of income,” she says. “And they’re not disclosing it because it’s not ‘sexy.’”
The dichotomy of being an aspirational, but transparent influencer
By the mid-2010s, influencer transparency—or lack thereof—had become a big problem; influencers weren’t always transparent about the gifts they received, like a Celine bag or $200 La Mer moisturizer. As digital culture journalist Taylor Lorenz detailed in her new book, “Extremely Online,” influencers and celebs alike were being called out for not disclosing ads. In 2017, the FTC cracked down and sent out letters reminding influencers they must let followers know their connection to any gifted items or companies. This backfired, Lorenz wrote, opening up the floodgates for sponsored content to the point where it had become a status symbol and those without brand deals faked them.
And there were plenty of other ways to fake a lifestyle that wasn’t 100% reflective of one’s income. At times, Léger would borrow a nice bag from a friend or on loan from another store just to post a photo of it. And Newcomb became a member of Rent the Runway in 2016—but never disclosed that to her followers. “I would always check the brands I was wearing, even though they were rented, as if they were something I could already have,” she says. Funnily enough, “everyone just assumed I was in credit card debt.”
But she’s since started a TikTok series trying on Rent the Runway hauls. It’s a sign of social media’s transformation during what Duffy calls the “pandemic-era ascent of TikTok” in the 2020s. This further complicated the notion that the most successful influencers come from wealth “because it placed a renewed emphasis on ‘relatability’ and because of the virality associated with the algorithmic ‘for you page,’” she explains.
That virality doesn’t always translate to longevity, though, she adds. And the rise of new platforms like TikTok and continuously updated features like reels and stories has only created a more demanding environment in which influencers invest additional labor and money, she says, pointing to the number of course offerings on algorithms or hashtag strategies as an example.
Enforcing the push toward policing and regulating influencer transparency remains difficult, Duffy notes, adding that influencers deemed “fake” or duplicitous still risk being mocked or called out by audiences. While all the influencers Fortune spoke with say they’ve seen a shift toward more authenticity, it’s also a double-edged sword—followers expect a certain degree of escapism, making it hard for influencers to be honest about the difficulties along the way.
“It’s a balancing act, because you’re supposed to be aspirational as an influencer,” Newcomb says. “But at the same time, you don’t want to come across like you are privileged. Because people are really quick to judge, especially in this economy.”
“The point of our job is to create this fantasy and aspiration for people that follow us,” adds Léger, explaining that back when she started it was even more of an illusion as travel bloggers would Photoshop beautiful images. “At the time, it was all about fantasyland.”