Two Decades of Fashion Blogging and Influencing: A Critical Overview

Abstract

Influencers have monopolized media attention in recent years, the result of a long process lasting two decades dating from the rise of blogging at the beginning of the twenty-first century. In this article, I set out the historical framework in which the social media practitioners known as fashion bloggers and influencers have emerged and developed as relevant players in the field of fashion. I propose a reading of fashion blogging and influencing as a process articulated in four stages between 2000 and 2020. These two decades, marked by a progressive institutionalization of social media practice in the field of fashion, saw the advent of Instagram-based influencers in the second half of the 2010s and their continuing domination of fashion platforms, and TikTok’s rise in relevance in the same field during the early 2020s. I first explore the rise of fashion blogs in the early 2000s and the scholarly debate regarding its characteristics. I then frame the transition from blogging to Instagram, not just as a change of platform, but as an opportunity for the invention of a new occupation, the influencer, and the consecration of the business of influence. Lastly, I critically examine the concepts of influence and influencer.

Keywords:

• fashion bloggers
• fashion influencers
• social influence
• social media practitioners
• charisma

Correction Statement

This article has been corrected with minor changes. These changes do not impact the academic content of the article.

Acknowledgments

I am deeply indebted to Agnès Rocamora, who not only read an early version of this text but was also a valuable interlocutor during my studies on fashion blogging and influencing. I am also grateful to Emanuela Mora who, over a decade ago, drew my attention to the then emerging phenomenon of blogging. Finally, I thank all the social media practitioners who gave me their time during the course of my research.

Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1 MIV, an algorithm measuring the impact of relevant media placements on all channels.

2 Note for the Journal: please keep “Lewis C.” to distinguish this ref. from “Lewis R.,” same year (2015).

3 See https://heartifb.com/about/. Accessed 21 January 2020.

4 See https://coveteur.com/2013/07/22/nicole-warne/. Accessed 31 August 2021.

5 See https://www.refinery29.com/en-us/2015/05/87512/instagram-only-fashion-bloggers. Accessed 31 August 2021.

6 See https://www.vuelio.com/uk/resources/white-papers/bloggers-survey-2019/. Accessed 31 August 2021.

7 https://www.refinery29.com/en-us/2013/12/59713/future-of-fashion-blogging

8 Return on investment or return on costs is a ratio between net income and investment. A high ROI means the investment’s gains compare favorably to its cost.

9 See https://www.viralnation.com/. Accessed 15 September 2021.

10 See https://dictionary.cambridge.org/it/dizionario/inglese/influencer. Accessed 15 September 2021.

11 This is the title of a panel or, to be more precise, a mirror, where the captions were printed on reflective surfaces to emphasis the identification between influencers and users.

12 The profiles of many successful fashion influencers were opened in 2011, with most being developed further in subsequent years.

13 A prominent source of income for fashion bloggers.

14 Allowing influencers to create their own shoppable Instagram posts to promote products from their partner brands.

Additional information

Notes on contributors

Marco Pedroni

Marco Pedroni is an Associate Professor of Sociology of Culture and Communication at the University of Ferrara (Italy). His research interests range from trendwatching to digital media, creative professions and cultural intermediaries, with a special focus on bloggers and influencers. [email protected]