Fashion Theory

The Journal of Dress, Body and Culture

ISSN: 1362-704X (Print) 1751-7419 (Online) Journal homepage: https://www.tandfonline.com/loi/rfft20

How Fashion Travels: The Fashionable Ideal in the

Age of Instagram

Karen de Perthuis & Rosie Findlay

To cite this article: Karen de Perthuis & Rosie Findlay (2019): How Fashion Travels: The
Fashionable Ideal in the Age of Instagram, Fashion Theory, DOI: 10.1080/1362704X.2019.1567062

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Fashion Theory, Volume 23, Issue 2, pp. 1–24
DOI: 10.1080/1362704X.2019.1567062
# 2019 Informa UK Limited, trading as Taylor & Francis Group

How Fashion
Travels: The
Fashionable Ideal
in the Age
Karen de Perthuis and
Rosie Findlay of Instagram
Karen de Perthuis teaches design and Abstract
media at Western Sydney University
and University of Technology Sydney.
Despite the many transformations in aesthetics and technologies that
Her research interests include fashion fashion photography has undergone since its spread as an influential cul-
photography, the fashionable ideal, tural form in the early twentieth century, one constant has always held
and material culture. Her work has
been published in Fashion Theory,
fast: that the imagery depicts a fashionable ideal. The look of the fash-
Cultural Studies Review, Film, Fashion ionable ideal is, of course, ever subject to change. However, there are
& Consumption, and About qualities that are always present: the body is subject to the authority of
Performance, and in several edited vol-
umes. She is currently working on a
fashion, limitations to the autonomy of the body such as gravity or age-
monograph, The Fashionable Ideal: ing are absent, and the figure is imbued with possibility and mutability,
Bodies and images in Fashion. even as it freezes a momentary state of perfection.
[email protected]
2 K. de Perthuis and R. Findlay

Rosie Findlay is Course Leader of MA These qualities become particularly marked in the present era, in which
Fashion Cultures at London College digital influencers simultaneously assume the roles of cultural producer,
of Fashion. Her research interests model and consumer while implicitly embodying the fashionable ideal.
include digital fashion media and the
intersection between dress and At the moment of their publication, the labor of producing these images
embodied self. Her work has been seems to evaporate, as bodies with no material limitation are presented
published in Fashion Theory, Cultural with immediacy, and figure, commodity and surrounds collapse
Studies Review, and About
Performance, and her monograph, into one.
Personal Style Blogs: Appearances
that Fascinate, was published in This article interrogates how we can conceive of the labor of appearance
2017.
and being in the fashion image, and considers how this style of fashion
[email protected]
imagery draws on visual rhetoric of prior eras of fashion photography
and is structured by the existing power relations of capitalism and the
human and non-human actors of media technologies. In so doing, the
concept of the fashionable ideal is explored in one of its contemporary
iterations as fluid, aspirational, global, simultaneously embodied and
disembodied.

KEYWORDS: Instagram, influencers, fashionable ideal, fashion

photography, social media

Introduction

In the current era of accelerated globalization and new communication

technologies, constellations of alternative ideals proliferate and acquire
meaning in the multiple visual regimes of networked social media and
blogs, as well as in the traditional platforms of print media and the cat-
walk. In this new media environment, fashion shows, brand campaigns,
and fashion editorials that package images of a particular body type—
“tall, thin, mostly white but sometimes exotically ‘other’” (Entwistle
and Wissinger 2012, 5)—share screens and the printed page with repre-
sentations that “originate in private settings and are produced by indi-
viduals and local groups” (Orgad 2012, 40).
Although the consequences of the affordances of convergence culture
for consumer involvement have been widely debated in academic litera-
ture (Benkler 2006; Berry 2010; Khamis and Munt 2010; Pham 2011;
Langlois 2014), how “democratic” the contributions of influencers are
bears further interrogation. Digital technologies allow individuals to
produce fashion discourse and a means of participating in the fashion
industry to generate economic and cultural capital, as has been widely
argued in relation to fashion blogging (see Duffy and Hund 2015;
Pedroni 2015; Titton, 2015; Findlay 2017; and Rocamora 2018). At the
same time, a connotation of the concept of participatory culture being
“democratic” is that it is conceived of as liberation from a system of
rule that dictates the ways in which consumers engage with fashion
media and product. In this latter sense, we could question how
 How Fashion Travels 3

democratic influencing is, when the same capitalist logic that organizes
the fashion industry is replicated in direct proportion to an influencer’s
following. While digital fashion cultures have certainly provided a plat-
form for alternative modes of fashion discourse, any niche that could be
identified as a target market tends to be swiftly approached by the
industry and transformed into an engaged consumer base as, for
example, when key players are invited to partner with brands and mon-
etize their audience (see Connell 2013; Lewis 2015; Luvaas 2016;
Findlay 2017). This explains the visual homogeneity of influencer fash-
ion imagery that often remediates the rhetoric and ideology of main-
stream fashion photography rather than revolutionizing it.
As it is wont to do, fashion absorbs everything—in fashion imagery,
what is not-fashion becomes backdrop, prop or novelty in service of
fashion (see Barthes 1983; de Perthuis 2005); and on social media, the
activity of influencers’ lives becomes grist for the mill of consumer cul-
ture. How different is the fashion imagery produced by influencers from
that produced by mainstream glossy fashion magazines? Superficially
novel, their content frequently mimics the conventions of fashion pho-
tography, citing familiar looks that are rarely cutting edge or singularly
creative, but which will sell. A familiar figure wears these familiar
clothes: the fashionable ideal, repackaged here for a millennial and post-
millennial audience, personifying a paradox. Here is the everyday and
the not-everyday at once: a person who, before transforming herself into
an influencer, did not work professionally in the fashion industry. She is
like us! At the same time, she embodies the qualities recognized within
the industry as ideal: young, slender, conventionally beautiful, able bod-
ied, and, most often, a cisgender woman. She mediates these qualities by
discursively inviting her followers to vicariously participate in her every-
day, and yet at the same time, reinforces the aspirational quality of her
Insta-life by posting content that bears little relation to the actuality of
quotidian human experience.
What can we make of this figure who exists, it seems, solely in the
image, the fashionable ideal apparently come to life among us? In what
ways does her idealized lifestyle preclude the very limits that make her
existence possible? For example, we see the cavalcade of places she
poses in, but none of the journey taken to travel there. The endless feed
of filtered photographs regularly repopulates with new posts, but the
labor that produces it is invisible. Her body therefore is rendered non-
human, an idealized fashionable persona excised from the constraints of
gravity and jet lag, and also from the marks and wear commonly per-
ceptible on human bodies.
In this article, we will tease apart the union of the fashionable ideal
and Instagram by examining the rhetorical self-construction of two
influencers: Leonie Hanne (@leoniehanne) and Asiyami Gold
(@asiyami_gold). These two women were chosen for this study because
their work exemplifies the dominant aesthetic under examination here,
4 K. de Perthuis and R. Findlay

Figure 1
Hanne, Leonie. 2017.
@leoniehanne post [Instagram].
August 8. Available at: https://
www.instagram.com/p/
BXi4LLWFVBH/. (Accessed: 12
November 2018).

while also representing some of the diversity apparent in mainstream

fashion and lifestyle influencing. Leonie Hanne is German and, with 1.9
million Instagram followers, is a celebrity influencer (see Figure 1). “A
former strategy consultant and passionate shopper” (Ohh Couture n.d.),
Hanne started Ohh Couture, a fashion and lifestyle blog in 2014, lead-
ing her to work with brands such as Cartier, Tommy Hilfiger, Chloe,
Net-a-Porter and ASOS. She has maintained an Instagram account
linked to her blog since July 2014.
Born in Nigeria and based in the United States of America, Asiyami
“Gold” Wekulom is a full-time influencer with her own fashion line,
A.Au, and 217,000 followers, rendering her a macro influencer (see
Figure 2). Gold describes her personal brand as one which “considers
the emotive and cultural qualities of life through an authentic, relational
perspective where the art of image making is imbued with a warm, hon-
est, and deeply personal beauty” (Gold 2018a). She has been on
Instagram since January 2012, started her blog Asiyami Gold in 2013,
and has worked with brands including GAP, J.Crew, Vogue, and
Pantene (see Gold 2018a).
Despite the distinctiveness of their respective feeds, both Hanne and
Gold post content comprising mostly of photographs of themselves in
far-flung locations, while wearing a range of feminine fashion looks that
largely cohere with wider trends. Both influencers have a separate style
blog, which features longer posts that elaborate the micro-stories posted
to Instagram. Here, tales of their travels, news about their branded part-
nerships and so on are illustrated with high resolution imagery of photo-
genic meals and well-appointed rooms featuring the influencer herself in
every other picture.
 How Fashion Travels 5

Figure 2
Gold, Asiyami. 2017.
@asiyami_gold post
[Instagram]. September 6.
Available at: https://www.
instagram.com/p/BYtjuIrgrgK/.
(Accessed: 12
November 2018).

By focusing on these two women, we are by no means suggesting

that they are entirely representative of the work of all influencers on
Instagram: influencing is a field comprised of many players with a range
of investments and whose work resonates with a spectrum of followers,
from millions to a niche few thousand. Likewise, in focusing on influ-
encers that embody the mainstream fashionable ideal, we are not sug-
gesting that alternative ideals, which may be both fashionable and
stylish, are not represented on Instagram, nor to minimize the import-
ance of the contribution of these influencers, whose content often
addresses followers from a range of minorities that are historically
underrepresented in fashion media. There are many influencers whose
contribution challenges the hegemonic fashionable ideal, such as Gabi
Gregg (@gabifresh), an African-American plus size woman whose
Instagram bio identifies her as the ‘OG fat girl’, and Hana Tajima
(@hntaj), a Muslim British-Japanese influencer who recently launched
her fifth modestwear collection designed in collaboration with Uniqlo.
There are also stylish Instagrammers who are not associated with brands
(a defining characteristic of an influencer), such as Alok Vaid-Menon
(@alokvmenon), who identifies as a gender non-conforming performance
artist who regularly appears in self-designed, homemade outfits. We
might consider the contribution of these individuals, and others, as pre-
senting alternative fashionable ideals that operate in opposition to the
dominant fashionable ideal, which, by virtue of being hegemonic, will
here be simply called the fashionable ideal.
What is perhaps striking—and that we wish to address here—is that
elements of this fashionable ideal are still powerfully present in the aes-
thetics of Instagram influencers. If the platform of Instagram, and the
attendant digital technologies that make such a self-aestheticization pos-
sible, offer opportunities for a more representative depiction of stylish
6 K. de Perthuis and R. Findlay

lives, why is it that the hegemonic fashionable ideal still dominates? Is it

simply due to the replication of the logics of the fashion industry due to
their patronage of digital media producers, as suggested by Findlay
(2017) in her previous work on style bloggers? Or are additional factors
at work that make one influencer more followed, more influential, than
another? In what follows, we read the idealized body of Instagram in
light of theories on fashion media and representation. To this end, we
begin by situating the Instagram app and the phenomenon of the influ-
encer into fashion’s digital cultures, specifically, that of bloggers and
blogging. We then consider how digital technologies order how we see
and understand content by exploring some of the ways that Instagram
reproduces existing hierarchies of the fashionable ideal, both at the level
of what is visible—the image and written content of the Instagram post
created by human actors—and what is not visible—the automated and
semi-automated structuring of content by the non-human actors of
Instagram’s algorithmic brand culture (Carah and Angus 2018).
Throughout, we follow how fashion travels from print to digital, per-
ceiving the cumulative work of influencers as another kind of body, pro-
liferating into a corpus that takes shape one post at a time.

Instagram

Kevin Systrom and Mike Krieger launched Instagram, a photo-sharing

app optimized for mobile devices, in 2010, selling it to Facebook in
2012. It was designed to unite the instantaneity of camera-phone tech-
nology with the connectivity of a social network, qualities evident in the
app’s initial tagline that described it as a “fast, beautiful and fun way to
share your life with friends through a series of pictures” (Salisbury and
Pooley 2017, 12). Users would upload photographs taken on their
phones, edit them and apply one of a series of in-app filters, and post it
for their followers to “like” or comment upon. The immediacy of the
app’s design and the initial way users interacted with it lent the images
posted to Instagram a quality of spontaneity and a somewhat tangible
connection to a user’s offline life, as their posts mediated their experien-
ces in real time. If an image had been taken earlier, it was customarily
flagged with the hashtag “#latergram” to indicate its asynchronous rela-
tion to the rest of a user’s feed. Aspects such as these—the assumed rela-
tionality between a user’s everyday life and the images they posted to
Instagram, the qualities of spontaneity and immediacy suggested by the
app’s design and promotional copy—invoked a quality of
“authenticity”, in which a user’s online presentation presumably cohered
with their offline self.
As of September 2017, Instagram had 800 million active monthly
users (Berezhna 2018). Given the app’s capacities for posting high-qual-
ity imagery and its hashtagging function, which allows users to find
related content through hyperlinked keywords, brands have been adept
 How Fashion Travels 7

at exploiting its possibilities as an interface that affords communication

with potential consumers. One of the industries that has most gravitated
towards Instagram as a site for lower-cost marketing is the fashion
industry: The Business of Fashion reported that by March 2018, 98%
of fashion brands had an Instagram profile (see Berezhna 2018). In an
article analyzing the increasing tendency of fashion labels to develop
and release Instagram-only campaigns, the editorial staff of The
Business of Fashion (in partnership with Instagram) claimed that the
app has “established itself as a critical marketing channel for fashion
and luxury brands” (BOF Team 2017). It has also facilitated the growth
of direct-to-consumer niche fashion brands, such as Spell & the Gypsy
Collective and Triangl, who primarily market their product through
Instagram and only sell through their brand websites (see Bogle 2018).
As a corollary, the importance of the fashion industry’s business to
Instagram is apparent in the appointment of former editor-in-chief of
Lucky magazine Eva Chen as the company’s first Head of Fashion
Partnerships in 2015. As such, the content posted on Instagram now
accommodates not just personal imagery posted for the regard of a
user’s friends, but also professional photography and branded content
(both photographic and video), the somewhat bashful ‘#latergram’ being
replaced by the overt ‘#ad’, ostensibly a claim to a different kind of
transparency.

Influencers

Key in the development of Instagram as a fashion-marketing tool has

been the rise of “influencers”, a group who have not been widely theor-
ized despite their ubiquity in contemporary fashion communication.
Influencers are public personalities with a significant social media follow-
ing who use their profiles to aestheticize and monetize their lifestyle in
various ways—through posting sponsored content, advertisements and
affiliate links, and engaging in brand partnerships—thereby promoting
awareness and consumption of partnered brands to their followers. As
Instagram has become a site that consumers use to engage with fashion,
so have influencers become intermediaries between fashion producers and
their target market, modeling fashion and beauty consumption in content
that marries the capacity of Instagram to “creatively document a life lived
well” (Salisbury and Pooley 2017, 12) with the commercialized glamour
of an editorial spread. More than the rest of us, for the influencer the
ever-present web-enabled camera phone is normalized as “part of the
‘texture’ of everyday life” (Rocamora 2017, 517), even as her “everyday
life” appears to be entirely constituted of “made-for-Instagram moments”
(Amed in Rocamora 2017, 510).
In their report “The State of Influencer Marketing in Fashion,
Luxury and Cosmetics”, Launchmetrics (a company that provides soft-
ware and data analytics for fashion brand marketing) identified four
8 K. de Perthuis and R. Findlay

“tiers” of influencers, who are categorized according to their total num-

ber of followers: celebrity influencers have 1.5 million or more fol-
lowers; mega influencers have between 501 k and 1.5 m; macro
influencers between 101 and 500 k followers; and micro influencers, of
incipient interest to fashion brands, have between 10 and 100 k followers
(see Launchmetrics 2018).1 While the term “influencer” is something of a
promotional buzzword, by definition influence is causal. Yet thus far, the
impact of influencers has been primarily evaluated by professionals in
public relations, mostly in relation to the influence exerted over a desired
segment of the market. Being mentioned by an influencer will ideally
evoke a high rate of “click-throughs” (followers clicking affiliate links)
and page impressions for a brand’s website, an increased rate of product
sales, or at the very least, lots of “views” or “likes” on a sponsored post.
Any further influence that could be attributed to these individuals seems
to vary from influencer to influencer—the images of some may end up on
a brand’s mood board as inspiration for a future collection; the informa-
tion posted by others may boost awareness within the industry of up-
and-coming designers (as has been the case with Susie Bubble). Within
the fashion industry, then, what influencers leverage is the engagement of
their followers with certain brands, their posts functioning as an invita-
tion for their followers to identify with them, to aspire to their lifestyle
and to emulate them through targeted consumption.
Uniquely positioned to capitalize on social media’s supposed qualities
of authenticity and immediacy to like-minded individuals over whom
they have a kind of distanced effect, influencers form part of a direct-to-
consumer style of marketing. The position they occupy in the field of
fashion is therefore ambiguous in that their work fulfills qualities of
both the professional and the amateur: they produce professional-grade
content that emulates the look, feel and discourse of the professional
fashion media but for the most part do so without currently or previ-
ously having worked within the field. While influencers are increasingly
charging fees for their work (see Pike 2016), historically many were
“gifted” free product or incentivized to support a brand through other
promotional strategies, such as being invited to exclusive influencer or
industry events, rather than being paid.
This blur between professional and amateur has been fruitfully theor-
ized by Leadbeater and Miller, who developed the term “Pro-Am” to dis-
tinguish an individual who is a hybrid of the two: “innovative, committed
and networked amateurs working to professional standards” (2004, 9). It
is important to clarify the distinction between professional and amateur
in fashion influencing because part of the rhetorical power—and indeed,
the influence—of these individuals relates to their being situated between
these two poles. As Brooke Erin Duffy argues of fashion bloggers,

the ideal of blogger authenticity serves as a productive myth. That

is, the themes of authenticity and autonomy that bloggers draw
 How Fashion Travels 9

on conceal the fact that they are often embedded in the same
commercial milieu as those institutional sites from which they
distance themselves. (2013a, 106)

Influencers must carefully weave promotional strategies into their

content so that the veneer of their performed glamorous life is never
interrupted. They embroider sponsored content with self-deprecating or
apparently revelatory captions that construct a discursive proximity of
the viewer to the pictured scene, and reinforce this connection by posi-
tioning themselves either directly in the image—becoming as much the
focus of our attention as the hotel hosting her—or as the assumed pho-
tographer. What influencers see becomes what we see, collapsing the
distance between viewer and viewed, marketer and consumer, aspir-
ational and the everyday.
This sheen of everyday relatability is crucial for influencers to main-
tain because, as Salisbury and Pooley have observed, authenticity is
“always relative to something else, and therefore susceptible to the
charge of phoniness – especially if strategy and calculation can be identi-
fied” (2017, 2). Duffy and Hund also explore this in their work on fash-
ion blogging, writing that bloggers employ a range of “interrelated
tropes—predestined passionate work, staging the glam life, and carefully
curated social sharing—to depict an updated version of the post-feminist
ideal of ‘having it all’” (2015, 2). Implicit in “having it all” is a quality
of effortlessness: a glam life isn’t glam if it appears laborious to produce
and maintain. What upholds the productive myth of authenticity for
influencers is not only that their leisurely life conceals their participation
in the professional fashion industry, or that they are (even if in name
only) not formally embedded in it, but also that they perform this ideal-
ized everyday apparently effortlessly. In coming “naturally” to them,
influencers implicitly claim that this is just what everyday life looks like
for them: as Findlay argues of second wave fashion bloggers, they
appear “clad in a world of fashion that is apparently their oyster”
(2017, 49).
Making this apparently tautological performance possible are prior
digital practices of fashion blogging in which a user’s private life and
experiences were imaged as part of an ongoing, colloquial narrative of
self. Not only do web texts remediate print, as Rocamora has argued
(2012), web texts also remediate each other in an ever-proliferating
catalogue of visual references. We can situate Instagram influencers in
this fashion media genealogy: for example, Rocamora traces the trope
of the “the disappearing woman” (Evans and Thornton in Rocamora
2012: 101), who walks away from the photographer, from fashion mag-
azines to blogs, a manner of posing we see taken up, in turn, on
Instagram. On @leoniehanne, for instance, we encounter Hanne in a
sponsored post for luxury watchmaker Longines, appearing to lead the
photographer (standing in for the viewer) by the hand across a bridge in
10 K. de Perthuis and R. Findlay

Figure 3
Hanne, Leonie. 2018.
@leoniehanne post [Instagram].
May 5. Available at: https://
www.instagram.com/p/
BiaByyAHahC/. (Accessed: 12
November 2018).

New York City (see Figure 3). The pose calls attention to the watch on
her extended wrist, and metaphorically emphasizes the “journey”
Hanne is inviting us to witness: a three-day shoot with Longines, the
highlights of which were posted in her Instagram Stories.
The similarities between these media are manifold: Instagram influ-
encers, like style bloggers, reiterate the conventions of fashion photog-
raphy while promoting many of the brands they feature on their sites;
they both invoke a tone of familiar intimacy in their written content
and elide any elements revealing the effort behind their performance (see
Findlay 2017). Moreover, the distinction is further blurred in that
Instagram has been referred to as a microblogging site, along with other
social media platforms such as Twitter, in that it facilitates the publica-
tion of short posts that read as a combination of instant message and
blog post (see Zappavigna 2014). Despite describing Instagram as a
“shop window” (Marriott 2016), as one Instagrammer told The
Guardian’s Hannah Marriott, the majority of an influencer’s income is
driven by commissions on sales from their blog due to the function on
blogs to hyperlink a product directly to its point of sale. Thus situated
between the fashion media and PR industries and their followers, fash-
ion influencers play a remarkably similar role to other professional cul-
tural intermediaries and mainstream media. In collaborating with
brands whose values and aesthetics align with and reinforce their own
brand image, influencers trade capital, they promote, and they imbue
commercial product with symbolic meaning, much of which is predi-
cated on the value of their distinct personal brands, their position as
sole traders and their incorporation of discourses of the everyday and
relatability into their digital personae. In so doing, influencers’ content
constructs an idealization of everyday life that bears little resemblance
to its lived or material realities. The seamless performance of an aspir-
ational lifestyle elides the labor it takes to produce these images, as has
been argued elsewhere in literature on fashion blogging (see Duffy and
Hund 2015; Findlay 2017), and constitutes a kind of “aspirational
 How Fashion Travels 11

production” (Marwick 2013) in which social media users create the

impression of being higher status than they actually are.

The fashionable ideal: From print to digital

While Marwick draws parallels between aspirational producers and

celebrity culture, specifically the style of pictures taken by paparazzi, the
style of photography that influencers’ images most resemble is fashion
photography as encountered in mainstream fashion magazines, such as
American Vogue, Elle, and Harper’s Bazaar. Like the models featured in
these publications, the influencers under examination here embody the
contemporary fashionable ideal that evolved in the print media of the
twentieth century: they are slender, able-bodied, beautiful, and young;
each post, like a page of a fashion magazine, demonstrating how con-
temporary bodies are supposed to look and act in clothes.
As the image of beauty presented by fashion, the fashionable ideal is
subject to the same forces of novelty and change that compel fashion’s
constant reinventions. There is no absolute fashionable ideal; rather, it
takes the form of a shifting silhouette of body and clothes, often repre-
sented historically as an “evolutionary” sequence from farthingales and
corsets, through empire lines to crinolines, bustles, S-curves and minim-
alism, with innumerable accidental and intentional details along the
way. Since the twentieth century, it has mostly been understood through
the image of models, those “genetic anomalies” (in Entwistle and
Wissinger 2012, 182) found in fashion photography and on the catwalk;
beings possessed of height exaggerated by thinness, striking beauty and
youth. At fashion’s cutting edge, these characteristics are carried further
by an impulse directed away from the commercial and towards the syn-
thetic ideal—a utopian form of something that could, but does not yet,
exist (de Perthuis 2005). But the fashionable ideal can also be embodied
by “actual human beings” (Cartner-Morley 2015)—in historical por-
traiture, on the red carpet, in snapshots, on the street, on personal style
blogs and, of course, on social media platforms such as Instagram.
Like the fashion model of traditional media, the role of the influen-
cer-as-fashionable-ideal is to “show the buttons and the bows” (Carmel
Snow in Harrison 1991, 16) of what she is wearing in an aspirational,
highly aestheticized way that avoids the tedium of catalogue clarity.
There is not much distance, for example, between an editorial spread
shot on location in Tunisia by Louise Dahl-Wolfe for the June 1950
issue of Harper’s Bazaar and the Instagram posts of influencers such as
Leonie Hanne, posing tanned and smiling over a silver Moroccan kettle
in “#Marrakesh” (see Dahl-Wolfe 1950; Hanne 2018, see Figure 4).
One of the first female fashion photographers, Dahl-Wolfe shot her
model, all angular limbs and expressive form, in an ivory-and-tangerine-
colored mise-en-scene of Moorish archways and intricately-carved
screens that frame the details of summer fashions. A similar theme is
12 K. de Perthuis and R. Findlay

Figure 4
Hanne, Leonie. 2018.
@leoniehanne post [Instagram].
April 6. Available at: https://
www.instagram.com/p/
BhPLL62nvgS/?hl¼en&taken-
by¼ohhcouture. (Accessed: 12
November 2018).

Figure 5
Gold, Asiyami. 2018a.
@asiyami_gold post
[Instagram]. March 29.
Available at: https://www.
instagram.com/p/Bg6vio_
hDGJ/?hl¼en&taken-
by¼asiyami_gold. (Accessed:
30 May 2018).

produced by Gold and Hanne in their own on-location images: as with

Dahl-Wolfe’s editorial, their successive posts form a unified aesthetic
whole, as complementary filters are applied to a series of photographs
in which they pose beneath a seemingly endless supply of decorative
archways, mosaic columns and candy-colored streetscapes (see Figures 4
and 5). In contrast, however, to the careful formal qualities that typify
professional fashion photography and advertize the artifice of the genre,
these posts often have the quality of holiday snapshots—carefree, happy,
and smiling down the lens in a way that the fashion image typically
withholds—with the distinction that influencers are always dressed in
designer clothes and impeccably made-up; their “everyday” an endless
 How Fashion Travels 13

Figure 6
Gold, Asiyami. 2018b.
@asiyami_gold post
[Instagram]. May 2. Available at:
https://www.instagram.com/p/
BiSV-h4DQOL/?hl¼en&taken-
by¼asiyami_gold. (Accessed:
30 May 2018).

roster of dawdling in town squares, smiling over feasts of local produce,

and posing by swimming pools in Tulum.
Scrolling through fashion imagery on Instagram can be a monoton-
ous task. Unlike traditional fashion photography, which in the hands of
talented individuals has always been an alchemical blend of artistic cre-
ation, function and commodity form, it is rare to find content that is
radical, inspired, offbeat or niche. There is none of what Margaret
Maynard identifies in high-end fashion photography as “something
beyond” the commercial rationale (2008, 60); certainly, influencer fash-
ion imagery does not turn against itself to question its own rhetoric as
has periodically been the case with fashion photography. Mostly, indi-
vidual posts are formulaic and conventional, with recurring tropes and
themes that, while ostensibly depicting the everyday, still manage to rep-
licate the commercial intent of mainstream fashion photography and its
comfortably familiar world of luxury, artifice and desire. The locations
too are familiar—beach, city, hotel, countryside, street—each feed telling
countless small stories about essentially the same thing, using three basic
signifiers: clothing, body and mise-en-scene. At the center is the influen-
cer, the object of our gaze, composed as a figure in space, cropped or
full-frame; posing or “caught off-guard”; smiling, laughing, pouting;
made-up or “au naturel”; walking towards the camera—or away from
it; balancing on a cliff or wading through the shallows. Even when
motionless, the body of the digital influencer, like the new, young ideal
of fashion photography in the 1960s, is “always on the move” (Radner
2000), busily documenting a conservative performance of a global life
that is always fashioned.
14 K. de Perthuis and R. Findlay

The instagrammed body

In influencer content, the tropes of mainstream fashion photography—

including the fashionable ideal—collapse with the feel of the everyday.
Their labor appears as effortless as the models gliding weightless across
the surface of Paris in Melvin Sokolsky’s “Bubble Series” for Harper’s
Bazaar (1963). Sokolsky’s models, too, were in the world and yet not of
it, belonging completely to the fashionable atmosphere in which they
appeared. Likewise, influencers seem to drift through the world, materi-
alizing the fantasy of fashion, breathing its rarefied air and inhabiting
its frictionless space. As an astronaut’s space suit demarcates their body
as being not of their environment, protecting and enclosing them, so too
does fashion function on the body of the influencer. It marks their body
as both separate to a scene and belonging to it; yet instead of lunar
landscapes, influencers appear against walls chosen to make their outfit
“pop” or perched against the glass of viewing galleries in vertiginous
buildings, gazing down at the distant city like a map of lights across the
surface of the earth.
In her work on the feminine ideal, Marianne Thesander writes “in
every culture, a female physical ideal is created by various means of
artifice and given precisely the form and the meanings with which the
culture wishes women to be identified” (1997, 11). Arguably, influ-
encers serve as a model for the neoliberal values of our time, in which
the prestige and flexibility of an entrepreneurial career is wedded with a
contemporary iteration of the “useless and expensive way of life” for-
merly the preserve of the upper classes (36). Just as the “right” bodies
were produced by participating in a rationalized workforce and embody-
ing the values of self-control and discipline after the Industrial
Revolution (see Thesander 1997), so too are these idealized figures the
product of their labor. Influencers seem to have no physical needs: they
frequently pose with food but are rarely photographed eating; they sit
on hotel beds but are rarely photographed sleeping; there is a sense that
they move through the world maintaining the autonomy of their per-
sonal industry. Their bodies are thus immaterialized, utterly imaged
even as they are presented to their followers over and over in a range of
poses. The effect of this constant self-presentation is a collapse of the
extrinsic with their imaged selves: what is not-their-bodies becomes
absorbed by their performed identity, so that the locations they appear
in, the food they pose with, the objects they scatter in a picturesque flat-
lay, form a metonymic relationship with their persona. Their body
within a single post is transformed into “the fashion body” (Thesander
1997, 67), and yet the cumulative effect of their posts in their feed
forms another body, a corpus of work that literally stands in for them
in digital space.
Consider Leonie Hanne’s feed: each image seems to have been edited
to similitude with an external program such as Adobe Lightroom,
 How Fashion Travels 15

so that visual components such as temperature, tint, tone and contrast

are consistent throughout. The overall effect is a seamless wash of pastel
tones of peach, rose pink and pale blue—colors that Hanne herself also
frequently wears—punctuated by her long tanned limbs and blonde
hair. Hanne’s posts place her in a range of locations that switch every
few images, Dubai to Lisbon to Hamburg to London, but because she is
doing similar things in each context, it is almost as if these diverse cities
are changing behind her, as if being flicked through a viewfinder. The
effect is to convey an impression of Hanne’s complete control over her
appearance and lifestyle. As Duffy and Hund have argued of fashion
bloggers, such a staged idealized life “obscures the labor, discipline and
capital necessary” (2015, 2) to create and sustain it. Creating the
impression of having transcended the limitations of the body requires a
kind of discipline and self-control that Thesander argues was linked to
the body of the worker in the post-Industrial period as a result of need-
ing to respond to work that was “more intensive [ … ] and time-ori-
ented” (1997, 42). Here, too, can we see the bodies of influencers as a
product of their work, albeit what we see is only the end product, the
feminized fashionable ideal that wholly embodies the pleasure of fashion
having been apparently freed from the needs and constraints of a living,
mortal body.
The Instagram feed compounds this impression in its endless scroll;
the reinforcing quality of the same kinds of images populating again
and again, naturalizing the sustained idealized performance. The human-
izing rhetorical touches that influencers sometimes incorporate to sug-
gest relatability are often couched in their image captions, rather than
the images themselves, and so do not ever threaten to disrupt or over-
turn the overall aspirational effect. Asiyami Gold, for example, recently
wrote a caption in which she drily shared that she has become “hella
lazy” and that she has chosen to cultivate an attitude of acceptance and
body positivity: “I’m accepting all the curves and stretch marks that
comes [sic] with this new territory, and the heartbreaking fact that my
[peach emoji] and boobs are gradually forging [an] allegiance with grav-
ity” (Gold 2018b; see Figure 6). In the accompanying image, she stands
contrapposto and in profile, smiling slightly in a white bikini and
shrunken straw hat. Her body appears toned and fit, her bottom as
rounded and firm as the emoji she used to reference it, with no trace of
the stretch marks mentioned. The image seems more representative than
her caption: we can see with our own eyes what Gold’s figure looks
like, and so her words have the effect of normalizing her in the vein of
women’s media discourse, which encourages readers to cultivate a crit-
ical attitude towards their own bodies.2 Tagged in the post are hat label
Preston Olivia and swimwear brand La Hana Swim, and Gold invokes
the latter in her caption, crediting them for making her feel “hella
sexy”. The brand is thus folded into Gold’s narrative of self, their prod-
uct “accentuating [her] curves” and transforming the look of her
16 K. de Perthuis and R. Findlay

body—at least according to this post. Here, Gold simultaneously

embodies the positions of fashionable ideal and relatable girlfriend, per-
forming what Campbell calls a “labor of devotion” (in Duffy 2013b) in
which she, as a female consumer, promotes La Hana Swim to her fol-
lowers. In this way, the content that influencers produce also replicates
the ethos of a mainstream fashion magazine to make consumers of an
audience, and to do so in the guise of beguiling them with promissory
content. Here, the imaged bodies of influencers work in tandem with
the cumulative bodies of their feeds to consolidate a vision of an aspir-
ational ideal that is also suggestive of the everyday by virtue of the
digital platform upon which it is posted.

How fashion travels

Instagram feeds, while often conforming to the gendered, racialized, eth-

nic and corporeal stereotypes of mainstream fashion, also rupture repre-
sentations of fashion’s bodily “norms”. In the image-world of Fashion
2.0, individual and communal expressions of the non-youthful, the non-
beautiful, people with disabilities, the plus size and the non-binary trans-
form fashionable discourse in radical ways that are then reflected in
mainstream fashion media. Nonetheless, as we have argued, in a fashion
media landscape that is “increasingly converged, interconnected and
networked” (Orgad 2012, 38), the fashionable ideal remains an aspir-
ational, if not mythical, figure. While it is true that Instagram has made
different types of ideals more visible and provided a platform for under-
ground or subcultural style that would struggle to gain recognition by
traditional industry and media players, the dominant ideal remains. For
example, despite her 217 k followers, Gold gets fewer jobs, is frequently
offered a lower fee than her Caucasian counterparts, and is accustomed
to being the only person of color in brand campaigns (Koman 2017).
Her experience echoes that of Naomi Campbell who, despite being one
of the Supermodels who dominated fashion imagery in the late 1980s
and 1990s, was paid “a lot less” than her white Supermodel counter-
parts and concedes she “always felt like the ‘underdog’” (Capital
Lifestyle 2017). Like Campbell, Gold is young, slim and exceptionally
beautiful. But unlike Campbell, Gold is operating in a media environ-
ment that held the promise of being more democratic and egalitarian,
one in which it was presumed that “a new politics of meaning” would
undermine and replace “long-standing power relations” (Langlois 2014,
33). If we continue to think of the fashionable ideal as young, female,
white, able-bodied, thin and classically beautiful, it is because she usu-
ally is.
When Campbell appeared on the January 1990 cover of Vogue
alongside Cindy Crawford, Linda Evangelista, Christy Turlington and
Tatjana Patitz, fashion—and the fashionable ideal—was defined by an
elite group of decision-makers comprised of designers, editors and
 How Fashion Travels 17

photographers; professionals based in the traditional fashion capitals of

London, Paris, New York and Milan. In the late twentieth century, the
power of these cultural intermediaries emanated from the “instituting
discourse” (Barthes 1983, ix), exemplified by the fashion magazine,
which, in The Fashion System, Barthes evocatively described as “a
machine that makes fashion” (51). In this mass-media universe, there
were occasional representations of an ethnically, racially, and physically
diverse fashionable ideal, but their appearance in fashion magazines or
on the catwalk was still dependent on decisions made by a controlling
elite and, in the broader scheme of things, could be seen as tokenistic.3
While the participatory culture of Instagram has dented this hierarchical
structure, as we have argued, influencers such as Asiyami Gold and
Leonie Hanne mostly replicate the homogenizing logic of the fash-
ion image.

The age of instagram

In attempting to account for the conservatism of the digital fashionable

ideal, the question is why (or how) the dominant paradigm of the fash-
ionable ideal has maintained its power and definitional status across
diverse media and platforms. If anyone can open an Instagram account
and produce regular posts, if we can all participate as a producer as
well as a user, what are the forces that determine popularity? What
determines visibility in the Instagram feed? What creates value? In short,
what makes one account more influential than another? The answer lies
partly in the process of representation itself, which has been theorized
as inherently conservative (Orgad 2012; Fuchs, 2017). In Media
Representation and the Global Imagination, Shani Orgad analyzes the
ways in which the existing power relations of capitalism are reproduced
and reinforced through representation and how, in turn, consumer cul-
ture embeds and reproduces ideals and stereotypes of size, age, ability,
ethnicity, race, gender and sexuality. Drawing on Foucauldian discourse
analysis, she argues that rather than communicating existing knowledge
or realities—what is—media representations produce “truth effects” that
legitimize, reinforce and reproduce certain discursive regimes while
“rendering others illegitimate, deviant and ‘false’” (Orgad 2012, 28). It
is not a simple question of being “inside” or “outside”; rather, media
representations are constitutive of power; they are “the realm of the
‘said’” (28), where the symbolic inclusion or exclusion of social entities
and individuals interweaves with who has the authority or legitimacy to
produce meaning: to write, to speak and be seen.
Representation is, however, a space of contestation that produces
contradictory and parallel effects and, as a potentially disruptive force,
Instagram influencers travel through fluid, unstable terrain where mean-
ing is a site of struggle, and power operates in volatile, unpredictable
ways. On the one hand, the authority of established institutions,
18 K. de Perthuis and R. Findlay

frameworks and paradigms are open to challenge from alternative, com-

peting, dissenting or subversive voices which then relocate power in ena-
bling and transformative ways. On the other hand, the process of
representation itself is construed as a conservative one that works to
legitimize things and make them acceptable to the mainstream discourse.
As Orgad writes, “bringing things into the realm of discourse works
[ … ] to inscribe them in hegemonic structures and to produce self-moni-
toring bodies that willingly submit to and, thus, help to create and legit-
imate the authority of experts” (2012, 28).
Legitimizing that which begins “outside” and making it acceptable,
appropriating newness, novelty and difference is, of course, what fash-
ion does all the time. The independent subcultural style press of the
1980s was, by the mid-1990s, supported as much by fashion advertising
as traditional, mainstream fashion titles; and in the first decade of the
new millennium, street style and personal bloggers who provided an
alternative fashion voice, went from being labelled “amateurs” or
“hobbyists” to permanently joining the professional media. In replicat-
ing the aesthetic, logic and ethos of the fashion photograph and thereby
shaping their content to remediate a familiar trope, influencers are, as
Judith Butler has argued of gender constitution, effectively enacting a
script that existed before they arrived on the scene (see Butler 1988).
The tendency to adapt and appropriate new media technologies and
communication practices to the needs and interests of the dominant
group is not a new development. As communications scholar Christian
Fuchs (2017, 94) reminds us, “media and social media in contemporary
society are shaped by structures of economic, political and cultural
power”. Always undergirding the workings of these structures is the
question of who has (or does not have) power. What is new, however,
is that there is now an interplay between human actors and non-human
actors, the platform interfaces, protocols and algorithms that program-
matically respond to content (Langlois 2014; Carah and Angus 2018).
Starting from the premise that meaning making—the creation of value,
the shaping of culture and the exercise of power—is “no longer simply
a human process but [ … ] one that is increasingly dependent on media
technologies” (2014, 5), Ganaele Langlois points to the business model
of social media platforms as one that is less interested in producing con-
tent—what we post and view—than in “hosting and retrieving large
amounts of information” (26) that can be used for advertising
and marketing.
The point here is not to embrace the logic of a technological deter-
minism that conceives of technology as an actor while failing to recog-
nize the complexities of the relationship between the technological and
the social (Fuchs 2017; Rocamora 2017); on Instagram, human actors
are, of course, important. While what influencers such as Gold and
Hanne do—and precisely how they do it—may not be as firmly
imprinted in the popular consciousness as the activities of the human
 How Fashion Travels 19

actors in the world of the fashion magazine, neither are their activities
entirely opaque. The more engaged user knows what, and when, to post
in order to optimize views, increase followers and, in the blunt language
of the blogosphere, make money, with gaps in knowledge conveniently
filled by any number of tutorials providing tips and tricks. The narrative
of participatory culture as a vehicle of self-actualization and a space
where users are free to express themselves may continue to resonate, but
it does so in the face of a user experience that is increasingly pervaded
by capitalist logics that serve the commercial interests of both the plat-
form and the influencer. Scrolling through an Instagram feed requires
fielding automated targeted advertisements that provide a “constant
prod towards consumption” (Langlois 2014, 125) and, at least anec-
dotally, the volume of advertisements a user sees in their home screen
feed is proportionate to the status and quantity of influencers followed.
What delineates this experience from the traditional media model of the
fashion magazine (in the case of, say, American Vogue with its hundreds
of pages of advertisements), is that a platform such as Instagram, is not
“primarily in the business of accommodating large amounts of human-
produced meaning”, but rather in “finding ways to create meaningful
connections that can be mediated through a for-profit motive” (Langlois
2014, 19). In other words, the model of Barthes’ “fashion making
machine”, in which meaning making is produced by human actors (pub-
lishers, editors, designers, photographers, art directors, models, stylists,
and so on) has, in the age of Instagram, developed into “automated and
semiautomated ways of producing meaning”, what Langlois calls
“meaning machines”, in which the human user is “a component, but
not the driving force” (2014, 52).
On Instagram, meaningful connections are made when influencers
produce content that draws us in and keeps us engaged, winning us
over by creating a comfortable space where we encounter things we like
and that are recommended to us by people who feel like trusted peers.
But as Langlois points out, beyond our interaction at the level of the
interface, whole parts of the communication process are relegated “to
back-end and invisible software processes” (2014, 46) and other non-
human actors that shape, control, guide and manage what we see.
Rather than being neutral or impartial, software “has an aesthetic and
ideological role in providing cultural frameworks that human users rely
on to interpret what is being communicated to them” (69). Inevitably,
this reproduces existing hierarchies and serves the interests of the main-
stream and commercial. As part of the capacities of Instagram, for
example, the hashtag function connects and ranks disparate posts: algo-
rithms sort and order information according to the volume of followers;
and the most popular posts are also the most prominently displayed.
The conditions in which meaning takes place on Instagram are not
unlike the conditions that saw personal style blogging shift from accom-
modating the open-ended possibilities of creative self-representation and
20 K. de Perthuis and R. Findlay

alternative fashionable ideals (see Findlay 2017) to providing a platform

for “neoliberal ‘entrepreneurs of the self’” (Pham 2011, 16). By casting
themselves in a familiar mold and generating commercial content that is
meaningful for their followers, influencers become “an ideal living capit-
alist subject that feels and responds to the world in accordance with a
capitalistic logic” (Langlois 2014, 88), thereby producing a fashionable
life that is also profitable.

Conclusion

In this article we have asked why the fashionable ideal continues to dom-
inate digital platforms such as Instagram. As we have argued, beyond
their capacity to extend the reach of the promotional industries, influ-
encers are not as disruptive as they may first appear. Furthermore, the
transformation of the world into a “dramaturgical landscape” (Larsen
2008, 143) for an ongoing personal performance of aspirational living is
less of a transformation of the fashionable ideal and more of a migration.
The influencer’s position in time and space, while fantastical, remains
undergirded by commercial logics that reinforce the hegemonic aesthetic.
What has shifted is the discursive power of this digital iteration of the
fashionable ideal, which draws on the trope of authenticity that still lin-
gers on Instagram despite the diversification of its users and the ends to
which they employ the app. In remediating the conventions of fashion
photography, magazines and blogs, influencers situate their content in a
familiar media landscape, even as the specificities of Instagram as an
interface—its structuring algorithms and software design—independently
shape the ways audiences (or consumers) make meaning of their feeds. As
it is, the fashionable ideal has traveled from print to digital, morphed
from the embodied self of the professional fashion model into the influen-
cer, yet the effect remains remarkably the same.

Notes

1. These categorizations are by no means an industry standard: for

example, niche influencers are another influencer demographic not
here represented, which other sites situate between macro and
micro influencers (see Morin 2016); whereas TINT, a branding
company, defines micro influencers as anyone with less than 10k
followers (Gallegos 2018). However, given the breadth of
Launchmetrics’ report and the number of high profile fashion
clients the company works with, including Karla Otto PR, Louis
Vuitton, Gucci, ASOS, Topshop and L’Oreal, their categorizations
have been adopted for our purposes here.
2. Interestingly, the relationship between the image and the caption
in this instance reverses Barthes’ conceptualization of the hierarchy
 How Fashion Travels 21

between written and image clothing where the caption works to

pin down the “slipperiness” of the fashion image. In other ways,
the coding features of Instagram, such as the hashtag function,
perform the work of the caption in print media by connecting
users and brands in a model of consumption that replicates the
overt commercial relation between fashion photograph and
commodity in advertisements or editorial spreads (see de
Perthuis 2016).
3. Some examples include: in 1966, Donyale Luna was the first black
model to appear on the cover of British Vogue; Issey Miyake used
“old and beautiful” (Quick 1997, 167) models for his Fall/Winter
1995 collection; at the turn of the millennium, Alexander
McQueen and Nick Knight worked with model Aimee Mullins, a
double amputee; and for his Spring/Summer 2007 Ready-to-Wear
collection, Jean Paul Gaultier sent the voluptuous burlesque star,
Velvet d’Amour down the catwalk in lingerie.

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