霹靂一聲巨響,她已閃亮登場。她頭戴一頂駝色帽子,頭發(fā)蓬亂,穿著緊身的牛仔褲,腳蹬華倫天奴的高跟鞋。她從2010年代借著移動(dòng)互聯(lián)網(wǎng)的東風(fēng)登上時(shí)尚舞臺,她的一言一行足以影響甚至引領(lǐng)全社會的品味和風(fēng)尚。像這樣的“她”,在互聯(lián)網(wǎng)上何止千萬,她,就是一個(gè)“網(wǎng)紅”。
雖然她的風(fēng)格未必會成為經(jīng)典,但她的收入?yún)s令人咂舌。有的網(wǎng)紅,比如琪亞拉·法拉格尼和艾米·宋,已經(jīng)分別靠當(dāng)網(wǎng)紅賺了800萬和500萬美元,她們各自還有幾百萬粉絲以及自己的帶貨品牌。網(wǎng)紅開啟了“美國夢”的新時(shí)代,任何人都可以通過彰顯個(gè)性獲得成功。十幾年前美國人都想在Tumblr上出名,但是現(xiàn)在人人都想在TikTok上當(dāng)網(wǎng)紅,有的秀烹飪技術(shù),有的秀穿搭,有的還化裝成中世紀(jì)的酒保。據(jù)說現(xiàn)在美國有一多半的95后青少年表示,只要有機(jī)會,他們都想當(dāng)網(wǎng)紅。據(jù)高盛公司分析師預(yù)測,到2027年,美國的“網(wǎng)紅經(jīng)濟(jì)”價(jià)值將達(dá)到4800億美元。
如果你的夢想是在網(wǎng)絡(luò)時(shí)代淘金,那么當(dāng)網(wǎng)紅也是一份靈活、自由且相當(dāng)賺錢的職業(yè)。但隨著想當(dāng)網(wǎng)紅的人越來越多,網(wǎng)紅這個(gè)賽道也變得越來越擁擠,想當(dāng)一個(gè)有錢可賺的頭部網(wǎng)紅也變得越來越困難。有三位網(wǎng)紅向《財(cái)富》透露了普通人成為網(wǎng)紅的必由之路——在網(wǎng)絡(luò)上裝X是需要付出代價(jià)的,這個(gè)代價(jià)就是花光存款,然后信用卡欠債,最后靠人接濟(jì)或免費(fèi)商品來勉強(qiáng)度日。
2015年前后正是Instagram爆火的時(shí)代,今年30歲的莉塞特·卡爾維羅當(dāng)時(shí)正是看中了網(wǎng)紅生活的自由和樂趣,而借了1萬美元的信用卡債去包裝自己。她用這筆錢去奧斯汀旅游,在網(wǎng)紅商店里購物,還在網(wǎng)紅必吃餐廳里打卡。她對《財(cái)富》表示:“你會覺得,你必須要支撐起這種有趣的或者說‘高大上’的生活。你仿佛是要告訴所有人:‘我每天都過的是這種生活,你們看見沒有?’”
當(dāng)網(wǎng)紅的門檻也是不低的,首先你得有臺相機(jī),這差不多就得5000美元,就算退而求其次,也至少得有部iPhone手機(jī)。而卡爾維羅當(dāng)時(shí)只是媒體營銷行業(yè)一個(gè)剛大學(xué)畢業(yè)的新人,年收入只有3萬美元,所以這無疑是一筆不小的開銷。不過她覺得自己還遠(yuǎn)遠(yuǎn)不算奢侈:“如果我每天都買衣服,在網(wǎng)上每天秀不一樣的穿搭,這幾乎是不現(xiàn)實(shí)的。”
現(xiàn)在的卡爾維羅是一名生活方式領(lǐng)域的網(wǎng)紅,也是一名網(wǎng)紅導(dǎo)師,她在Instagram上有8萬粉絲,在TikTok上也有4.5萬粉絲。《財(cái)富》看到的文件顯示,去年她的業(yè)務(wù)收入超過了52.5萬美元,其中僅內(nèi)容創(chuàng)作收入就有12.2萬美元。不過頗具諷刺意味的是,她之所以有了這么多粉絲,反而是因?yàn)樗嬲\地吐槽了自己當(dāng)網(wǎng)紅的負(fù)債之路,這讓她贏得了不少粉絲的信任,帶貨合同也就隨之而來了。
卡爾維羅表示:“在我公開我的財(cái)務(wù)狀況時(shí),我只有1萬個(gè)粉絲,不是100萬,但是我確實(shí)是在模仿那些百萬粉絲網(wǎng)紅所做的事情。”
卡爾維羅表示,很多網(wǎng)紅“不斷花錢買那些超出了他們經(jīng)濟(jì)承受能力的東西和體驗(yàn)。”有些網(wǎng)紅會進(jìn)行自我安慰,覺得這些只不過是打造人設(shè)的必要投資,從而合理化這些消費(fèi)。她還指出,自從十幾年前有了網(wǎng)紅這個(gè)職業(yè)以來,雖然網(wǎng)紅的生活也變得更加透明了,但是很多網(wǎng)紅“肯定還過著某種不為人知的生活”。
要么富二代,要么去借債
康奈爾大學(xué)傳播學(xué)副教授布魯克·艾琳·達(dá)菲指出,現(xiàn)在的很多網(wǎng)紅本身就來自經(jīng)濟(jì)和社會食物鏈的頂端。她從10年前網(wǎng)紅經(jīng)濟(jì)剛剛興起時(shí)就開始關(guān)注網(wǎng)紅現(xiàn)象。她對《財(cái)富》雜志表示:“要在這樣一個(gè)高度飽和的市場上取得成功,光靠勇氣和運(yùn)氣是不夠的。”
Bad Bitch Book Club的創(chuàng)始人麥肯齊·紐科姆對《財(cái)富》指出:“大多數(shù)成功的網(wǎng)紅,背后都是有人可以依靠的,比如一個(gè)有錢的家人或其他什么貴人。”麥肯齊·紐科姆自己也是10年代一個(gè)炙手可熱的網(wǎng)紅,現(xiàn)在也在Instagram和TikTok上擁有8萬粉絲,但即便是在她當(dāng)時(shí)最紅的時(shí)候,她也很少處于沒有負(fù)債的狀況。她對《財(cái)富》感嘆道,如果你是單身,或者不是富二代,要當(dāng)網(wǎng)紅就更難了。“要當(dāng)一個(gè)Instagram上的網(wǎng)紅,你必須很有錢,沒錢的話就得去借債。”
如果你小有積蓄的話,那么當(dāng)網(wǎng)紅的第一步就是要掏空你的存款。比如卡爾維羅花了整整一年半才還清了自己的信用卡債,為了避免這種拆東墻補(bǔ)西墻的行為,卡爾維羅在2020年4月決定當(dāng)全職網(wǎng)紅后不久,便決心動(dòng)用自己的應(yīng)急存款,因?yàn)樗?dāng)時(shí)已經(jīng)到了連一分錢收入都沒有的地步。作為一個(gè)生活方式和美妝網(wǎng)紅,艾瑪·羅斯·萊熱表示她從來不借信用卡債,“但我確實(shí)曾經(jīng)好幾次把銀行賬戶里的錢花得一分不剩。”
2018年,在萊熱剛進(jìn)入網(wǎng)紅圈的時(shí)候,她曾經(jīng)在Instagram上發(fā)過一個(gè)帖子,那是經(jīng)典的小紅書風(fēng)格,通篇是海灘烘焙棕櫚樹的精致生活,與她同框的還有一幫同樣精致的網(wǎng)紅閨蜜。但在相機(jī)之外,她當(dāng)時(shí)的生活就遠(yuǎn)遠(yuǎn)談不上精致了。為了買機(jī)票,她提高了信用卡的消費(fèi)額度,剛一到目的地就沒錢花了。她甚至買不起那個(gè)網(wǎng)紅晚宴的入場券,只能在酒店大堂里吃免費(fèi)的招待水果。最后還是她姐姐給她匯錢來救急,她才勉強(qiáng)撐過了那個(gè)周末。
萊熱在Instagram上有62.3萬粉絲,在TikTok上有23.6萬粉絲。她對《財(cái)富》表示:“真實(shí)的網(wǎng)紅生活是什么樣的,你從局外人的角度,或者從社交媒體上都是無從得知的。在那個(gè)周末,我的銀行賬戶里真的是一分錢都沒有了。”
萊熱說,在成為一名全職網(wǎng)紅之前,她為了賺錢,差不多干了“天底下所有的工作”,包括遛狗、在餐廳當(dāng)服務(wù)員、在服裝店當(dāng)售貨員,以及做社交媒體運(yùn)營,等等。卡爾維羅也有類似的經(jīng)理,不過她同時(shí)還有一份朝九晚五的媒體營銷工作保底。即便她后來選擇當(dāng)一名全職網(wǎng)紅,她時(shí)不時(shí)也會接受其他網(wǎng)紅的咨詢,并且?guī)椭渌放苿?chuàng)作商業(yè)內(nèi)容,以開拓收入流。她表示:“大多數(shù)網(wǎng)紅都有其他的收入來源,只是他們自己不會說,因?yàn)橐徽f就會掉‘逼格’。”
既要正能量,也要透明度
到10年代中期,網(wǎng)紅經(jīng)濟(jì)缺乏透明度的特點(diǎn)日益成了一個(gè)大問題,特別是網(wǎng)紅們都不會公開他們收到的打賞或禮物——比如一個(gè)包、一個(gè)價(jià)值200美元的護(hù)膚品之類。網(wǎng)絡(luò)文化記者泰勒·洛倫茲就在她的新書《極度在線》(Extremely Online)中指出,很多名人和網(wǎng)紅都在自己的帖子和視頻里“夾帶私貨”“隱性帶貨”。2017年,美國聯(lián)邦貿(mào)易委員會對這一問題開展了打擊,并發(fā)出信件提醒這些網(wǎng)紅,必須要讓粉絲們知道他們與收到的打賞或禮物與其背后關(guān)聯(lián)企業(yè)的關(guān)系。然而此舉卻起到了反效果,網(wǎng)紅們夾帶私貨和隱性帶貨成了常態(tài),甚至以此為榮,將其成為了地位的象征,沒有帶貨的網(wǎng)紅甚至還會假裝自己在帶貨,以顯示自己有咖位。
網(wǎng)紅們還有很多其他方法偽裝高大上的生活方式。比如萊熱有時(shí)候會從朋友那里借一個(gè)好看的包包,有的時(shí)候甚至從商店里租借,為的就是發(fā)一張好看的照片。2016年,麥肯齊·紐科姆也成了租衣網(wǎng)站Rent the Runway的會員,但她從來沒有跟粉絲透露過這件事。“我會仔細(xì)檢查我穿的衣服的品牌,即使它們是租來的,就好像它們本來就是我的衣服一樣。”而且有意思的是,“所有網(wǎng)紅都覺得我肯定是借了信用卡債。”
后來,萊熱開始在TikTok上拍了一系列租衣穿搭的短視頻。達(dá)菲認(rèn)為,康奈爾大學(xué)傳播學(xué)副教授布魯克·艾琳·達(dá)菲表示,該系列短視頻的爆火,正是20年代“疫情時(shí)代TikTok崛起”所帶來的社交媒體格局大轉(zhuǎn)型的一個(gè)標(biāo)志。不過轉(zhuǎn)型帶來的一個(gè)新特點(diǎn),就是最成功的網(wǎng)紅未必都是有錢人了,“因?yàn)樗鼜?qiáng)調(diào)‘關(guān)聯(lián)性’,推薦算法也更強(qiáng)調(diào)‘適合你’。”
達(dá)菲還指出,病毒式傳播未必等于持續(xù)走紅。隨著TikTok等新興平臺的興起,加上短視頻、網(wǎng)店等功能的不斷更新,市場對內(nèi)容的要求日益苛刻,網(wǎng)紅必須投入更多精力和資金來創(chuàng)造優(yōu)秀的內(nèi)容。比如現(xiàn)在市面上出現(xiàn)了很多教你學(xué)習(xí)推薦算法和標(biāo)簽策略的網(wǎng)課,這就是一個(gè)例子。
達(dá)菲指出,目前要加強(qiáng)對網(wǎng)紅發(fā)布內(nèi)容真實(shí)性的監(jiān)管和規(guī)范仍然比較困難。很多網(wǎng)紅也唯恐自己“造人設(shè)”的伎倆被戳穿,因?yàn)檫@將面臨“掉粉”的風(fēng)險(xiǎn)。《財(cái)富》雜志采訪的所有網(wǎng)紅都表示,他們發(fā)現(xiàn)網(wǎng)友開始越來越青睞真實(shí)的網(wǎng)紅人設(shè),但真實(shí)也是一柄雙刃劍——粉絲之所以喜歡網(wǎng)紅,一定程度上也是為了逃避現(xiàn)實(shí),所以網(wǎng)紅們也是很難承受展示真實(shí)的自己可能帶來的后果的。
紐科姆表示:“所以這需要一種平衡,你既要當(dāng)一個(gè)正能量的網(wǎng)紅,但同時(shí)你也不想給人留下一個(gè)高高在上的印象,因?yàn)槿藗兒芸炀蜁龀雠袛嗟模绕涫窃谀壳暗慕?jīng)濟(jì)形勢下。”
“我們工作的目的,就是要為粉絲‘造夢’,給他們帶來正能量。”萊熱說。這就像她當(dāng)時(shí)剛加入網(wǎng)紅圈時(shí),很多旅行博主會拼命P圖,好讓景色變得更美一樣。“當(dāng)時(shí),一切都是為了造夢。”(財(cái)富中文網(wǎng))
譯者:樸成奎
霹靂一聲巨響,她已閃亮登場。她頭戴一頂駝色帽子,頭發(fā)蓬亂,穿著緊身的牛仔褲,腳蹬華倫天奴的高跟鞋。她從2010年代借著移動(dòng)互聯(lián)網(wǎng)的東風(fēng)登上時(shí)尚舞臺,她的一言一行足以影響甚至引領(lǐng)全社會的品味和風(fēng)尚。像這樣的“她”,在互聯(lián)網(wǎng)上何止千萬,她,就是一個(gè)“網(wǎng)紅”。
雖然她的風(fēng)格未必會成為經(jīng)典,但她的收入?yún)s令人咂舌。有的網(wǎng)紅,比如琪亞拉·法拉格尼和艾米·宋,已經(jīng)分別靠當(dāng)網(wǎng)紅賺了800萬和500萬美元,她們各自還有幾百萬粉絲以及自己的帶貨品牌。網(wǎng)紅開啟了“美國夢”的新時(shí)代,任何人都可以通過彰顯個(gè)性獲得成功。十幾年前美國人都想在Tumblr上出名,但是現(xiàn)在人人都想在TikTok上當(dāng)網(wǎng)紅,有的秀烹飪技術(shù),有的秀穿搭,有的還化裝成中世紀(jì)的酒保。據(jù)說現(xiàn)在美國有一多半的95后青少年表示,只要有機(jī)會,他們都想當(dāng)網(wǎng)紅。據(jù)高盛公司分析師預(yù)測,到2027年,美國的“網(wǎng)紅經(jīng)濟(jì)”價(jià)值將達(dá)到4800億美元。
如果你的夢想是在網(wǎng)絡(luò)時(shí)代淘金,那么當(dāng)網(wǎng)紅也是一份靈活、自由且相當(dāng)賺錢的職業(yè)。但隨著想當(dāng)網(wǎng)紅的人越來越多,網(wǎng)紅這個(gè)賽道也變得越來越擁擠,想當(dāng)一個(gè)有錢可賺的頭部網(wǎng)紅也變得越來越困難。有三位網(wǎng)紅向《財(cái)富》透露了普通人成為網(wǎng)紅的必由之路——在網(wǎng)絡(luò)上裝X是需要付出代價(jià)的,這個(gè)代價(jià)就是花光存款,然后信用卡欠債,最后靠人接濟(jì)或免費(fèi)商品來勉強(qiáng)度日。
2015年前后正是Instagram爆火的時(shí)代,今年30歲的莉塞特·卡爾維羅當(dāng)時(shí)正是看中了網(wǎng)紅生活的自由和樂趣,而借了1萬美元的信用卡債去包裝自己。她用這筆錢去奧斯汀旅游,在網(wǎng)紅商店里購物,還在網(wǎng)紅必吃餐廳里打卡。她對《財(cái)富》表示:“你會覺得,你必須要支撐起這種有趣的或者說‘高大上’的生活。你仿佛是要告訴所有人:‘我每天都過的是這種生活,你們看見沒有?’”
當(dāng)網(wǎng)紅的門檻也是不低的,首先你得有臺相機(jī),這差不多就得5000美元,就算退而求其次,也至少得有部iPhone手機(jī)。而卡爾維羅當(dāng)時(shí)只是媒體營銷行業(yè)一個(gè)剛大學(xué)畢業(yè)的新人,年收入只有3萬美元,所以這無疑是一筆不小的開銷。不過她覺得自己還遠(yuǎn)遠(yuǎn)不算奢侈:“如果我每天都買衣服,在網(wǎng)上每天秀不一樣的穿搭,這幾乎是不現(xiàn)實(shí)的。”
現(xiàn)在的卡爾維羅是一名生活方式領(lǐng)域的網(wǎng)紅,也是一名網(wǎng)紅導(dǎo)師,她在Instagram上有8萬粉絲,在TikTok上也有4.5萬粉絲。《財(cái)富》看到的文件顯示,去年她的業(yè)務(wù)收入超過了52.5萬美元,其中僅內(nèi)容創(chuàng)作收入就有12.2萬美元。不過頗具諷刺意味的是,她之所以有了這么多粉絲,反而是因?yàn)樗嬲\地吐槽了自己當(dāng)網(wǎng)紅的負(fù)債之路,這讓她贏得了不少粉絲的信任,帶貨合同也就隨之而來了。
卡爾維羅表示:“在我公開我的財(cái)務(wù)狀況時(shí),我只有1萬個(gè)粉絲,不是100萬,但是我確實(shí)是在模仿那些百萬粉絲網(wǎng)紅所做的事情。”
卡爾維羅表示,很多網(wǎng)紅“不斷花錢買那些超出了他們經(jīng)濟(jì)承受能力的東西和體驗(yàn)。”有些網(wǎng)紅會進(jìn)行自我安慰,覺得這些只不過是打造人設(shè)的必要投資,從而合理化這些消費(fèi)。她還指出,自從十幾年前有了網(wǎng)紅這個(gè)職業(yè)以來,雖然網(wǎng)紅的生活也變得更加透明了,但是很多網(wǎng)紅“肯定還過著某種不為人知的生活”。
要么富二代,要么去借債
康奈爾大學(xué)傳播學(xué)副教授布魯克·艾琳·達(dá)菲指出,現(xiàn)在的很多網(wǎng)紅本身就來自經(jīng)濟(jì)和社會食物鏈的頂端。她從10年前網(wǎng)紅經(jīng)濟(jì)剛剛興起時(shí)就開始關(guān)注網(wǎng)紅現(xiàn)象。她對《財(cái)富》雜志表示:“要在這樣一個(gè)高度飽和的市場上取得成功,光靠勇氣和運(yùn)氣是不夠的。”
Bad Bitch Book Club的創(chuàng)始人麥肯齊·紐科姆對《財(cái)富》指出:“大多數(shù)成功的網(wǎng)紅,背后都是有人可以依靠的,比如一個(gè)有錢的家人或其他什么貴人。”麥肯齊·紐科姆自己也是10年代一個(gè)炙手可熱的網(wǎng)紅,現(xiàn)在也在Instagram和TikTok上擁有8萬粉絲,但即便是在她當(dāng)時(shí)最紅的時(shí)候,她也很少處于沒有負(fù)債的狀況。她對《財(cái)富》感嘆道,如果你是單身,或者不是富二代,要當(dāng)網(wǎng)紅就更難了。“要當(dāng)一個(gè)Instagram上的網(wǎng)紅,你必須很有錢,沒錢的話就得去借債。”
如果你小有積蓄的話,那么當(dāng)網(wǎng)紅的第一步就是要掏空你的存款。比如卡爾維羅花了整整一年半才還清了自己的信用卡債,為了避免這種拆東墻補(bǔ)西墻的行為,卡爾維羅在2020年4月決定當(dāng)全職網(wǎng)紅后不久,便決心動(dòng)用自己的應(yīng)急存款,因?yàn)樗?dāng)時(shí)已經(jīng)到了連一分錢收入都沒有的地步。作為一個(gè)生活方式和美妝網(wǎng)紅,艾瑪·羅斯·萊熱表示她從來不借信用卡債,“但我確實(shí)曾經(jīng)好幾次把銀行賬戶里的錢花得一分不剩。”
2018年,在萊熱剛進(jìn)入網(wǎng)紅圈的時(shí)候,她曾經(jīng)在Instagram上發(fā)過一個(gè)帖子,那是經(jīng)典的小紅書風(fēng)格,通篇是海灘烘焙棕櫚樹的精致生活,與她同框的還有一幫同樣精致的網(wǎng)紅閨蜜。但在相機(jī)之外,她當(dāng)時(shí)的生活就遠(yuǎn)遠(yuǎn)談不上精致了。為了買機(jī)票,她提高了信用卡的消費(fèi)額度,剛一到目的地就沒錢花了。她甚至買不起那個(gè)網(wǎng)紅晚宴的入場券,只能在酒店大堂里吃免費(fèi)的招待水果。最后還是她姐姐給她匯錢來救急,她才勉強(qiáng)撐過了那個(gè)周末。
萊熱在Instagram上有62.3萬粉絲,在TikTok上有23.6萬粉絲。她對《財(cái)富》表示:“真實(shí)的網(wǎng)紅生活是什么樣的,你從局外人的角度,或者從社交媒體上都是無從得知的。在那個(gè)周末,我的銀行賬戶里真的是一分錢都沒有了。”
萊熱說,在成為一名全職網(wǎng)紅之前,她為了賺錢,差不多干了“天底下所有的工作”,包括遛狗、在餐廳當(dāng)服務(wù)員、在服裝店當(dāng)售貨員,以及做社交媒體運(yùn)營,等等。卡爾維羅也有類似的經(jīng)理,不過她同時(shí)還有一份朝九晚五的媒體營銷工作保底。即便她后來選擇當(dāng)一名全職網(wǎng)紅,她時(shí)不時(shí)也會接受其他網(wǎng)紅的咨詢,并且?guī)椭渌放苿?chuàng)作商業(yè)內(nèi)容,以開拓收入流。她表示:“大多數(shù)網(wǎng)紅都有其他的收入來源,只是他們自己不會說,因?yàn)橐徽f就會掉‘逼格’。”
既要正能量,也要透明度
到10年代中期,網(wǎng)紅經(jīng)濟(jì)缺乏透明度的特點(diǎn)日益成了一個(gè)大問題,特別是網(wǎng)紅們都不會公開他們收到的打賞或禮物——比如一個(gè)包、一個(gè)價(jià)值200美元的護(hù)膚品之類。網(wǎng)絡(luò)文化記者泰勒·洛倫茲就在她的新書《極度在線》(Extremely Online)中指出,很多名人和網(wǎng)紅都在自己的帖子和視頻里“夾帶私貨”“隱性帶貨”。2017年,美國聯(lián)邦貿(mào)易委員會對這一問題開展了打擊,并發(fā)出信件提醒這些網(wǎng)紅,必須要讓粉絲們知道他們與收到的打賞或禮物與其背后關(guān)聯(lián)企業(yè)的關(guān)系。然而此舉卻起到了反效果,網(wǎng)紅們夾帶私貨和隱性帶貨成了常態(tài),甚至以此為榮,將其成為了地位的象征,沒有帶貨的網(wǎng)紅甚至還會假裝自己在帶貨,以顯示自己有咖位。
網(wǎng)紅們還有很多其他方法偽裝高大上的生活方式。比如萊熱有時(shí)候會從朋友那里借一個(gè)好看的包包,有的時(shí)候甚至從商店里租借,為的就是發(fā)一張好看的照片。2016年,麥肯齊·紐科姆也成了租衣網(wǎng)站Rent the Runway的會員,但她從來沒有跟粉絲透露過這件事。“我會仔細(xì)檢查我穿的衣服的品牌,即使它們是租來的,就好像它們本來就是我的衣服一樣。”而且有意思的是,“所有網(wǎng)紅都覺得我肯定是借了信用卡債。”
后來,萊熱開始在TikTok上拍了一系列租衣穿搭的短視頻。達(dá)菲認(rèn)為,康奈爾大學(xué)傳播學(xué)副教授布魯克·艾琳·達(dá)菲表示,該系列短視頻的爆火,正是20年代“疫情時(shí)代TikTok崛起”所帶來的社交媒體格局大轉(zhuǎn)型的一個(gè)標(biāo)志。不過轉(zhuǎn)型帶來的一個(gè)新特點(diǎn),就是最成功的網(wǎng)紅未必都是有錢人了,“因?yàn)樗鼜?qiáng)調(diào)‘關(guān)聯(lián)性’,推薦算法也更強(qiáng)調(diào)‘適合你’。”
達(dá)菲還指出,病毒式傳播未必等于持續(xù)走紅。隨著TikTok等新興平臺的興起,加上短視頻、網(wǎng)店等功能的不斷更新,市場對內(nèi)容的要求日益苛刻,網(wǎng)紅必須投入更多精力和資金來創(chuàng)造優(yōu)秀的內(nèi)容。比如現(xiàn)在市面上出現(xiàn)了很多教你學(xué)習(xí)推薦算法和標(biāo)簽策略的網(wǎng)課,這就是一個(gè)例子。
達(dá)菲指出,目前要加強(qiáng)對網(wǎng)紅發(fā)布內(nèi)容真實(shí)性的監(jiān)管和規(guī)范仍然比較困難。很多網(wǎng)紅也唯恐自己“造人設(shè)”的伎倆被戳穿,因?yàn)檫@將面臨“掉粉”的風(fēng)險(xiǎn)。《財(cái)富》雜志采訪的所有網(wǎng)紅都表示,他們發(fā)現(xiàn)網(wǎng)友開始越來越青睞真實(shí)的網(wǎng)紅人設(shè),但真實(shí)也是一柄雙刃劍——粉絲之所以喜歡網(wǎng)紅,一定程度上也是為了逃避現(xiàn)實(shí),所以網(wǎng)紅們也是很難承受展示真實(shí)的自己可能帶來的后果的。
紐科姆表示:“所以這需要一種平衡,你既要當(dāng)一個(gè)正能量的網(wǎng)紅,但同時(shí)你也不想給人留下一個(gè)高高在上的印象,因?yàn)槿藗兒芸炀蜁龀雠袛嗟模绕涫窃谀壳暗慕?jīng)濟(jì)形勢下。”
“我們工作的目的,就是要為粉絲‘造夢’,給他們帶來正能量。”萊熱說。這就像她當(dāng)時(shí)剛加入網(wǎng)紅圈時(shí),很多旅行博主會拼命P圖,好讓景色變得更美一樣。“當(dāng)時(shí),一切都是為了造夢。”(財(cái)富中文網(wǎng))
譯者:樸成奎
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.”