Against the backdrop of the widespread individualization of the creative workforce, various genres of social media production have emerged from the traditionally feminine domains of fashion, beauty, domesticity, and craft. Fashion blogging, in particular, is considered one of the most commercially successful and publicly visible forms of digital cultural production. To explore how fashion bloggers represent their branded personae as enterprising feminine subjects, we conducted a qualitative analysis of the textual (n = 38 author narratives) and visual (n = 760 Instagram images) content published by leading fashion bloggers; we supplement this with in-depth interviews with eight full-time fashion/beauty bloggers. Through this data, we show how top-ranked bloggers depict the ideal of “having it all” through three interrelated tropes: the destiny of passionate work, staging the glam life, and carefully curated social sharing. Together, these tropes articulate a form of entrepreneurial femininity that draws upon post-feminist sensibilities and the contemporary logic of self-branding. We argue, however, that this socially mediated version of self-enterprise obscures the labor, discipline, and capital necessary to emulate these standards, while deploying the unshakable myth that women should work through and for consumption. We conclude by addressing how these findings are symptomatic of a digital media economy marked by the persistence of social inequalities of gender, race, class, and more.

Despite widespread interest in the changing technologies, economies and politics of creative labour, much of the recent cultural production scholarship overlooks the social positioning of gender. This article draws upon in-depth interviews with 18 participants in highly feminized sites of digital cultural production (e.g. fashion, beauty and retail) to examine how they articulate and derive value from their passionate activities. I argue that the discourses of authenticity, community building and brand devotion that they draw on are symptomatic of a highly gendered, forward-looking and entrepreneurial enactment of creativity that I term ‘aspirational labour’. Aspirational labourers pursue productive activities that hold the promise of social and economic capital; yet the reward system for these aspirants is highly uneven. Indeed, while a select few may realize their professional goals – namely to get paid doing what they love – this worker ideology obscures problematic constructions of gender and class subjectivities.

This chapter argues that the gendered history of the producer/consumer binary is a multifarious one, structured through evolving norms about women's social positioning within various spheres, most especially the public and private domains. Fortunately, these rudimentary—and overwhelmingly patriarchal—norms have been challenged on a number of fronts, and once-airtight boundaries are being slowly effaced. Yet the specter of traditional, gender-based divisions lingers on. Thus, while female workers have made substantial gains in the labor force since the women's liberation movement, occupational inequalities and social hierarchies persist—though they are much too often brushed aside with narratives about innate “gender differences” or, alternatively, “pipeline problems.”

Social media users are routinely counseled to cultivate their online personae with acumen and diligence. But universal prescriptions for impression management may prove for vexing for college students, who confront oft-conflicting codes of normative self-presentation in digital contexts. Against this backdrop, our research sought to examine the online self-presentation activities of emerging adults (18–24) across an expansive social media ecology that included Facebook, Instagram, LinkedIn, Snapchat, and Twitter. Drawing upon in-depth interviews with 28 Fcollege-aged youth, we highlight how the imagined surveillance of various social actors steered their self-presentation practices in patterned ways. After exploring three distinct responses to imagined surveillance—including the use of privacy settings, self-monitoring, and pseudonymous accounts (including “Finstas,” or fake + Instagram)—we consider the wider implications of a cultural moment wherein users are socialized to anticipate the incessant monitoring of social institutions: family, educators, and above all, (future) employers.

Although the digital economy's guiding logics of attention and visibility rouse social media users to put themselves out there, individuals experience digital visibility in profoundly uneven ways. For women, in particular, the public nature of online communication is fraught with risk, opening the potential for ridicule, hate, and harassment. This research explores the vexed nature of visibility among Instagram content creators, a community that is especially beholden to this so-called "visibility mandate." Drawing on in-depth interviews with 25 aspiring and professional Instagrammers, we show how they attempt to stave off potential critique in patterned ways. In their efforts to project themselves as authentic, many sought to deflect accusations of being too real, and, alternatively, as being not real enough. We argue that this uniquely gendered form of a socially mediated "authenticity bind" indexes the wider policing of women and other marginalized communities in digitally networked spaces, wherein they must carefully toe the line between visibility and vulnerability.