For the past 14 years, Grace Mongey Gernan, an influencer aged 36, has been sharing content on various social platforms, leading to a successful career. Specialising in beauty, lifestyle, and fashion, she stands as an original Irish influencer who efficiently transformed her online popularity into a steady income source. Originating in an era where Instagram was yet to be established, she has now gained a following of 137,000 on the platform, identified by her moniker @facesbygrace23.
At 23, living overseas, Mongey Gernan discovered the emerging phenomenon of beauty tutorials, created by American YouTubers, becoming fascinated by this fresh community of ‘beauty gurus’. Completing her degree abroad and her return to Dublin were marked by taking up a night course in make-up. Subsequently, in 2011, she emerged in the digital space, launching both a Facebook page and a YouTube channel, which instigated her rise to popularity—an era before the term “influencer” was recognised.
Back then, her efforts were not about financial gain. However, as she began sharing her content on Snapchat, a platform that accommodates instant content sharing, she noticed a significant growth in her popularity. At that juncture, Mongey Gernan abandoned her career as a make-up artist to devote herself fully to her online career, a decision she never regretted.
Currently, creating content has become second nature to her, often inspired by spontaneous moments rather than seeking out trend-driven content. Despite a stable follower count for the past five years, she is content with her loyal and supportive female audience. Unlike other influencers raking up views with daily TikTok videos, she prefers a less strenuous approach, choosing to share glimpses of her everyday life, with all its ups and downs.
Commencing journeys in the realm of success often drive people to envisage their own similar career trajectories. The occupation of a full-time influencer has evolved into a massive industry. Enormous assembly line-style ‘influencer farms’ in Asia, producing substantial quantities of e-commerce videos, represent a sector worth billions. Similarly, ‘YouTube camps’ in the United States offer tutorials for budding young artists to enhance their skills. Ireland even offers an academic qualification in Content Creation and Social Media at SETU Carlow.
The allure of fame and prosperity is captivating the younger generation, prompting them to stride in the footsteps of influencers like Mongey Gernan. An escalating trend of youths yearning to become social media sensations is visible worldwide, outperforming the popularity of traditional career aspirations like being a fashion designer or sports person.
Young influencers are amassing a fan base through their varied posts, whether they’re crafting bracelets, flaunting dance moves, promoting perfumes or cosmetics. Children, barely nine years old, share videos inviting audiences to join them in their routine activities or to review toys and attire.
The advent of influencers has disrupted the conventional spheres of influence. During an interview on Claire Byrne’s RTÉ Radio 1 show in May, RTÉ 2FM’s head of radio, Dan Healy, addressed the situation in which several key 2FM presenters, influential figures with significant brand affiliations and substantial financial assets, had departed the station over a timeframe of a few weeks.
Healy’s discussion about replacing a presenter with a new possible “influencer”, capable of engaging even a 15-year-old audience, fuelled a debate regarding how an online figure, often just a comedic or lifestyle sharer, could fit into a role traditionally reserved for qualified and experienced recruits.
Adding another layer to the conversation is the emergent world of podcasting. While successful attempts are still sporadic in a near saturated market, they have the potential to secure significant financial gains and propel creators to widespread fame. For instance, the former 2FM broadcasters and podcast hosts, The 2 Johnnies, enjoyed a shared remuneration of €404,183 from their company last year. Such digital success stories challenge the position of existing mainstream media figures.
Renowned DJ Gareth O’Callaghan, previously of 2FM, ardently expressed at the time that the struggles with the radio station could be attributed to RTÉ’s newly enforced regulations that required presenters to disclose their personal financial endeavours beyond their roles at 2FM.
Gareth reminisces his days at RTÉ where his primary affiliation was to the 2FM/RTÉ brand rather than a personal brand, distinctly contrasting the trend with today’s ‘influencers’. He explains that the dynamics of brand marketing have greatly transformed with the emergence of influencers. An established hierarchy now prevails, where the goal is to first become an influencer, and then progress to attain ‘celebrity influencer’ status. He finds this trend puzzling and in its early stages but predicts massive growth in the next five years. The case of The 2 Johnnies is a prime example of this, as they came and left with their audience, demonstrating their power.
Despite criticisms he faced, Healy’s argument that 2FM is an unparalleled platform for aspiring media personalities and influencers might not be completely baseless. In 2024, influencers hold significant sway due to their multi-platform content covering Instagram, TikTok, etc. The reciprocal self-promotion that stands as the core of this model involves brands trying to reach their target audience, while influencers aim to grow their follower count and wealth.
This trend is initiating internal shifts within corporations globally. The position of employees who have strong online presence is rapidly rising within the company hierarchies. They are typically young, fresh hires, often viewed as novices by more experienced colleagues. Billed as employee-generated content (EGC), these personnel are emerging as the faces of their respective companies. This shift, termed the “Emily in Paris Effect”, refers to a popular Netflix series and has resulted in younger employees involved in all sorts of activities, including playing pranks on their bosses or participating in current TikTok fads with coworkers, all while serving as brand advocates.
Ashley McDonnell, a specialist in technology and luxury from Galway now based in France, emphasises the importance of having a team member proficient in social media for any business. Failing to do so can result in lost opportunities and an edge to competitors. In turn, outsourcing this role can be a short-term solution, but may have long-term consequences, such as losing control of the company’s voice and paying a premium price for it.
In the realm of marketing, one’s prowess with platforms such as Instagram and TikTok is now a critical factor in determining their suitability for a social media or marketing manager position. Someone with a private account and minimal online presence raises questions, and may not be capable of devising and executing an exemplary social media and marketing strategy, if they are not well-versed with the platform themselves. It’s always advantageous when applicants already possess these skills.
While the term “influencer” may seem a recent invention, it has actually been a part of our world for hundreds of years. An early influential figure was the esteemed British potter, Josiah Wedgwood, whose designs for a tea set for Queen Charlotte, George III’s wife, in 1760, turned him into a royal favourite and established a brand that’s still recognised today.
High-profile celebrity endorsements became exceptionally popular in the 1980s, particularly within the domains of sports and music. Some noteworthy collaborations include, Michael Jordan’s deal worth millions with Nike, and rap icons Run DMC’s €1.6 million sponsorship arrangement with Adidas.
The emergence of social media in the late 1990s and early 2000s saw a surge in bloggers and online personalities who grabbed the attention of brands scouting cost-effective ways to promote their products.
Before the term ‘influencer’ became mainstream in 2015 and was officially acknowledged as a source of revenue in 2022 by Forbes through its ‘top creator’ listing, there were those who pioneered in this field. In ranking the world’s riches’, Forbes has also categorized influencers into different categories; nano-influencers are those with a following under 5,000 while those boasting between 5,000 and 25,000 followers are referred to as micro-influencers, as stated by Lynn Hunter from The Collaborations Agency.
In the year 2023, the list of wealthiest influencers according to Forbes was led by YouTuber from Kansas, Jimmy Donaldson, known as MrBeast, who made a staggering income of €74 million ($82 million), chiefly from his challenges and stunt videos. Right behind him was Olajide Olantunji, a video game commentator transformed rapper and boxer, who pulled in €24 million. In partnership with Logan Paul, a well-known influencer with a notoriously controversial reputation, Olantunji introduced Prime Hydration drinks, which were incredibly popular with their younger followers.
Irish influencers, although they might not match these enormous earnings, still make a tidy sum. By being dominant in smaller markets, they have managed to generate significant incomes, particularly from apparel and beauty products. One of the highest earners among the local online celebrities, Suzanne Jackson of the SoSueMe brand, has an estimated net worth of €8.8 million. Other influencers including Aimee Connolly and Vogue Williams earned in the vicinity of €6.55 million and €1.3 million respectively.
Instagram, an essential platform for influencers, can deliver thousands of euros per promotional post if you possess a significant fan base and star power. Nonetheless, the influencer industry is crowded and fiercely competitive, constantly pushing for innovative, amusing and captivating content. Yet, Lynn Hunter from The Collaborations Agency – the first Irish company to leverage online talents as brand ambassadors – still clearly asserts it as a viable career choice. If she had to reset her career, she’d operate a nail salon, a fast-food restaurant and a hairdressing salon plus be a content creator.
In the realm of online influence, there are two key categories of influencers: nano and micro. Nano influencers boast up to 5,000 followers, whereas those categorised as ‘micro’ have a following of between 5,000 and 25,000. Regardless of follower count, for a campaign like Tayto for example, the importance of an influencer with a small, engaged following is equivalent to the significance of one with a larger audience reach. Therefore, the blend of micro and nano influencers can secure considerable reach.
Despite a modest follower count on platforms like TikTok, the possibility of viral content creation remains high. Providing the content is intelligent and of high standard, it has the potential to reach a wide audience. There isn’t a prescriptive guide, but generating quality content is an excellent starting point.
One prominent creator, a full-time makeup artist living in Dublin named Elaine Cruz, known online as @1misscruz, has a substantial Instagram following of 49,000. Aged 42, she views herself as an ‘inadvertent influencer’, even though a talent agency has connected with her. She cringes at the thought of being more than someone casually chatting about trivial topics to her digital following.
Her main income doesn’t stem from the internet, hence her understanding of why full-time influencers frequently run adverts. She distinguishes herself as fortunate enough to be able to be selective about her work. For Cruz, social media began to take centre stage during her travels in southeast Asia, serving as a channel to assure her family of her safety and share her experiences.
In the aftermath of speaking out about the Black Lives Matter movement and the experiences of the black community in Ireland, she saw her follower count surge in 2020. The thousands of new followers she gained within a day more than overwhelmed her, adversely impacting her mental health. Despite this, she still views social media as a personal journal and uses it as a platform to vocalise her thoughts and emotions.
Cruz’s dynamic online presence embodies engagement, humour, and a strong connection with women in her age group. However, the concern of negative feedback constantly lurks beneath the surface of her outgoing facade.
Describing her experiences as an Irish-born woman of colour, she admits to preparing herself mentally, physically and emotionally each time she shares content online due to the bullying and trolling she continually faces. She recounts a 15-week long trolling saga as a response to a six-second concert video of her and her sister singing, apparently a backlash for daring to be black and Irish.
Nevertheless, she acknowledges the potential income from brand partnerships who desire their products to be featured. The term ‘influencer’, she believes, has become common due to its deep ties with advertising, likening the practice to a modern-day rendition of QVC, the shopping channel.
Renowned Communications and Media professor Jonathan Hardy explains that the integrative nature of influencer marketing combined with the influence of reliable influencers diminishes the ability of children to discern marketing communications.
She underlines her view that being an excellent influence does not necessitate being an influencer. Her choice not to conduct numerous paid advertisements is clear. However, she agrees that no opportunities to earn some money should be dismissed. Her fondness for product suggestions is evident in her recommendations to her followers. The acceptance of an ad offer from a brand she already promoted unpaid four times previously was obvious to her.
In her perspective, the advantages of social media outweigh the negatives. However, she raises concerns for budding influencers with less experience and their equally susceptible followers.
Stephen Donnelly, Minister for Health, proposes a ban on social media for those under 16 years old. Norma Foley, Minister for Minister, supports the ban of smartphones in primary and secondary schools, a move endorsed by the Irish Medical Organisation (IMO), labelling the usage among children and young adults as a severe nationwide concern.
The harmful effects listed include cyberbullying, sexual exploitation and exposure to harmful content, alongside the potent influence of social media influencers over their audience.
Focused on addressing the challenges of advertorial material integrated within content, Jonathan Hardy, a communications and media professor at the University of the Arts London, takes a particular interest in influencer marketing. He observes that children’s abilities to discern between editorial and advertising messages are seemingly diminished by such covert marketing techniques and the indisputable allure of trusted digital influencers. To combat this, Hardy advocates for more stringent enforcement of advertorial disclosures, coupled with a broader focus on media education and literacy from primary school age.
He emphasises the importance of enlightening children to the realities behind the facade – a magnifying lens on the world of influencer marketing. A deeper comprehension of monetisation strategies employed by influencers, as well as the disproportionate level of ad-supported success stories versus those precariously poised or plainly subsidising their work, may lessen the appeal of the influencer lifestyle. These efforts could also provide youngsters with a wider perspective on the range of potential careers, beyond the fickle nature of influencer stardom.
Mongey Gernan, with a 14-year experience in the field, concurs, expressing concern over the escalating challenges in the influencer sphere owing to its ballooning popularity. If starting again with no followers, Gernan believes building a following would be a daunting task given her first-hand knowledge of the industry’s potential toxicity. Guided by her maternal instinct, Gernan wouldn’t coax her children into following the same path, yet if they did, she’d advise them to treat it as a pastime alongside acquiring a degree – a safety net of sorts.