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#masthead-section-label, #masthead-bar-one { display: none }The Coronavirus OutbreakliveLatest UpdatesMaps and CasesThe Stimulus DealThe Latest Vaccine InformationF.A.Q.AdvertisementContinue reading the main storySupported byContinue reading the main storyThe Fate and Fortunes of the Fashion-Adjacent EconomyInfluencers and street-style photographers changed the fashion ecosystem, creating an entirely new way of selling fantasy. Then came a pandemic.Paris Fashion Week 2018, when scrums of street-style photographers were part of the everyday scene.Credit…Acielle Tanbetova for The New York TimesElizabeth Paton and Dec. 21, 2020Tamu McPherson, one of the original street-style stars and a former editor of Grazia Italia, has 319,000 followers on Instagram. For years, many have watched her pose in immaculately styled outfits at runway shows, glittery parties and on vacation. During the fashion weeks in September 2019, Ms. McPherson, who was born in Jamaica and lives now in Milan, flew to New York and back four times to produce content for her Rolodex of clients, which include the jewelry brand Bulgari, the fashion label Etro and the fast-fashion retailer Mango.In 2020, the jet-setting stopped.“I haven’t been on a plane since March,” Ms. McPherson said this month. During the pandemic’s first lockdown, all of her brand partnerships were put on hold. For months she waited, uncertain of what might happen next. But in May, the phone started to ring again. Since then, it hasn’t stopped.“There is so much work coming in, and I know it is the same for many of my peers,” Ms. McPherson said. “The key difference is we don’t travel the world for our jobs anymore. Most of what we do is now being done from our living rooms.”In the last decade, a booming economy adjacent to the fashion industry has emerged. Largely powered by social media, it is made up of careers such as high-end fashion influencing and street-style photography. As companies increasingly look for new ways to reach customers, a growing coterie of these professionals has come to stand toe-to-toe with the traditional fashion elite, like magazine editors and photographers and stylists. Like so many, their livelihoods were derailed when the pandemic hit. But unlike other corners of the fashion industry still struggling to recover, some operators within the fashion-adjacent ecosystem say that, for them, business has never been better.The podcaster, consultant and writer Camille Charriere during Paris Fashion Week in September.Credit…Christian Vierig/Getty Images“It’s been my best year yet in terms of income and projects,” said Camille Charriere, a Parisienne in London with one million Instagram followers who is also a podcaster, consultant and writer. One reason for the influencers’ resilience is their relatively low overheads and production requirements — often as simple as a smartphone and ring light — which have allowed many to pivot nimbly to working from home. Lavish international photo shoots and red carpet events are still not feasible for most brands.Instead of continuing to channel those dollars into more traditional advertising mediums, like print magazines or billboard campaigns, many companies are focusing their spending on partnerships with influencers, who offer faster turnaround times, versatile messaging options and real-time product demonstrations.“We are very used to working alone and turning the camera onto ourselves to share personal experiences,” Ms. Charriere said. “The pandemic didn’t change that.” Still, she conceded that creating digital content with partner brands had become more “stage-managed” in recent years. There is a need for heightened sensitivity from both parties.Selling a slice of fantasy, particularly at a time when people are re-evaluating their moral relationship with consumption, has its dangers. Her focus is now on creating uplifting or relatable posts with a more homespun D.I.Y. feel — even if her content still hinges on outfits from Prada, Dior and Chanel. But this hasn’t been a very difficult transition; her more successful posts have always been her more personal posts.“What we provide is an intimatized sense of interaction with our way of living, whether that is at fashion weeks, eating toast or going to the grocery store,” Ms. Charriere said. “I didn’t cover fashion weeks, I covered myself going to fashion week, and that’s what I think my followers find interesting to see.”The Sidewalk EconomyBefore the pandemic, fashion weeks in February and September represented the most lucrative time of the year for both these high-fashion influencers and the photographers devoted to capturing them on the street — hired by publications and brands to capture the fashionable people filling seats at the fashion shows.But September was a different story. This fall, there were smaller shows and fewer heaving crowds of showgoers hovering on the sidewalks of Paris, Milan, London and New York “looking for their cars.”“In Paris, which is normally the busiest — you’re running to shows from the morning until the evening — some days there was literally just one physical show,” said the photographer Darrel Hunter, who is based in London and has been shooting fashion weeks since 2008.The Coronavirus Outbreak More