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From John and Yoko to Miley Cyrus, Annie Leibovitz to David LaChapelle, the cover of Rolling Stone has always been an art form in its own right. Mota, who graduated from high school last year and still lives with her parents in a quiet northern California city theya€™d prefer remain confidential, is a a€?haul videoa€? superstar. Subjected to this Warholian monologue over lunch, most of us would probably ask for the check.
While YouTube has been a launchpad for celebrities in the past (for instance, Justin Bieber), the Mota deal is perhaps the highest profile alliance to date between a public company and a celebrity whose exposure is almost completely limited to social media.
I arrange to meet Mota at the Westfield a€” a mall in San Francisco a€” on the Friday after Christmas. Following these brief encounters, some of Motaa€™s throng are too dazed even to check their phones. As Mota tells it, she discovered YouTubea€™s beauty community after a friend started bullying her online. The production values in Motaa€™s first video, a Mac and Sephora makeup haul from June 2009, which she made by balancing a camera on a stack of stuff because she didna€™t have a tripod, dona€™t meet her current standards. Now you can explore all our covers, and read full articles from classic issues dating back to our 1967 launch in our brand-new Cover Wall.


Motaa€™s most popular YouTube channel has more than 4.8 million subscribers a€” more than Lady Gagaa€™s. In this YouTube genre, women a€” almost always women a€” go shopping and then discuss their latest a€?haulsa€? for the camera. No stylists, no editors, no models stomping down the runway: Just a kid in her room with a pile of shopping bags. There are Bethany Mota sweaters, Bethany Mota skirts, and even a Bethany Mota sequined bustier.
The idea behind Motaa€™s partnership deal, says Motaa€™s agent Max Stubblefield of the United Talent Agency, a€?was, by design, to prove the model.a€? If it works with consumers, get ready for a defiantly prosaic new microfame golden age that makes reality shows like a€?Jersey Shorea€? and a€?The Hills,a€? with their trumped-up feuds and pseudo-cliff-hangers, seem as stylized as classical ballet.
Mota, wearing a dark pink skater skirt, wedges that playfully riff on work boots, and a backless sweater from her collection, receives everyone with hugs, smiling for their selfies (or more accurately, usies) and signing autographs. As her viewership numbers grew, reading the comments on her videos and tweeting with her fans became a dependable pick-me-up.
Einfach einePause im schnellebigen Alltag machenohne der Zeit Beachtung zu schenkenist ein Erlebnis, das ich gerne teile. As of this writing, upward of 2.2 million souls follow her on Instagram a€” more than Vogue, Elle, Marie Claire, Glamour, and Cosmopolitan combined.


In one recent video that has racked up more than 600,000 views, Mota shows off a series of blouses, hair accessories, and beauty products, as well as a sunflower dress. But she remains very much a phenomenon of social media: a celebrity whom Us Magazine will never have to assert is a€?just like usa€? because, for all intents and purposes, she is us. But Mota had tweeted to her million-odd followers that shea€™d be making an appearance, and I arrive to find her surrounded by several dozen girls. After meeting her idol, the nervous young woman prances in place and graciously thanks Motaa€™s father for having given the world his daughter. Uncoached and self-taught, shea€™s the strongest indication yet that what teenagers really want to watch is themselves.



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