{"status":"ok","message-type":"work","message-version":"1.0.0","message":{"indexed":{"date-parts":[[2026,2,16]],"date-time":"2026-02-16T18:52:22Z","timestamp":1771267942069,"version":"3.50.1"},"reference-count":72,"publisher":"MDPI AG","issue":"14","license":[{"start":{"date-parts":[[2019,7,23]],"date-time":"2019-07-23T00:00:00Z","timestamp":1563840000000},"content-version":"vor","delay-in-days":0,"URL":"https:\/\/creativecommons.org\/licenses\/by\/4.0\/"}],"content-domain":{"domain":[],"crossmark-restriction":false},"short-container-title":["Sustainability"],"abstract":"<jats:p>The rise of Instagram, as the fastest growing social network in Spain and Portugal, and its incorporation into the communication strategies of beauty and fashion brands have posed some risks for younger followers in relation to the development of identity and self-esteem. A physical appearance acceptance movement has also begun, based on interaction with images, on which the social network is also based. The purpose of this research was to determine how attention is paid to fashion promotion and to the awareness of physical appearance acceptance by curvy influencers in comparison with communications by fashion brands on Instagram. The quantitative and qualitative methodology is based on the use of a biometric eye tracking technique applied to a sample of 120 participants from Spain and Portugal, matching the profile of the main users of Instagram: urban university women under 25 years old with an interest in fashion, and a self-perception as a curvy woman. The results point to more attention focused on the imperfections for which curvy influencers are raising awareness than on the fashion they promote when these awareness factors are more visible, as well as more attention focused on the fashion accessories worn by curvy brand models than those worn by the influencers, with specific and significant differences between Spanish and Portuguese audiences.<\/jats:p>","DOI":"10.3390\/su11143977","type":"journal-article","created":{"date-parts":[[2019,7,23]],"date-time":"2019-07-23T10:44:51Z","timestamp":1563878691000},"page":"3977","update-policy":"https:\/\/doi.org\/10.3390\/mdpi_crossmark_policy","source":"Crossref","is-referenced-by-count":21,"title":["Fashion Promotion on Instagram with Eye Tracking: Curvy Girl Influencers Versus Fashion Brands in Spain and Portugal"],"prefix":"10.3390","volume":"11","author":[{"ORCID":"https:\/\/orcid.org\/0000-0001-9129-5673","authenticated-orcid":false,"given":"Luis","family":"Ma\u00f1as-Viniegra","sequence":"first","affiliation":[{"name":"Department of Applied Communication Science, Complutense University of Madrid, 28040 Madrid, Spain"}]},{"given":"Ana-Isabel","family":"Veloso","sequence":"additional","affiliation":[{"name":"Department of Communication and Art, University of Aveiro, 3810-193 Aveiro, Portugal"}]},{"given":"Ubaldo","family":"Cuesta","sequence":"additional","affiliation":[{"name":"Department of Theories and Analysis of Communication, Complutense University of Madrid, 28040 Madrid, Spain"}]}],"member":"1968","published-online":{"date-parts":[[2019,7,23]]},"reference":[{"key":"ref_1","unstructured":"IABspain.es (2019, June 06). 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