Influencer Sarah Ashcroft's SLA collapse highlights risks of social-media-driven fashion

British influencer Sarah Ashcroft built SLA into a near-£5 million revenue operation by early 2024, but the label entered liquidation the following year. Ashcroft, 31, rose to prominence documenting her outfits for a 1.2 million-strong Instagram audience, with brands and followers watching as her company grew from a £450,000 first year to a breakthrough Black Friday weekend that propelled revenue toward £5 million. The profile she built—showcasing daily outfits, glossy campaigns and shoppable links—helped attract collaborations and a loyal fan base, while the broader influencer economy expanded into a multi-billion-dollar industry. Yet behind the polished feed lay financial fragility and a series of decisions that would ultimately expose the vulnerabilities of turning social media clout into a repeatable fashion business. The influencer economy has been widely reported as a global market worth hundreds of billions of dollars, with surveys noting broad consumer trust in influencer recommendations and a significant share of purchases tied to these endorsements. The cautionary arc of SLA sits at the intersection of online fame and real-world supply chains, where a single restock misstep can ripple through a company’s cash flow and reputation.

From a blog started in 2013 to brand collaborations with Missguided and In The Style, Ashcroft launched SLA in 2019 with £18,000 of her own money. With no formal business training, she believed that 100% of the commissions from affiliate links could translate into a scalable brand. Her Paloma glitter suit and other partywear items sold quickly, and during the pandemic the demand kept rising. By 2021 she had one employee; the following years saw steady growth—almost £3 million in year three, and nearly £5 million in year four, anchored by a single strong Black Friday weekend in 2023. Yet repeated viral hits created cash-flow risk: restocks took weeks, hurting liquidity. Image: Sarah Ashcroft photo

Then came 2024: a major restock of best-sellers valued at £450,000 arrived, but the stock's fit and quality were off. The Paloma blazer was 5 cm larger than the pattern; glitter debris damaged sofas and cars; the fabric tested lighter than approved; suppliers denied changes; Ashcroft recalled the faulty stock and refunded customers, but the website had little to sell for about three months as she tried to secure funds to restock. The upheaval coincided with the end of her eight-year relationship with Joe Ellyatt; she described feeling alone as the business faltered and creditors pressed for payment. While the brand’s public narrative remained upbeat on social media, the operational stress grew rapidly as stockouts persisted and cash ran tight.

By February 2025 SLA liquidated. Ashcroft said she had considered suing suppliers but that pursuing cases against Chinese manufacturers is notoriously difficult without solid contracts. She recalled funding payroll for three months from her own bank account to keep her staff afloat; six employees at the end were like a family, she said. The emotional toll was heavy; she called the experience transformative and said: "The old me is dead. This process has changed me beyond words." The end came as legal and financial pressures mounted, and the brand could not sustain its workforce or its promise after the restock fiasco. The personal toll extended beyond the business, with Ashcroft describing a period of mental strain and isolation as she navigated the collapse and its aftermath.

Today Ashcroft has resurfaced in the industry as chief design director of Oh Polly, a UK fast-fashion partywear brand with millions of followers. She says the role is a real full-time job, not an influencer collection; and she notes that her audience remains engaged. The broader business environment for influencers remains large: the industry is valued at hundreds of billions of dollars, with a majority of consumers saying they trust influencer recommendations, and many purchases tied to social-media activity. The shift signals a cautious pivot from founder-CEO to a design-focused executive role, as the influencer economy continues to evolve and brands seek more sustainable paths to scale rather than relying on viral hits alone.

Observers say SLA's downfall underscores how dependence on a single supplier, cadence of restocks, and cash reserves can derail even high-growth ventures that ride the influencer wave. The story also illustrates the tension between online audiences as shop windows and the reality of supply chains in fast fashion. Ashcroft's followers continue to follow, and her new position could help renew her public profile as she navigates a post-SLA chapter that blends cautionary lessons with a chance at a steadier career in design.