Papers by Anne Peirson-Smith
Business and Professional Communication Quarterly, 2014
ABSTRACT This article investigates student behaviour on collaborative assignments, looking at the... more ABSTRACT This article investigates student behaviour on collaborative assignments, looking at the relationship between task type and interaction, and considers the implications for task design. Students reported on interactions in a year-long workplace-focussed group communication project, comparing these with interactions on other academy-based group assignments. Differences were seen in the amount of brainstorming, the criteria for dividing up work, the intensity of editing, and how conflict was managed. Contributing factors to these differences included the presence or absence of a creative element, the instrumental nature of the task, and the need for a collective approach inherent in the task design.
Special Issue of the Journal Fashion Practice on Fashion Branding
Thesis (Ph. D.)--University of Sheffield, 1994.
Advertisers have spent a fortune perfecting the art of selling us products that we don't need... more Advertisers have spent a fortune perfecting the art of selling us products that we don't need, by appealing to our insecurities. For women these can be many, since this culture often encourages us to be dissatisfied with our bodies from an early age. The fashion industry requires us to buy what it sells." Caryn Franklin (1999. 1). "Most of the time most adult individuals do not perceive themselves to be in the market for the product being advertised. Even when they are, commercials very often miss-hit or overshoot their target. Commercials regularly miscommunicate because the actual audiences they address are quite different from the hypothesized or targeted audience "(Keane, 1991 86-87) "I'm looking for clothes that suit me to a T.
Journal of applied biomechanics
The link between static and dynamic landing lumbar postures, when gymnasts are exposed to large g... more The link between static and dynamic landing lumbar postures, when gymnasts are exposed to large ground reaction forces, has not been established. This investigation aimed to (a) determine if a relationship exists between sagittal static and dynamic landing lumbar spine angles at peak ground reaction force (GRF) and (b) quantify how close to end-range postures the gymnasts were at landing peak GRF. Twenty-one female gymnasts' upper and lower lumbar spine angles were recorded: statically in sitting and standing, during landing of three gymnastic skills, and during active end-range lumbar flexion. Pearson's correlations were used to investigate relationships between the angles in different postures. Significant correlations (r = .77-.89, p <.01) were found between all the static/dynamic postures in the lower lumbar spine angle, while fewer and less significant upper lumbar spine correlations were reported. Thirty percent of gymnasts landed a backsault with their lower lumbar...
Global Fashion Brands: Style, Luxury & History, 2014
ABSTRACT This chapter focuses on the current fashion retail trend to use guest celebrity fashion ... more ABSTRACT This chapter focuses on the current fashion retail trend to use guest celebrity fashion designers by high street fashion brand H&amp;M from 2004 onwards as a commercial promotional strategy resulting in global urban scenes of customers queuing for hours in all weather conditions pre-opening, followed by locust-like scenes of frenzied shoppers emptying racks and shelves of designer branded items in seconds with resulting media buzz. This form of social construction is intended to concretize the abstract symbolic nature of fashion in the global marketplace. As the fashion system is increasingly image driven, designers are personified, individualized and aestheticized, whilst also branded and co-branded by the cultural intermediaries whose job it is to align and position them within a consumer niche of shared values and lifestyles. These symbiotic relationships borrow interest from each other as trickle-down and bottom-up brands cohabit in the interests of establishing brand visibility and credibility amongst aspirational consumers. A qualitative study of H&amp;M consumers using focus groups and interviews will suggest that whilst the intentions of co-branding strategies to motivate consumers to trade upwards by implementing celebrity designer crossover collections has been largely successful in engaging fashion brand fans, there is evidence of increasing consumer agency, cynicism and saturation with regard to this strategy in view of changing economic conditions and evolving consumer needs.
Fashion Practice: The Journal of Design, Creative Process & the Fashion, 2013
ABSTRACT This article examines two small-scale, contemporary fashion brands in Hong Kong and Beij... more ABSTRACT This article examines two small-scale, contemporary fashion brands in Hong Kong and Beijing. By analyzing the literature and conducting grounded research, it intends to compare and contrast the ways in which they position fashion brands in their respective fashion centers as global commodities. Also, the article addresses how and why designers compete in the marketplace using a fashion storyline of “star” designer brand strategies imitating large-scale fashion brands by implementing a range of designer-focused promotional approaches. Additionally, it maps the evolution of the fashion industry market in both geographic localities from fashion garment producer to aspirational fashion design innovator from the perspective of a small-scale creative industries enterprise and the branding strategies that they use to achieve this.
Energy Economics, 2009
... a fully integrated topdown and bottomup model to analyze climate change policies based on .... more ... a fully integrated topdown and bottomup model to analyze climate change policies based on ... based on the three pathways and explores the impacts of some climate change policy ... The EMF 22 policy scenarios specify three US emission targets through 2050 along with the ...
This chapter explores creativity in the collaborative writing practices of public relations firms... more This chapter explores creativity in the collaborative writing practices of public relations firms. In the previous chapter in this section, the focus was on the hybrid, intertextual and negotiated character of creative texts in corporate and professional contexts. While this chapter will also be concerned with hybridity and intertextuality in creativity, its main focus will be less on creative products and more on the social processes which result in this creative hybridity, on the kinds of discursive tools people use to support these processes, on the kinds of social relationships that facilitate them, and on the ways novices in professional contexts are socialized into them.
Global Fashion Brands: Style, Luxury & History, 2014
Fashion branding is more than just advertising. It has been defined as the cumulative image appro... more Fashion branding is more than just advertising. It has been defined as the cumulative image approach targeting customers with products, advertising and promotions organized around a coherent image. It helps to encourage the purchase and the repurchase of consumer goods from the same company. While historically, fashion branding has primarily focused on consumption and purchasing decisions, recent scholarship now challenges old methods suggesting that branding is a process that needs to be analysed from a stylistic, luxury and historical pop cultural view using critical, ethnographic, individualistic, or interpretive meth¬ods. In this book authors explore the meaning behind fashion branding in the context of the contested power relations underpinning the production, marketing and consumption of style and fashion as part of our global culture.
Kong, where she teaches and researches fashion culture and communication, branding, and popular c... more Kong, where she teaches and researches fashion culture and communication, branding, and popular culture, and is currently researching youth fashion trends in Southeast Asia.
Kong, where she teaches and researches fashion culture and communication, branding, and popular c... more Kong, where she teaches and researches fashion culture and communication, branding, and popular culture, and is currently researching youth fashion trends in Southeast Asia.
Kong, where she teaches and researches fashion culture and communication, branding, and popular c... more Kong, where she teaches and researches fashion culture and communication, branding, and popular culture, and is currently researching youth fashion trends in Southeast Asia.
Conference Presentations by Anne Peirson-Smith
The cultural and creative industries (CCI) have proven to be a driving force of economic growth i... more The cultural and creative industries (CCI) have proven to be a driving force of economic growth in today’s globalized economy. In light of the rising importance of the “knowledge economy”, the SAR government has in the past decade emphasized creative industry development as a new and significant pillar of the Hong Kong economy, which can be seen through extensive coverage of its inclusion in annual policy addresses and continual allocation of budgets since 1999. With an annual growth rate of 9.4% (compared to 5.6% of general growth), the creative industry contributed 4.9% to the GDP in Hong Kong in 2012. From 2011 to 2012, the GDP generated by the creative industry increased by 9.2% to HK$9.78 billion, and sustains approximately 200,000 creative jobs across a range of sectors from media, fashion to the animation industry. The future of Hong Kong’s creative industries seems to have great potential for economic growth and generating jobs given the favourable work conditions of creative labour that are increasingly attracting a considerable amount of young, educated individuals to enter the field.
Beneath this ideological optimism, however, the real conditions facing creative workers globally often contradict popular assumptions. Cultural industries scholars Hesmondhalgh and Baker (2010: 18) have observed that the realities of this creative sector are not so positive as large proportions of creative industry workers often struggle with the levels and quality of work. These problems appear to reside in feelings of “self-exploitation”, a blurring of work and leisure, feelings of isolation and anxiety, lack of solidarity, autonomy, job security plus a perceived lack of social recognition (Gill 2002; Ross 2003; Ngai, Chan and Yuen 2014; Chan, Krainer, Diehl, Terlutter & Huang 2015; Tse 2015).
There is a critical need to undertake a rigorous qualitative investigation into the creative industries policy discourse aiming to boost the local creative economy and to match this up with the actual experiences and working conditions of creative workers, in addition to the resulting impact on future sustainable development for the creative industries. Starting in May 2016, the study will generate in-depth, qualitative findings to complement the previous quantitative research focused on deriving economic values of the industries. An ethnographic study of the industries drawing upon subjective experiences of creative workers will identify areas that will aid in formulating policies of higher relevance and applicability. By investigating the professional and social lives of industry workers, crucial structural measures may be suggested, such as those that mitigate the exploitative nature of work conditions to retain a substantial and capable pool of creative labor.
This project is expected to inform the direction of the rapidly evolving creative business environment, and signal the most appropriate government policy response to ensure equitable creative labor management. By focusing on three selected industries – public relations and advertising, television and print media, qualitative research methodology including interviews will elicit ethnographic narratives of work experiences, to generate research data for analysis resulting in future policy recommendations.
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Papers by Anne Peirson-Smith
Conference Presentations by Anne Peirson-Smith
Beneath this ideological optimism, however, the real conditions facing creative workers globally often contradict popular assumptions. Cultural industries scholars Hesmondhalgh and Baker (2010: 18) have observed that the realities of this creative sector are not so positive as large proportions of creative industry workers often struggle with the levels and quality of work. These problems appear to reside in feelings of “self-exploitation”, a blurring of work and leisure, feelings of isolation and anxiety, lack of solidarity, autonomy, job security plus a perceived lack of social recognition (Gill 2002; Ross 2003; Ngai, Chan and Yuen 2014; Chan, Krainer, Diehl, Terlutter & Huang 2015; Tse 2015).
There is a critical need to undertake a rigorous qualitative investigation into the creative industries policy discourse aiming to boost the local creative economy and to match this up with the actual experiences and working conditions of creative workers, in addition to the resulting impact on future sustainable development for the creative industries. Starting in May 2016, the study will generate in-depth, qualitative findings to complement the previous quantitative research focused on deriving economic values of the industries. An ethnographic study of the industries drawing upon subjective experiences of creative workers will identify areas that will aid in formulating policies of higher relevance and applicability. By investigating the professional and social lives of industry workers, crucial structural measures may be suggested, such as those that mitigate the exploitative nature of work conditions to retain a substantial and capable pool of creative labor.
This project is expected to inform the direction of the rapidly evolving creative business environment, and signal the most appropriate government policy response to ensure equitable creative labor management. By focusing on three selected industries – public relations and advertising, television and print media, qualitative research methodology including interviews will elicit ethnographic narratives of work experiences, to generate research data for analysis resulting in future policy recommendations.
Beneath this ideological optimism, however, the real conditions facing creative workers globally often contradict popular assumptions. Cultural industries scholars Hesmondhalgh and Baker (2010: 18) have observed that the realities of this creative sector are not so positive as large proportions of creative industry workers often struggle with the levels and quality of work. These problems appear to reside in feelings of “self-exploitation”, a blurring of work and leisure, feelings of isolation and anxiety, lack of solidarity, autonomy, job security plus a perceived lack of social recognition (Gill 2002; Ross 2003; Ngai, Chan and Yuen 2014; Chan, Krainer, Diehl, Terlutter & Huang 2015; Tse 2015).
There is a critical need to undertake a rigorous qualitative investigation into the creative industries policy discourse aiming to boost the local creative economy and to match this up with the actual experiences and working conditions of creative workers, in addition to the resulting impact on future sustainable development for the creative industries. Starting in May 2016, the study will generate in-depth, qualitative findings to complement the previous quantitative research focused on deriving economic values of the industries. An ethnographic study of the industries drawing upon subjective experiences of creative workers will identify areas that will aid in formulating policies of higher relevance and applicability. By investigating the professional and social lives of industry workers, crucial structural measures may be suggested, such as those that mitigate the exploitative nature of work conditions to retain a substantial and capable pool of creative labor.
This project is expected to inform the direction of the rapidly evolving creative business environment, and signal the most appropriate government policy response to ensure equitable creative labor management. By focusing on three selected industries – public relations and advertising, television and print media, qualitative research methodology including interviews will elicit ethnographic narratives of work experiences, to generate research data for analysis resulting in future policy recommendations.