Promoting Creative Market among artist in Hong Kong: A ...lib-sca.hkbu.edu.hk/trsimage/hp/Chan Cheuk...

Promoting Creative Market among artist in Hong Kong:

A Feasibility Study

BY

Chan Cheuk Hei, Horatius Leung Pak Sum, Anita

14682737 14682753

An Honours Degree Project Submitted to the

Department of Marketing in Partial Fulfilment of the

Graduation Requirement for the Degree of Bachelor

of Commerce (Honours) in Marketing

Hong Kong Baptist University

Hong Kong

December 2015

i

Acknowledgements

We would like to express our sincere appreciation for the help and fully support from many individuals.

Our heartfelt gratitude also goes to our project supervisor, Dr. YM Wong, who has fully supported,

guidance, and encouragement from the initial proposal to this final study.

Moreover, we are honored to get SPSS advice and guidance from Mr. Tommy Kwok. We are able to have

a deep understand on data analysis and discussion with his support.

Last but not least, we would like to thank those who had been hard enough to participate in and

willingness to support this survey and interviews. Their opinions provide valuable insights into the study.

Without their assistance, this endeavor would not have been completed.

ii

Abstract

The concept of creative markets is rather new in Hong Kong, yet a noticeable growing of the

markets is observed. While number of creative markets are increasing, it also raises the

awareness of the artists and they discover another means to expose their artworks. This study

aims to investigate whether creative markets can help promoting art culture among artists. The

focus of this study is to explore the influences of creative markets towards the handicraft culture

and the art culture among artists, and to suggest ways to become a mainstream culture among

artists and the mass public in Hong Kong.

Both qualitative and quantitative approach were adopted to gain understanding on artists’

opinions and concerns of creative markets. It was found that artists were able to be connected

and communicated deeply with other artists through creative markets, which have positive

relationship to their future participation in creative markets.

This study reveals the views and comments from artists who have participated in creative

markets, which provides insights for improving the current status of artists. A handicraft

association is suggested to be formulated with the aim to provide assistance to artists. Future

research is needed to evaluate the effectiveness of such association in helping artists.

iii

Table of Content

Acknowledgements .......................................................................................................................... i

Abstract ........................................................................................................................................... ii

Table of Content ............................................................................................................................ iii

List of Tables ................................................................................................................................. iv

List of Figures ................................................................................................................................. v

List of Appendices ......................................................................................................................... vi

I. Problem Development and Objectives .................................................................................... 1

a. Background ......................................................................................................................... 1

b. Objectives ........................................................................................................................... 4

II. Literature Review .................................................................................................................... 5

III. Methodology .......................................................................................................................... 13

a. Research Design................................................................................................................ 13

b. In- Depth Interview ........................................................................................................... 13

c. Observation ....................................................................................................................... 13

d. Survey ............................................................................................................................... 14

IV. Analysis and Findings ........................................................................................................... 16

a. Qualitative Approach ........................................................................................................ 16

b. Quantitative Approach ...................................................................................................... 23

V. Discussions ............................................................................................................................ 31

VI. Recommendations ................................................................................................................. 37

VII. Limitations ............................................................................................................................. 43

VIII. Conclusions ....................................................................................................................... 44

IV. References ............................................................................................................................. 45

iv

List of Tables

Table 1: Summarize of creative markets development ...................................................................4

Table 2: Number of surveys received from various creative markets. ..........................................15

Table 3: Reliability of questions ....................................................................................................24

Table 4: Results of regression testing for Hypothesis 1 ................................................................25


Table 6: Results of one-sample test for Hypothesis 3....................................................................26



Table 9: Results of regression testing for testing Hypotheses 5a-5e ............................................28

Table 10: Results of regression testing for factors affecting

decision of future participation in creative markets .......................................................................29

Table 11: Means of contributions of an art association towards artists .........................................30

Table 12: Frequencies of choices of means to engage in art community ......................................30

v

List of Figures

Figure 1: The theoretical framework ..............................................................................................9

Figure 2: Summarize of Interview Findings ..................................................................................16

Figure 3: Summarize of Creative Markets Concerns .....................................................................34

Figure 4: 5 Basic Functions of Handicraft Association .................................................................38

Figure 5: Common area of PMQ ..................................................................................................42

vi

List of Appendices

Appendix 1: Transcript of Interviews ............................................................................................47

Appendix 2: Summary of each Interviews .....................................................................................80

Appendix 3: Sample of Interview Questions .................................................................................88

Appendix 4: Sample of Questionnaire ...........................................................................................89

Appendix 5: Respondents’ Demographic Data ............................................................................102

Appendix 6: Results of Reliability Tests .....................................................................................104

Appendix 7: Results of Regression Analysis ...............................................................................108

Appendix 8: Results of One-Sample T-Test ................................................................................113

Appendix 9: Descriptive Statistics ..............................................................................................114

1

I. Problem Development and Objectives

a. Background

Imported Culture from Taiwan

In Hong Kong, there is a new culture quietly growing, named “Hipster” or “Art enthusiast”

culture, which has already been matured in Taiwan many years ago. It promotes reading, art

appreciation and being unique. Different kinds of bookstore can be found everywhere, regardless

huge or tiny, where people would spend a whole day staying at the bookstore.

Case Reference

Eslite Bookstore, the most well-known bookstore in Taiwan, has 40 branches and one of the

branches even open 24 hours a day in order to promote the reading culture. Eslite does not only

offer books, but also different kinds of general merchandise and designer products. By selling

selected styling products, Eslite creates a certain lifestyle for their target group of customers.

Hong Kong and Taiwan people share common language and some similar norms and values. To

a certain extent, there are always some mutual influences between Hong Kong and Taiwan. The

culture was brought to Hong Kong when Eslite Bookstore established in Causeway Bay in 2012.

The establishment brought along with the thought of culture and lifestyle.

Adaptation in Hong Kong

Hong Kong develops the thought in its own way. Different from Taiwan, Hong Kong does not

have a strong reading atmosphere, but people still accept the style of Eslite product which creates

“Consuming Art Enthusiast” culture in Hong Kong. Young people desire to be artistic and

unique. They purchase these kinds of products to package themselves. However, a considerable

number of people follow this new trend and everyone becomes similar. As a result, the trend

transformed to pursue unique product.

2

Handicrafts, especially the accessory products, become popular which urge the rapid growth of

creative market. Creative market gathers many artists by letting them sell in the market, and

share their art works and experiences. The market enables participant, including artist and

customers, to enjoy themselves in artistic atmosphere, and to acquire unique art pieces.

The Development History of Creative Market

i. Flea markets

The first recorded flea market appeared in 1860s in Paris which was trade oriented. The

reason for holding a flea market was that due to the high transportation cost, families did

not want to carry too many things to move house without wasting the stuffs which were

still usable, new and some of them were even valuable. Therefore, they held a flea market

to sell these stuffs, mainly the secondhand furniture and nobleman’s old clothes.

Then, flea markets became a common social activity. Sometimes, a flea market was held

for charity purpose as a bazaar. People held the flea market at weekend annually or semi-

annually in some warehouses, school gymnasiums and even the parking lots. Some of the

seller accepted barter which means exchanging goods.

ii. Secondhand market

After many years, flea market transformed to secondhand markets which was still trade

oriented. The purpose of markets had been changed, not simply because of changing in

dwelling place, but also for any valuable products that were no longer useful to them.

People do not sell big furniture or expensive nobleman’s clothes, but all kinds of

merchandise such as clothing, food, game, book, CD & DVD, home decoration, tiny

furniture, or even antique. As the products were smaller and easier to carry, people held

the secondhand markets more often, usually once a month during weekends.

3

iii. Night market

Before 1980s, there were stable night markets in Hong Kong which were located in

Sheung Wan newly-reclaimed land, Mong Kok, and Temple Street. The colonial

government prohibited Chinese to enter any British entertaining places. Therefore, the

Chinese community operated the night market for Chinese. In fact, they were gathered to

sell some low price goods at the beginning. Then, the night market became entertainment

oriented. The British government called the markets as “Poor Guy Night Club”. People

could find secondhand stuff, new stuff, food, medicine, entertaining performance and

fortune-telling.

iv. Creative market

Creative market is growing rapidly in the last 5 years in Hong Kong. The most common

products that can be found are handicraft accessories, vintage clothes, and thematic

products. Some creative markets also invite vaious bands or artists to have talent

performance.

Different kinds of organizations operate creative markets for various purposes. For

example, some organizers are charitable organizations to help youngster to develop their

businesses or careers, while some are commercial organizations to make profits, and

some are art related organizations to hold artist gathering.

As a result, it is difficult for people to trace these activities because there is no fixed

location and time. They are usually held indoor such as factory buildings during

weekends in summer. The promotions are usually relying on social media and some art

event websites. The operating style of creative markets may not be able to reach many

people but the targeted group is almost certainly being reached.

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Orientation When Where What

Flea market Trade

Annually,

semi-

annually, or

monthly

Weekends

Indoor or

outdoor

Sell or Barter

Second hand furniture or

nobleman’s old clothes

Secondhand

market Trade Weekends

Nearby the

food market

Clothing, food, game,

furniture, book, CD &

DVD, Home decoration,

even antique

Night

market Entertainment

Before 1980s

stable at night

Sheung

Wan, Mong

Kok,

Temple

street

Secondhand stuffs, new

stuffs, food, medicine,

entertaining performance

and fortune-telling

Creative

market Art

Unstable,

usually

weekends

Indoor like

factory

building

Handcraft, talent

performance, thematic

product

Table 1: Summarize of creative markets development

b. Objectives

Base on the above information, the study intend to be a market exploratory research. It will be

based on artist approach to explore the influence of creative markets towards the handicraft

culture and to evaluate the contribution of creative markets, as a tool, to promote a market driven

art culture. We will commence the study by understanding the operation of creative markets and

determine the effectiveness of creative markets on promoting creative culture. In order to make

creative markets a mainstream culture, this study will also explore ways to market the new trend

of lifestyle, culture and attitude, and identify the potential improvement and changes so as to

help artist to grow the creative art culture.

5

II. Literature Review

The Census and Statistics Department (2015) specifies the cultural and creative industries by 11

component domains, include art, antiques and crafts, performing arts, design, and others. It was

revealed that the number of people engaged in the cultural and creative industries have been

steadily increased since 2009. In 2013, there are over 200 thousand people engaged in the

industry and that the economic contribution is over HK$106 billion (Census and Statistics

Department, 2015). Some people tried to exhibit in creative markets to gain exposure of their

hand-made products, or even make deals with customers. Chiu (2010) contends: “in a narrow

sense, exhibition marketing can be defined as the process of using exhibition as a platform for

exhibitors to present and display products or services to a group of target audiences for achieving

a set of marketing objectives.”

Hill, O’Sullivan, and O’Sullivan (2003) defined arts marketing as “an integrated management

process which sees mutually satisfying exchange relationships with customers as the route to

achieving organizational and artistic objectives.” They further raised another concept:

relationship marketing. Kotler (2000) defined relationship marketing as “the practice of building

long-term satisfying relations with key parties—customers, suppliers, distributors—in order to

retain their long-term preference and business.” Artists may invite their existing customers to go

to the booth set at creative markets, thus enhance or even strengthen the relationship.

Vigneron (2012) proposed an opposite view that “it (the art work) had to be shown for all to see,

where its value can be assessed by anyone.” It would be likely that some artists may just want to

display their handicraft and let other people to appreciate their work, or put effort in promoting

handicraft culture, rather than making deals. They may also participate in the creative market to

seek for opportunities to communicate and interact with other artists. As what Goodman

interpreted: “showing, discussing, selling art works can be useful to the artists in more than a

financial sense. It can improve the artist’s understanding of what these works are really

achieving.”

Chiu (2013) mentioned: “event marketing is an endeavor or undertaking using events for the

purpose of achieving economic, social, and organizational goals.” Organizations take advantage

of creative markets to achieve various objectives. In general, most organizations will require

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participants display creative products which originally home-made is preferred. Dictionaries

define creative as a result from originally of thought and expression. Fillis and Rentschler (2006)

added: “developing new product, content and customers requires people to use their imagination

to exploit the economic and social impact of these things on society – that takes creativity.”

“Nearly every company engaged in social media marketing should have a Facebook page; it can

often serve as a central place for the integration of other parts of a campaign” (Zarrella, 2010).

Social media has become an effective tool for promoting one’s business. Artists will make use of

Facebook to share their works, and notice their customers which creative markets they will be

participating in the future, which helps them promoting their upcoming events, in addition to

encouraging customers to participate.

Art Community

Chapin (2014) believes that making connection can benefit artist both psychologically and

physically. He suggested to make the connection not only with the coworkers, friends, family

and supporters but also to connect with fellow crafters and potential customers. The community

enable artist to exchange information, making friends with people that share the same interest,

and it benefits on your selling activities. He supported his argument by interviewing different

artists.

“The community gathers artists together so that they can find support from people who

understand their unique pressure and challenges they encounter.” (Lauren Falkowski,

craft artist)

“I may be lost already in my creative path if I do not have fellow craft- biz friends’

support.” (Mimi Kirchner, craft artist)

“Being surrounded by people who value and believe in the same things you do and share

a creative energy can result in some amazing ideas.” (Ali, operates the Makerie based in

Colorado)

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The connection can be practiced in different way, such as online forum, social media, conference

and retreats. The mix of crafting and hands-on creative workshops allows participants to learn

new techniques and get latest information. These can be regard as business sessions which may

inspire your business transformation. (Chapin, 2014)

Wang (2013) interviewed various art-related people about their views on art culture in New York.

“The biggest challenge for young artist in New York is the intense competition. However,

the competition is positive as they are competing with the best and experienced designer.

Not only you are competing with them, you are also learning from these master.”

(Michael Bierut, a graphic designer and educator)

I developed the Entrepreneur program and the SVA Masters Workshop in Rome. The

program aimed to make artists’ influence as the core element in creation process so as to

enter more valuable product, event and concept into cultural business market. Excellent

designers have wide range of character, such as entertainer, product creator and median

to raise the awareness of public issue. Young artist should pursue things that they

passionate on, follow the own concept and find the media which enable you to achieve

the goals.” (Steven Heller, the co-chair of the School of Visual Arts MFA Design)

“The interesting buildings and low rental cost gathered a lot of young artist and designer.

The community keeps the creative explosion and inspires each of the members. It is a

place enhancing complete freedom and no limitation for creation.” (Stanley Ruiz, a

Philippians artist in New York)

Social Media

Pullen (2014) suggested the online marketing strategy, tactics, and tips about selling handmade

products, which can also applied in the creative market. These online marketing tips are able to

enhance the whole performance of creative market from targeting to promoting.

The author believed that the basic principle of online marketing is the “ABC rule”. “You need to

remember the ABC of your online marketing strategy – Acquisition (getting people involved),

Behaviour (getting them to interact, click around your site and talk about your craft business) and

Conversion (getting them to subscribe or buy).” Through applying this principle, the craft

businesses will be able to reach their success on the internet.

8

By using different channels online, people holding or participating in creative market will be

able to connect, interact and communicate with their target. Channels like search engine, social

media, blog, or even email can be used as tools to promote themselves. They should provide a

constant message and image to the audience across different channels. However, not every

channel is equal important than others, some are more important, especially when people have no

enough time or resource to take all of them as the tools, and one channel that cannot be missed is

the social media; it is such an important tool for creatives and independents. (Pullen, 2014)

Nowadays, social media becomes the main trend on the internet, it also becomes a main essential

part of the online marketing. But there are such many of social media on the Internet, such as

Facebook, Pinterest, Twitter, Google +, Instagram, etc., it is important to decide the best suitable

one to use. The answer is about knowing the online pattern of target audience. If the target of

creative markets is teenagers and young adults in Hong Kong, it is believed that Facebook and

Instagram will be the effective tools in targeting the audience.

Social media let the users communicate and interact with others when people trying to develop

their own fans page. It is also similar with other online channels such as blog. Measurements like

Likes, Reach, Engagement, Click Through Rates are important in analyzing the success and

stage of a fans page. In order to achieve good performance in these measurements, people should

focus on the content posted or message sent to the audience.

Content can be words, graphic, or video. In terms of the message, the author thinks that it should

be matched with the image of the uploaders or brand. Pictures like the products, creating process,

working studio, and the view of the creative market is a good idea to share online. Also, the posts

from third party are advised to share on your fans page as it can enhances the connection

between different artists and makes your fans page more interesting. Keywords and pre-schedule

of the post uploaded are also useful tools in assisting the operating of the fans page. (Pullen,

2014)

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In order to develop a successful online marketing strategy, people should not only use the tools

independently but also use them across and interact with different channels online or offline. For

example, people can tell the customers in creative market to follow them on Facebook. By

applying this strategy, the creatives shop can easier understand their customers and thus adjusts

the 4Ps and marketing mix strategy to suit the market.

A theoretical framework is developed to better illustrate the hypotheses being proposed.

Figure 1: The theoretical framework

10

H1: Connection among artist is positively related to future participation in creative markets

H2: Depth Communication among artist is positively related to future participation in creative

markets.

H3: Art Community can promote art culture among artists

H4: Promoting art culture among artist through creative markets is positively related to future

participation in creative markets.

H5: Future participation in creative market is positively related to future usage of social media

for crafting business.

H5a: Being connected to artists is positively related to future usage of social media for crafting

business.

H5b: Interacting with other artists is positively related to future usage of social media for crafting

business.

H5c: Interacting with customers is positively related to future usage of social media for crafting

business.

H5d: Promoting art culture among artists is positively related to future usage of social media for

crafting business.

H5e: Selling Handicraft is positively related to future usage of social media for crafting business.

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Strengths and Weaknesses Analysis on Creative Markets

Humphrey (2005) defines SWOT analysis (alternatively SWOT Matrix) is “a structured planning

method used to evaluate strengths, weaknesses, opportunities, and threats involved in a project or

in a business venture.” It consists of the creation of a metrics framework to evaluate marketing

performance, with the aid of the development and utilization of marketing dashboards. By

adopting this concept and put into creative market, the strengths and weaknesses can be

evaluated and analyzed to achieve deeper understanding on the current situation of creative

market.

Strengths: characteristics of the business or project that give it an advantage over others.

Weaknesses: characteristics that place the team at a disadvantage relative to others.

The following demonstrates a strengths and weaknesses analysis on creative market:

Strengths:

There are different categories of artist that help attracting visitors with different interests.

Artists are gathered in a specific location, thus more centralized to be managed.

Artists are supported by exhibition sites in different locations available to them, such as the

Hong Kong Cultural Centre and JCCAC.

Art markets help artists to build up their confidence, develop techniques to enter the arts

market and support artists to move into the market place.

12

Weaknesses:

The Leisure and Cultural Services Department is exclusively taking care of public institutions.

Activities of private artists and agencies are oversighted.

Some creative markets are not regularly held. Both artists and visitors are difficult to manage.

Existing creative markets are not well-known enough to broadly attract visitors and potential

buyers.

There is no network connections between artists and administrative staffs, which leads to poor

communications between the site owners (or organizers) and artists.

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III. Methodology

a. Research Design

In this research, in-depth interviews and observation has been adopted as a qualitative

approach in order to understand creative market. A survey has been conducted as a

quantitative approach to test and provide verifications for the hypotheses.

b. In- Depth Interview

In-depth interviews are ways to gain information and understand from individuals on a

focused topic (Hesse-Bieber, 2010). In-depth interviews were conducted to investigate

artists’ perceptions towards creative markets, such as whether creative markets can help

promoting the art culture among artists in Hong Kong. 11 artists were being interviewed, 8

of them had been participated and exhibited in creative markets, whereas 3 of them had

never been exhibited in creative markets. Thus, different perceptions can be compared in

two perspectives.

The interview is divided into two sections. The first section is mainly based on the artists’

impressions and experiences regarding creative markets. The second section puts focus on

artists’ viewpoint towards the creative culture in Hong Kong, and whether creative markets

can contribute to Hong Kong’s creative culture. A sample of interview questions is listed on

Appendix 3 (p.88).

c. Observation

Observation has been conducted to help understanding practices and interactions in two

ways: participant as an insider, and observer as an outsider (Flick, 2009). Through

observation, it is hoped to investigate how the markets are operated, how the artists interact,

their reactions to different stimulus, and the behavior of artists and consumers.

14

d. Survey

An online survey has been conducted as a means to collect data through questionnaire in a

quantitative approach. It aims to examine the impact contributing to creative markets,

including communication, connection, and interaction among artists, exploring the

motivation role in social media, and how creative market will contribute to the art culture

among artists in Hong Kong.

i. Questionnaire Design

The questionnaire (refer to Appendix 4, p.89), consists of part one to three with a total of

17 questions.

Part one of the questionnaire includes questions regarding artists’ views and opinions on

creative markets. They were asked reasons for participating in creative markets, followed

by whether they would interact with other artists, and in what means they interact. The

questions provide insights in analyzing the communication, in-depth connection

contributed by creative markets.

Part two of the questionnaire includes questions regarding artists’ views and opinions on

using Social Media for artists’ crafting business.

Firstly, artists’ were asked whether they have ever used social media for their crafting

business and whether it was effective or not.

Secondly, artists were also asked whether an artist community would be a supportive

association to their crafting business and whether they were willing to join.

Thirdly, artists were also asked by which means they preferred to engage in the artist

community. The questions provides insights in analyzing social media as a motivator

contributing to creative market. Moreover, the questions can evaluate whether an art

community can benefit in promoting art culture among artists.

Part three of the questionnaire includes questions regarding artists’ personal information

in order to gather demographic data.

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ii. Data collection procedure

There are 100 respondents in total who has participated in the survey. The survey was

distributed through tablets and smartphones provided by us, for the purpose of

convenience. The collection period was from 21st November to 22

nd November, 2015, for

two days duration. We distributed the survey at the creative markets in order to approach

artists who were participating, which can also ensure they have participated at creative

market at least once.

The creative markets that we selected were: Locoloco Handicraft Festival, Together Be

creative market, FunHui, Fotianian, and Po Leung Kuk Flea Market. Distributing surveys

at different location can help widening the source of data. Since we provided tablets and

smartphones to invite artists taking the survey, the completion of survey can be ensured

by confirming the finishing page was shown. The following shows the number or surveys

received at different creative markets:

Name of

Creative Market

Location of

Creative Market

Number of

surveys received

Date of

surveys conducted

Locoloco Handicraft Festival Kwun Tong 57

21st November, 2015

Together Be Creative Market Lai Chi Kok 14

Fun Hui Tsim Sha Tsui 8

Fotanian Fo Tan 22

Po Leung Kuk

Flea Market Tsim Sha Tsui 9

22nd

November, 2015

Table 2: Number of surveys received from various creative markets.

iii. Data analysis method

The statistic software, IBM SPSS Statistics (Version 23), was used to analyze the data

and test the hypotheses proposed at the theoretical framework.

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IV. Analysis and Findings

a. Qualitative Approach

i. In-depth Interviews

In-depth interview was conducted to reach 11 artists in order to know about their point of

view among creative markets and creative culture in Hong Kong. The interviews were

conducted in different situations and locations: 6 were conducted in Creative Market

operated by LocoLoco at the Peak Galleria; 3 were conducted in individual meeting; and 2

were conducted over the phone. 8 artists have participated in Creative Market and 3 of them

didn’t. In order to be easier to read, we conclude the interview content by dividing them in

different categories.

Figure 2: Summarize of Interview Findings

17

Purpose

The fundamental purpose of attending Creative Markets is to make money to maintain their

handicraft business. Although the money earned was not usually able to cover the cost, it was

still a way to maintain the handicraft business. Through participating in creative markets,

they also want to promote their artworks and handicrafts to the public by the exposure

opportunity. Sometimes, the interaction with customers and other artist brings new ideas on

their creation.

Interaction between artists

We found that artist are actually separated into small groups. They share information,

resources, knowledge, skills and experiences. They believe the connections are beneficial to

their business. Therefore, during their participation in creative markets, they would like to

exchange the business card, make friends, even exchange handicraft. They even organized a

creative market together. Because of their full-time job, they took a long time to organize the

market even they already divided works.

More than that, the interaction between artists also provides them the psychological support.

It is because doing business in art field is always lonely, artists stay and work at their own

studio or home most of the time. Moreover, many people in Hong Kong do not understand

and show interest in art, even artists’ family members. Therefore, it is difficult for artists to

persist in this industry. Creative Markets play as a platform role which enables artists to join

together and to share their same interest.

Community

In fact, the existing organization such as Art Department Council and Hong Kong Art

Gallery Association do not really help this kind of artist on their business. The interviewees

think that there is the classification in such official organizations of which do not include the

handicraft artists.

18

They still believe that if there is an organization which might be handicraft association will

helps a lot. They think the organization must have the following power and influence:

- To lead

- To provide low barrier entrance opportunity

- To monitor of quality

- To operate events

- To centralize promotion of the culture

- To introduce different kinds of handicraft

- To bargain for more right

- To negotiate with different parties

- To share resources

- To motivate communication

However, interviewees stated that I could be a difficult task and nobody would come out and

take the responsibility as most of the artist prefer doing their own business.

Do Creative Market Promote the culture?

Interviewees believe there are some positive influences on promoting creative culture because

it brings encouragement and provide opportunities to artists to show and sell their products to

the public. It is one of the means to promote creative culture which enable public participation.

People can increase their interest through experience in the Creative Market.

Also, creative markets also raise the awareness towards art culture. It tells the public there are

still many other choices other than some famous brand; you can find high quality and unique

product in creative market. However, up to now the effect to the whole consuming culture is

not big. It may be one of the non-mainstream cultures which wither before it becomes popular.

Its development is questionable.

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Hong Kong Creative Market Performance

Interviewees mentioned that in their early experience in participating creative market, most of

the markets were very successful. There were many high quality artist and products. However,

when there are more operators organize market, they became not selective, unprofessional,

and just wanted to earn money. Therefore, the quality of both organizers and booth owners are

decreasing. People started to sell low quality products, products bought from TaoBao, some

infringe copyright creation products. Products over creative market become similar and less

innovative. As a result, customers no longer have confidence and interest to come, causing a

vicious circle.

Hong Kong Culture

Customer:

Most of the Hong Kong customers do not understand the creative culture. They do not value

the handmade products but want to buy things with lower price. Therefore, artists feel their

effort are being omitted and not respected. They believe the reason of Hong Kong customer

have low level of artwork appreciation is that the creative culture have not be promoted at

young stage. Schools only focus on academic performance and ignore the education on art and

other field. Therefore, they are lack of understanding and interest in art industry.

Business Environment:

In fact, Shopping malls in Hong Kong are almost selling the same brands and products. It

seems that this trading world does not welcome the handicraft and local artists. Sometimes

they may offer place for Creative Market but with numerous of limitations. It seems that the

reason for the offer is to earn rental income, to promote their mall and to build up positive

image.

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Impression of CM (Local)

In terms of the impression towards local creative market, most of the interviewees think that it

is not as good as the foreign creative markets. The reasons can be about the culture in Hong

Kong, the maturity of the creative markets and the support from the public and government.

In terms of the culture of Hong Kong, artists believe that the creative markets did not fit in

Hong Kong culture. As Hong Kong is a single unit society, creative markets are not treated

seriously and respectfully. They think that the creative markets are still unable to enter the

mainstream culture in Hong Kong. Also, Hong Kong people may not understand what creative

markets are and consider price as the most important factor in purchasing. It causes only few

customers who are willing to shop in the creative markets.

As for the maturity of the creative market, the trend of creative market is still in the start-up

process. It needs time to develop a group of regular artists. Also, the quality of the products

may be affected when there are more new entrants.

Regarding to the support from the society, interviewees think that the government support is

certainly important in developing the culture of creative markets. It can also help artists, who

are willing to try, to develop their career. However, there is lack of support provided by the

government currently.

Impression of CM (Foreign)

Interviewees believe that the culture of creative markets in the foreign area is much better than

in Hong Kong. They think that creative markets are much more mature in some places, such as

Japan, Taiwan, and Korea. They said that there are wider range of products, including

necessary goods, in western market. Foreign customers are more willing to pay for the

creatives and will appreciate their works. Also, foreign artists have more support from the

government, they believe.

21

PMQ – the government granted location and organization

In talking about PMQ, the government granted location and organization, there are different

opinions from the interviewees. Some artists think that it is a very good location which is

suitable for the creative artists to operate their business there. However, artists think that this

good location was somehow been wasted as there are not enough promotion and having other

problems. People may not noticing the place or not willing to go there.

Some brands inside PMQ is unfavorable by the artists, such as GOD, and some other large

brand. Artists think that these brands decrease the customers’ real choices, and also harmful to

the local artists as the big brands usually hold the best and biggest store in PMQ, which affects

the profit of local artists. They think that the government is not really wanted to help them.

Also, products sold in the store or studio in PQM are too expensive for the normal customers.

It seems high-class artistic shopping mall rather than a place for local artists who are in need.

Interviewees suggested to share the studio and asked PMQ to allow operate creative markets

in the common area which only for the local artists.

Reasons of not participating creative markets

For the artists who have never participated in creative market, their concerns are mainly based

on cost, in both time and money. For the time concern, since they are university students, they

have already spent time on making handicraft and thus no time to prepare for setting up a

booth at creative markets. One artist has mentioned about the procedure of participating in

creative markets was complicated. For the money concern, they all agreed that the rent for a

booth at creative markets was high and not affordable for them. Some of them may concern

their handicraft quality cannot meet the expectations from themselves and the customers.

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ii. Observation

The observation was taken place on 21st November, 2015, from 2p.m. to 3p.m. at the Peak.

The site was approximately 3000 square feet with 22 booths being set up, 4 vacancies were

found when the observation started. There were some background music played throughout

the site, from English songs to Korean songs. Customer flow was not high at that time and 2

artists from different booths were chatting happily, their handicrafts were handmade potted

and handmade necklace. When customers passed through the booths, artists will greet them

friendly, stood up and said,’ welcome, have a browse around.’ We walked around and found

that there were various types of handicrafts being displayed, but some of the products were

not handicraft, which included flower tea and crystal balls. At 2:30p.m., 2 artists arrived and

started to set up their booths. They were carrying a small size suitcase containing their

decorating materials and handicrafts inside, which was selling handmade woolen dogs.

We praised their handicrafts, ‘that’s so cute, is that made by yourself?’ They kindly replied,’

yes, we made by ourselves.’ They also mentioned about they had a workshop teaching people

to make the woolen dogs and showed us more pictures. After chatting with them, we kept

walked around the site and saw an artist was taking photo for his handicraft by his phone. We

stopped and waited to see what he would do next. He was then posted the photo to Instagram.

We walked along and saw another artist was busy with her computer, but we could see what

she was doing. Some other artists were using their smartphones and some were chatting.

We arrived at the site just after the market has opened for one hour. The customer flow was

not high and thus we were able to observe what artists would do when there was no customers.

It is observed that they would have interactions, some prefer doing their own businesses. It

was also observed that most artists were in pairs to participate in creative markets.

On the site, there was a banner with the creative market’s name on it. We also saw organizers

decorating the venue and posted many posters onto the wall and took a photo. This

observation provides ideas on how a creative market operates, what artists will do when there

was no customers, and their attitude towards customers. From our observation, we believe that

artists are able to be connected through creative markets since this is a place which can gather

them together and most of them are willing to interact with other artists and customers.

23

b. Quantitative Approach

Based on the information collected from interviews, question 10 has been added to better understand

other artists’ view on an art association.

A total of 100 surveys were collected (see Appendix 5 for demographic data of respondents).

All of the respondents are artists who have participated in creative markets at least once, 75 of

them are females (75%) and25 of them are males (25%). In terms of respondents’ age group,

most of them belong to the age group of 25-31 (44%) and 18-24 (36%), followed by 16 of them

(16%) aged 32-38.

As for their education level, most of the respondents are undergraduate degree holders (44%) and

associated degree or higher diploma holders (39%), 12 of them (12%) are graduated from

secondary schools. Regarding the respondents’ concentration of studies, most of them

concentrate on Art (40%) and Business (24%), followed by 13 of them (13%) concentrate on

Science.

For the nature of artists, a majority of 84 respondents (84%) are part-time artists and 16 of them

(16%) are full-time artists. For the occupation among 84 part-time artists, 28 of them (33.3%) are

students, 15 of them (17.9%) are free-lancers and civilian respectively.

For the monthly salary among 72 respondents with a full-time job, 18 of them (25%) are below

$8000 and within the range of $8,001-$11,000 respectively, followed by 12 of them (16.7%) are

within the range of $11,001-$14,000.

In terms of earnings from the previous creative market participated, most of them have earned

below $1,500 (55%) and within $1,501-$3,000 (38%).

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i. Reliability Test

Reliability tests were conducted to evaluate the internal consistency and validity of multi-

items scale for each questions (Kerlinger, 1964). There were 6 questions being tested: 8 items

regarding artists’ reasons for participating creative markets, 9 items regarding the interactions

between artists through creative markets, 2 items of artists’ feelings towards creative markets,

3 items of factors that artists will considerate on choosing creative markets to participate, 5

items regarding artists’ views on how social media can help in different aspects, and 11 items

regarding artists’ views on how an artist association can help them in different aspects. The

results of Cronbach’s Alpha for all reliability tests are greater than the significant level at 0.6,

which is agreeable to be internally consistent for small sample size (Hair et al., 2006).

Table 3: Reliability of questions

Questions Number of

items

Cronbach’s Alpha

Reliability Coefficient

(Significant Level: α≥ 0.6)

Reasons for participating creative markets 8 0.871

Interactions through creative markets 9 0.851

Artists’ feelings towards creative markets 2 0.855

Considerations on choosing creative markets 3 0.815

Views on how social media benefits 5 0.640

Views on how an artist association benefits 11 0.943

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ii. Hypotheses Testing

H1: Connection among artist is positively related to future participation in creative markets

Table 4: Results of regression testing for Hypothesis 1: Connection Future participation in

creative markets

Dependent Variable: Future participation of creative markets

Variable:

Connection

Standardized Beta (β) Sig. (p<0.05) R2

.405 .000 .164

A linear regression test was conducted to test the relationship between dependent variable and

independent variable. In hypothesis 1, the dependent variable is future participation of creative

markets whereas the independent variable is connection among artists through creative markets.

Hypothesis 1 is supported with significant result: β=0.405, p=0.000, and R2=0.164.

H2: Depth Communication among artist is positively related to future participation in creative

markets.

Table 5: Results of regression testing for Hypothesis 2: Depth Communication Future

participation in creative markets


Variable:

Depth Communication


.467 .000 .218



markets whereas the independent variable is depth communication among artists through

creative markets. Hypothesis 2 is supported with significant result: β=0.467, p=0.000, and

R2=0.218.

26


Table 6: Results of one-sample test for Hypothesis 3: rating exceeds 3

One-Sample Test: Test Value=3

An artist association can

help promoting art

culture

t Sig. (2-tailed) Mean Difference

12.906 .000 1.120

A one-sample test was conducted to test if the rating for the statement ‘an artist association can

help promoting art culture’ exceeded 3. Hypothesis 3 is supported with significant result:

t=12.906, p=0.000.

H4: Promoting art culture among artist through creative markets is positively related to future

participation in creative markets.

Table 7: Results of regression testing for Hypothesis 4: Promoting art culture among artist

through creative markets Future participation of creative markets


Variable:

Promoting art culture among artist through

creative markets


.411 .000 .169



markets whereas the independent variable is promoting art culture among artists through creative

markets. Hypothesis 4 is supported with significant result: β=0.411, p=0.000, and R2=0.169.

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H5: Future participation in creative market is positively related to future usage of social media

for crafting business.

Table 8: Results of regression testing for Hypothesis 5:

Future participation in creative market Future usage of social media for crafting business

Dependent Variable: Future usage of social media for crafting business

Variable:

Future participation in creative market


.506 .000 .256


independent variable. In hypothesis 4, the dependent variable is future usage of social media for

crafting business whereas the independent variable is future participation of creative markets.

Hypothesis 5 is supported with significant result: β=0.506, p=0.000, and R2=0.256

H5a: Being connected to artists is positively related to future usage of social media for crafting

business.

H5b: Interacting with other artists is positively related to future usage of social media for crafting

business.

H5c: Interacting with customers is positively related to future usage of social media for crafting

business.

H5d: Promoting art culture among artists is positively related to future usage of social media for

crafting business.

H5e: Selling handicraft is positively related to future usage of social media for crafting business.

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Table 9: Results of regression testing for testing Hypotheses 5a-5e:

H5a: Being connected to artists Future usage of social media for crafting business

H5b: Interacting with other artists Future usage of social media for crafting business

H5c: Interacting with customers Future usage of social media for crafting business

H5d: Promoting art culture among artists Future usage of social media for crafting business

H5e: Selling handicraft Future usage of social media for crafting business

Dependent Variable: Future usage of social media for crafting business

Variable:

Being connected to artists


-.109 .513

.385

Interacting with other artists .186 .263

Interacting with customers .290 .011

Promoting art culture among artists -.007 .936

Selling handicraft .400 .001


independent variable. In hypotheses 5a-5e, the dependent variable is future usage of social media

for crafting business whereas the independent variables are: being connected to artists,

interacting with other artists, interacting with customers, promoting art culture among artists, and

selling handicrafts respectively. The results of hypotheses 5a-5e are listed as follows:

Hypothesis 5a is not supported with result: β=-0.109, p=0.513, and R2=0.385

Hypothesis 5b is not supported with result: β=0.186, p=0.263, and R2=0.385

Hypothesis 5c is supported with significant result: β=0.290, p=0.011, and R2=0.385

Hypothesis 5d is not supported with result: β=-0.007, p=0.936, and R2=0.385

Hypothesis 5e is supported with significant result: β=0.4, p=0.001, and R2=0.385

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Factors affecting decision of future participation in creative markets

Table 10: Results of regression testing for:

Location future participation in creative markets

Opening Hours future participation in creative markets

Organizers future participation in creative markets


Variable:

Location


.039 .767

.320 Opening Hours .348 .004

Organizers .269 .015

The result is significant for opening hours and organizers. For opening hours, β=0.348, p=0.004,

and R2=0.32, whereas for organizers, β=0.269, p=0.015, and R

2=0.32.

The result for location is not significant and it cannot be supported.

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Contribution of an art association towards artists

Table 11: Means of contributions of an art association towards artists

Ranking Contribution Mean

1 Provide Resources 4.20

2 Promote art culture among artists 4.12

3 Promote creative markets 4.11

4 Monitor creative markets 4.08

5 Organize creative markets 4.05

The means is based on artists’ level of agree towards the contribution, where 1 is strongly

disagree and 5 is strongly agree. By ranking the means of contribution of an art association

towards artists, the first contribution comes to provide resources (mean=4.2), followed by

promote art culture among artists (mean=4.12), promote creative markets (mean=4.11), monitor

creative markets (mean=4.08), and organize creative markets (mean=4.05).

Preferences that artists prefer as a means to engage in art community

Table 12: Frequencies of choices of means to engage in art community

Choices Number of artists who have chosen

Creative markets 92

Artists Association 72

Social Media 49

Among 100 respondents, 92 of them (92%) choose creative markets as a means to engage in art

community.

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V. Discussions

H1: Connection among artist is positively related to future participation in creative

markets

This research provides insights on how creative markets can contribute to the promotion of art

culture among artists. Respondents were asked to evaluate their degree of agreement or

disagreement on whether they feel connected with other artists through creative markets, and

whether this would affect their future participation. It was found that connection among artists

through creative markets has positive relationship on the future participation and the result

supported hypothesis 1. When artists are being more connected in creative markets, they are

more willing to participate in creative markets in the future.

H2: Depth Communication among artist is positively related to future participation in

creative markets.

Respondents were asked in the next sub-question about their degree of agreement or

disagreement on whether they can deeply communicate with other artists through creative

markets, and whether this would affect their future participation. It was found that deep

communication among artists through creative markets has positive relationship on the future

participation and the result supported hypothesis 2. When artists can communicate more deeply

in creative markets, they are more willing to participate in creative markets in the future.


Respondents were asked in the next question about whether an art community can promote art

culture among artists. When using test value as 3 (neutral) to test whether artists agreed an artist

association can help promoting art culture among artists, the result supported hypothesis 3. This

shows that artists tend to agree that an artist association can help promoting art culture among

artists.

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H4: Promoting art culture among artist through creative markets is positively related to

future participation in creative markets.

Respondents were asked to evaluate their degree of agreement or disagreement on whether

promoting art culture among artists through creative markets could describe as their reason for

participating in creative markets, and whether this would affect their future participation. It was

found that promotion of art culture among artists through creative markets has effect on the

future participation. The result supported hypothesis 4 that with the promotion of art culture

among artists through creative markets, artists are more willing to participate in creative markets

in the future.

H5: Future participation in creative market is positively related to future usage of social

media for crafting business.

H5a: Being connected to artists is positively related to future usage of social media for

crafting business.

H5b: Interacting with other artists is positively related to future usage of social media for

crafting business.

H5c: Interacting with customers is positively related to future usage of social media for

crafting business.

H5d: Promoting art culture among artists is positively related to future usage of social

media for crafting business.

H5e: Selling Handicraft is positively related to future usage of social media for crafting

business.

Based on the artists’ degree of agreement or disagreement on contributions of social media,

which include being connected to artists, interacting with other artists, interacting with customers,

promoting art culture among artists, selling handicraft. The results showed that only hypotheses

5c and 5e were supported, whereas hypothesis 5a, 5b, and 5d were not supported. It reveals that

only interaction with customers and selling handicraft are the contributions of which will have

positive effect on the future usage of social media for crafting business.

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After that, the degree of agreement or disagreement on whether artists’ future participation in

creative market and the future usage of social media for crafting business is compared in order to

test the relationship. The result supported hypothesis 5 that when artists participate in creative

markets in the future, it is more likely for them to use social media as well to help with their

crafting business. By reviewing hypotheses 5c and 5e, which have been supported that

interaction with customers and selling handicraft are the contributions of social media. This

indicates that when artists participate in creative markets in the future, it is more likely for them

to use social media with the aims in interacting with customers and selling handicraft.

Other than the 5 hypotheses, there are also some other factors, include location, opening hours,

and organizers, which will affect respondents’ decision of future participation in creative markets.

The results showed that opening hours and organizers have significant relationships towards the

artists’ decision for future participations in creative markets, which indicates that artists will

considerate the opening hours and organizers of creative markets when they participate creative

markets in the future.

Firstly, respondents were asked to choose different means to engage in art community. The result

showed that 92% of respondent will choose creative markets as a means to engage in art

community, which indicates creative markets will be a preferable choice for artists to engage in

creative markets.

Secondly, respondents were also asked to evaluate their degree of agreement or disagreement on

how an art association can help in different aspects. The result reveals that providing resources

by an art association would be the most important consideration for artists, followed by promote

art culture among artists, promote creative markets, monitor creative markets, and organize

creative markets.

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The interviews provide insights on whether creative markets can become a trend in Hong Kong.

“It is not determined whether creative markets can become a trend since Hong Kong is said

to be a cultural desert. Yet I think a niche market exists, which may be a direction for

creative markets to put focus on, in order to cater for Hong Kong people.” (Yan)

“I think creative market may not be able to influence the whole culture since it is not a

mainstream culture. Therefore, I think there is no need to distinguish clearly about hand-

made, but include other aspect, such as 3D-printing, ceramics, as a whole.” (Chubby Pinkie)

Apart from the trend of creative markets in Hong Kong, interviewers have also raised two

concerns regarding creative markets.

Figure 3: Summarize of Creative Markets Concerns

The first issue is the overflow of creative markets. Nowadays, there are more and more

organizations operating creative markets, yet some may only for the purpose of making money

without considering artists’ point of view. This lead to the decreasing quality for both creative

markets and the products being sold in creative markets. Since there are too many creative

markets organizers, some of them may operate at the same day and same time, thus disperse the

customer flow of each creative markets.

“I think the situation of creative markets become worse than the beginning. At first,

organizations would put much effort and there were not many organizers. However, there

Overflow of Creative Markets

Decreased in quality

Dispersed customer flow

Lack of bargaining power among artists

Treated without respect

Unable to strive for own benefits

35

are more and more organizers and they fail to treat creative markets seriously and they

just focus on profit.” (Colour Freak Studio)

“Creative markets in the past was better than present ones, which the quality has

decreased. This lead to a loss of customers who used to visit creative markets regularly.”

(Chubby Pinkie)

“I think the creative markets in Hong Kong are facing the problem of overflow. Some

organizers are too new in operating creative markets and they are unable to have their

group of artists and customers to join the markets regularly, causing a vicious

circle…some even sell products from TaoBao directly without their design.” (Boyi)

The issue has caused different negative impacts to the stakeholders of creative markets, include

artists, customers, and organizers. For artists, their reputation may be negative affected by the

artists who sell low quality products such as infringe products, products from TaoBao, which has

omitted the essence of creative markets: hand-made and creative. For customers, as they expect

to find some creative products through creative markets, yet they are unable to find good quality

products from a specific creative market. They may then perceived that all creative markets’

performance are equally bad and fail to meet their expectations, which has lowered their

willingness to go to creative markets. As a result, customers will not go to creative markets

anymore, and artists will not set up booths at creative markets again due to low customer flow,

and organizers may suffer at the end. This is a vicious circle of which artists, customers, and

organizers are involved and interrelated.

The second issue is the decentralized of organizers which is derived from the overflow of

creative markets and thus lead to low bargaining power among artists. Moreover, many artists

participate in creative markets independently, where they have low bargaining power especially

for negotiating for a better place to set up the booth.

“I think the bargaining power is important for us, especially for negotiation for a better

position. Sometimes the site manager will not cooperate with the organizers, and the

organizers will not do a step further to gain the greatest benefit for us.” (Le Tricotage de

Willa)

36

“I think it is very difficult for artists to increase their bargaining power since many

shopping malls in Hong Kong will look down on artists and they are just being squeezed.

Shopping malls just prohibited us from doing anything……I have heard an extreme case

that an organizer will not listen to other artists’ opinion, therefore I turned down their

invitation to their creative market eventually.” (Colour Freak Studio)

“I tried to report to the organizer that other artists were selling TaoBao products, where

that creative market was expected to sell handicrafts. However, the organizer did not

take any actions. Finally, I ran away angrily.” (Chubby Pinkie)

The issue has caused negative impacts to artists. They have several negative experiences of being

treated without respect, include unable to strive for their own benefits, express their opinions,

and make complaints.

The findings showed that connection and depth communication among artists through creative

markets will positively influence their future participation in creative markets. While artists are

considering participating creative markets, they will most likely use social media as well to

interact with customer and sell handicraft. Artists also tend to agree that an art association can

help promoting art culture among artists.

However, two issues were also identified through interviewing artists, which were overflow of

creative markets and low bargaining power among artists. Recommendations will be made in

order to improve artists’ current situation and to address their needs.

The results of the study can provide insights for: an art association to provide assistant in

accordance with artists’ needs; creative markets organizers to considerate what factors contribute

to artists’ decisions on participating in creative markets, how to better define and design creative

markets to make it appeal to more artists in different aspects.

37

VI. Recommendations

Regarding to the discussion, we identify two main problems among creative market. Therefore,

solution plan is designed to solve with the problems and to improve the operation system so that

the creative markets will have better development.

Handicraft Association

As mentioned before, we found that there is an overflow problem in creative market which leads

to lowering quality and disperse the customer flow of each creative market. The second problem

is that the small scale organizers have lower bargaining power to negotiate with better resources.

Therefore, we suggest organizing a Handicraft Association to help on the situation.

The mission of the association is to promote creative culture in Hong Kong. There are two

business promises to our target customer: For public, we promise to provide special moment for

you to see unique locally designed product; for artist, we promise to provide the best

administrative and marketing support of your handicraft business, you can enjoy yourself in the

creation world.

The primary target customer of the association is handicraft artists who would like to participate

in creative markets. Handicraft Association invites artists to join our membership, we provide

administrative service, communication platform, marketing and promotion service and operate

creative market.

The association acts as a professional service provider to promote handicraft and art culture. It is

a well-structured organization with different kinds of functional department, including

administration, marketing, public relation, accounting and financing, quality controlling,

consulting, operation team, and so on. It provides professional knowledge and administration

work for the market.

38

There are five basic functions of the Handicraft Association to serve different needs of artists.

Figure 4: 5 Basic Functions of Handicraft Association

39

Communication Platform

First of all, the association gathers handicraft market by providing a communication platform. As

mentioned from the discussion section, the connection and depth communication among artist is

positively influenced artist future participation in creative markets and they are desire for the

interaction with other artist. The communication platform we provided can be regarded as a

community of artist. They can share anything here such as information, experience, latest news

in this field and things that they are interested in. The platform enables all handicraft artist

members to join. People who are using this platform are all doing the handicraft business. Every

participant will be one of the group member and being valued by those who appreciate

handicrafts and art. “Artist understand artist”, Sometimes people who are not in this field will

never understand their works, difficulties they faced, and source of happiness even their family.

But now, they can find both mental and physical support from the peers through this platform. It

is hoped that the communication enable them to increase the sense of belonging in this group.

Besides, handicraft artists are not easy to reach because they spend most of the time in the studio

or at home to work with their creation works. If the association wants to reach them all, it may

need to engage in snowballing which means to reach small at least some of the artists, then let

them invite their fellow. Therefore, the platform should be well managed and provide

encouragement and motivation for artist to raise the reputation so as to let satisfied artists refer

this platform to the others. It is believed that the well managed communication platform

provided will enable the company to reach more target customers.

Centralize Funding and Resources

In the current situation, there are many small scaled organizers organizing creative markets

which create a problem that the quality of creative market is being influenced by different level

of resources. For example, organizers who have limited resources such as money, relationship

with location owner, and human resources, face more difficulties in operation. They need to

adjust in quality, often lowered, to accommodate with the budget.

40

As a larger scaled organization, it is easier for the association to raise fund from investors, bank

loans and Government Funding Scheme and Microfinance Scheme. It is because the association

is able to make a professional financing plan which is reliable to convince lenders and investors

that small scaled organizers may not be capable to do so. Moreover, the bargaining power of the

association is expected to be higher than individual small scaled organizer. So that the creative

market can obtain with more competitive advantages, like better locations and supporting from

location provider.

For the Handicraft Association, there is a centralized resources system. The funding will be used

on creative markets operation. The association allocates the resources to different plans

according to the scale of the creative market. For example, if the operation team is going to hold

a Christmas theme creative market which is large scaled, invites more than 100 handicraft artists

to join and predicted number of visitor and income is high, the association will depend on the

ratio to allocate more fund to the event. In this way, Art Association can assure the operation

quality of each creative market is guaranteed.

Centralized Promotion

On the other hand, the resources also represent the support of different field, such as marketing

and promotion. The mission of the association is to promote creative culture in Hong Kong.

Creative market is our tools to promote the culture. The successfulness of creative market

promotion is positively related to the mission. Therefore, Handicraft Association strives to

success in promotion of creative market as much as artist. The current promotion of most

creative market organizer is most likely to use Facebook fans page to tell public with the event.

Those who have more resources would advertise in some famous app like Timable. However, the

effect is not big enough as only the followers of those apps will notice. It is believed that the

centralized promotion and marketing activities in which the promotion scale will be larger and

the reputation of the association will be able to attract more visitors.

41

Monitor

In our previous discussion, we mentioned about the lower quality of creative market because of

the fake handicraft artist who sell the TaoBao product in creative market, also some handicraft

artist make low quality works to sell. As a result, people no longer confident with the markets

and not feel interested to come.

Therefore, Handicraft Association is going to function as a monitor which processes the quality

control. The execution is that for all handicraft artists who want to join the creative market

operated by Handicraft Association, must be the member of the organization. The membership

has low barrier which welcome all kinds of handicraft business to join. Every applicant to the

membership need to submit ten of their product sample along with the application. There will be

a tight check of the product quality. Standard is set depend on different types of handicraft and

basically determined by durability and originality.

The reason of tight quality check is that Handicraft Association is a trustworthy and professional

organization which is reliable by the public. It is a business promising to operate creative market

which provides special moment for visitors to see the unique designed products. It is

unacceptable to let low quality products to waste visitors’ time. In this way, on the one hand, we

can attract visitors with the uniqueness and high quality product; on the other hand, we create a

reliable image for real handicraft artists so that they will be more willing to join us and pay for

our service.

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Figure 5: Common area of PMQ

Operate Creative Market

For the execution, it is suggested that Handicraft Association can apply the use of common area

of PMQ, the official art development area supported by the government for long term. Art

Association is going to transform PMQ from an exhibition area into a place that gather artist and

customer through the trading activities. Handicraft Association will hold creative market in all

weekends. On the one hand we can provide opportunity for artist to do business; on another hand,

we can increase the number of visitor to PMQ which is a mutual benefit for PMQ and Handicraft

Association.

Handicraft Association allows members to apply for the booth in creative market. There will be a

certain number of booth of each category offered to be apply because we need to enhance the

diversity of our product that can enrich the market with different attractions. For example,

handicraft accessories will have 10 booths, handmade leather bags will have 5 booths, etc.

We provide equal opportunity for each member by the way of taking turns of applicants but not

depending the application time. Otherwise, some booth owner may always get the chance and

some may never have the opportunities. For example, there are A,B,C,D,E,F,G,H applicants, the

first week we offer the chance to A and B, the second week is C and D’s turn, the third week is E

and F’s turn etc. In this way, visitors can see different things in our market every weekend.

43

VII. Limitations

There are several limitations in this research.

Firstly, the data collection process was executed during early November, 2015, when the off-

season for most creative markets took place and artists were difficult to be approached. The

survey was conducted in late November, 2015. Due to time constraint, we were not able to

conduct a pretest on the survey to test if there was any misunderstanding on the questions.

Secondly, most of the respondents were specializing their handicrafts on accessories, which may

not be generalize enough to represent total population of handicraft artists. If there were more

time, pretest could be conducted to test with the understanding on the questions and different

types of handicraft artists could be obtained to generate more representative results. Thirdly,

creative market is a rather new concept, where less literature review can be reviewed. Instead, we

conducted in-depth interviews to acquire deeper knowledge from artists as interviewees.

Lastly, the recommendation for helping artists with an artist association may not be effective in

short term and the phenomenon may not be able to be completely eliminated.

44

VIII. Conclusions

To conclude, this research has provided insights of how creative markets contribute to artists,

which include being connected and communicating deeply with other artists. Artists tend to use

social media to facilitate their handicraft business, especially for interacting with customers, and

selling handicrafts, while they are participating in creative markets. However, artists also raise

some concerns and issues while they are participating in creative markets, which include

overflow of creative markets and low bargaining power artists. In order to improve and minimize

the negative impact to artists, a handicraft association is suggested to be developed with the aim

of improving artists’ status.

Artists play an important role in creative markets and thus, knowing thoughts and considerations

from artists’ perspective can bring insights on how to improve creative markets, with the goal to

attract more handicraft artists participate in creative markets. It is hoped that creative markets

will become a mainstream culture among artists and mass public in the future.

Further research is suggested to conduct with the aim of evaluating the effectiveness of a

handicraft association and more specific implementation plan should be developed.

45

IV. References

Cardinal, R. (1972). Outsider art. California: Praeger.

Chapin, K. (2014). The Handmade Marketplace: How to Sell Your Crafts Locally, Globally, and

Online. Storey Publishing.

Chiu, S. L. J. (2010). Exhibition marketing. Singapore: Pearson.

Chiu, S. L. J. (2013). Event Marketing and Management. Hong Kong: Pearson

Education Asia Limited.

Census and Statistic Department (2015). Hong Kong Monthly Digest of Statistics: June 2015.

Hong Kong: Census and Statistic Department

Creative Industries. (2015, October 15). Retrieved October 22, 2015, from

http://www.investhk.gov.hk/business-opportunities/creative-industries.html

Fillis, I. (2005). Creative marketing for SMEs (1st ed.). Hyderabad (India): ICFAI

University Press.

Fillis, I., & Rentschler, R., 1953. (2006). Creative marketing: An extended metaphor

for marketing in a new age. Basingstoke, Hampshire; New York: Palgrave

Macmillan.

Flick, U. (2009). An introduction to qualitative research. Sage.

Goodman, C. J. (1978). Art marketing handbook. Los Angeles: Gee tee bee.

Hair, J. F., Black, W. C., Babin, B. J., Anderson, R. E., & Tatham, R. L. (2006). Multivariate

data analysis (Vol. 6). Upper Saddle River, NJ: Pearson Prentice Hall.

Hesse-Biber, S. N., & Leavy, P. (2010). The practice of qualitative research. Sage.

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Hill, L., O'Sullivan, C., & O'Sullivan, T. (2003). Creative Arts Marketing (2nd ed.). Burlington:

Butterworth-Heinemann.

Kerlinger, F. N. (1964). Foundation of behavioral research: Educational and psychological

inquiry. Holt, Rinehart and Winston.

Kotler, P. (2000). Marketing management. Millenium Edition. New Jersey: PrenticeHall Inc.

Prieto, J. (n.d.). Flea Market History. Retrieved August 19, 2015.

http://www.hollisflea.com/flea_market_history.html

Vigneron, F. (2012). Art Appreciation and Criticism in Context Series: 4. Understanding Hong

Kong Art through Culture. Hong Kong: Government of the Hong Kong Special

Administrative Region

Wang, S.Q. (2013). Eyeing Design of New York: Inspiration and business coexist. Taipei: Taiya

Publishing Co.,Ltd.

Zarrella, D. (2010). The social media marketing book. Beijing: O'Reilly.

47

IX. Appendices

Appendix 1: Transcript of Interviews

Chubby Pinkie

問：你好，想問一下你參加了多少次這樣的市集？

答：由今年三月開始，差不多每個月也參加三至四個市集。加起上來應該有幾十個。

問：你覺得參加手作市集能帶給你什麼？譬如你為什麼想參加？

答：我認為除了創作之外這也是一個賺錢的地方。因為若然你只顧做創作而忽略銷售方面

也沒有什麼意思。我覺得始終需要一個買賣或生意的形式。

問：你會否覺得在這個集中的地方對你在交流上有幫助？

答：也會的，於很多朋友也是在市集上認識。我們也會組合在一起去做一些活動，例如在

上一次我認識了一班手作人，然後我們一起舉辦了一個市集，這次的活動搞手大約有十多

人。

問：在這類型的社區對中，你們會有什麼的交流？

答：例如在技術上方面，例如會請教對方用什麼材料、方法，有時也會一起分擔購買成本

和資源。

問：你認為在香港的本土市集和其他外國的市集有什麼分別？

答：因為香港的市集也開始盛行，數量增加也伴隨着某些質素下降。有些事標榜手作創作，

但也有一些是沒有限制的，例如你可以在這些市集售賣二手的衣服。反而在外國的市集，

則不一定限制是手作的東西，種類上會有很多選擇，例如可以有賣菜和買農產品的市集，

在創意上可能並不十分豐富。而在台灣方面，會和香港比較接近。

問：你會否覺得香港的市集太過商業化？

答：我認為所有市集也是商業化的，就算是在外國也無可避免。我認為市集和商業就是並

行的。

問：除了手作市集外，你覺得香港的創意文化和購物文化如何？

答：很多大商場現在也是售賣單一產品，有一些商場會想增加一些手作市集，令到顧客覺

得他們商場的產品不至於太過單一。但是我覺得他們也做得很死板，他們的出發點不是從

手作人的角度出發，而是其中一個商業的部份。

問：你會否認為香港的這個文化或市場尚未成熟？

答：或許是未成熟已經沒落了。因為我一開始參加的時候已是這個潮流的差不多結尾，或

者因為以前的市集沒有這麼濫。現在的市集質素下降了可能會令原先喜歡逛市集的顧客流

失了。現在可能只剩下一至兩個市集還有吸引力，其中一個是賽馬會舉辦的 JCCAC，因

為原本熟悉這個文化的人知道他的公信力對他還有信心。

48

問：若果顧客去到才發現他是售賣普通商品的地方也會難免失望的。

答：所以我上一次舉辦的市集，原先已經有十多個搞手，他們都是自己創作的，要再去找

十多人來參加也不太困難。反而一些地方大的市集，例如容納 100 多個攤位的 D2 Place,

要找一百多個全是自己創作的手作人也是有難度，所以難免因為租金問題而把一些非手作

創作的人也收取。

問：你會否對這一些市集有抗拒？例如破壞了手作人的名聲。

答：會的，例如讓我知道一些有售賣淘寶貨品的市集，我便不會再參加。有一次是我參加

一個市集，旁邊正正是售賣淘寶貨品的，我向主辦單位投訴後不果，所以憤而離去。

問：你會否有一個想法是自己組織一個團體去改善現在的情況？

答：其實也有的，就像我上一次舉辦的市集，我們十多位手作人也可以算是一個小團體。

當有不同的分工，很多事情也會比較容易做。上次我們就用了三個多月去籌辦，一些人負

責製作海報、一些負責宣傳、一些負責去尋找場地，所以下一次再舉辦也起碼是農曆新年

了。

問：換言之在香港要有手作人來籌辦一個市集是非常困難的？

答：是困難的，因為籌辦一個市集需要非常多的人手去準備，所以本身籌辦市集也是一個

頗大型的計劃。

問：例如在選擇場地而言會有什麼困難？

答：這涉及租金的問題，若果我們不能沒有太多的手作人參加，則在選擇場地上可負擔的

租金會比較小，所以市集地點自然會較偏遠。

問：你認為場地和產品質素是否有必然關係？

答：我認為主辦單位更為重要，例如一些比較積極和有心的主辦單位，在篩選手作人時會

比較注重和嚴謹。

問：你會否期望創作市集能對香港的消費文化作出什麼影響？

答：我認為這對整個文化不會有太大影響，始終創作市集不是一個主流的東西，願意行市

集的人在比例上依然很少。有些手作人的產品質素已經很高，甚至會在一些知名的商場擺

賣，所以我認為不需要將手作的界線分得那麼清楚。

問：你期望創意市集能對香港的創作文化有什麼影響？

答：我認為市集本身是創意工業的其中一環，所以市集本身的改變已經改變了創意工業。

例如我本身是畫畫的，原本也沒有想過擺市集，但我的拍檔提議將我的創作製作成為手作

產品，所以我認為手作人並不是只做手作，而是有很多不同的範疇。例如有些人是做 3D

打印、陶瓷等，他們在手作以外也有很多事在同時進行。

問：你覺得還有什麼方法可以推動創意市集的發展？

答：我覺得首先是手作人本身，他們需要將自己的產品提高。一方面就是主辦單位，若然

他們是有心推廣文化的，就需要投放更多的心機去尋找一些有質素的手作人。

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問：你認為一個藝術家的組織能有什麼幫助？

答：我認為在資訊交流上可以有幫助。

問：暫時就是這樣，謝謝。

答：好的，謝謝。

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一甲立坊

問：你好，想請問你曾參加多少次這類型的市集？

答：參加了超過 20 次，由第一次到現在大約接近了一年。

問：在參加市集之前，你會在什麼地方售賣你的產品？

答：主要是開班教學。

問：會否很難尋找客源？

答：其實會，所以也同時擺市集，也當作是其中一項宣傳，

問：你們原本的位置在哪裏？

答：大尾篤。

問：到市集時，你們會否因為距離的問題遇到困難？

答：會的，有時會選擇召車運貨。

問：你們曾到過哪些地區擺賣？

答：都是在九龍區的手作市集，例如荔枝角，都是比較出名的市集。

問：你覺得在香港從事藝術創作會否很困難？

答：也會的，正如每個人都說從事藝術創作賺不到錢而且很辛苦。其他人並不了解創作人

的心態和價值。

問：照你所說，香港的消費者並沒有理解從事藝術創作的人的心態？

答：是的，我覺得香港人並沒有其他地區，例如日本、韓國等地，對待藝術的心態，始終

是差一些。而且其他地區的手作市集規模會較大，有可能是因為當地的政府支持。反而香

港就差一些。很多人會低估藝術品的價值，很少會遇到一些識貨之人，可能一百個之中只

有兩個。

問：既然在香港的創意文化並不盛行，為什麼你們會繼續創作下去？

答：主要是我喜歡創作陶瓷，而且在香港從事陶瓷創作的人比較少，所以要靠自己努力去

建立品牌。

問：所以你的教學班是以什麼對象為主？

答：各種類型的人也有，由小孩到老人家，也有教會的人會一起來學習。

問：你有否嘗試過與一些學校合作？

答：也有的，但比較麻煩，因為始終需要別人的推介，而且很多不確定的因素，例如學生

的安全考慮，所以比較麻煩。我們也有嘗試過與學校主動聯絡，但回覆比較冷淡。

51

問：以台灣為例，他們的藝術觸覺是由學校開始培養的，你會否覺得香港的學校對於藝術

創作並不在意？

答：我覺得是香港人對於藝術並不十分在意，有時定遠專注於其他運動或音樂上也不會選

擇藝術創作。始終是家長們對於藝術創作的前途感到憂慮。

問：你覺得香港的市集文化對於藝術創作有什麼幫助？

答：一年前的市集文化會比較好，現在好像有氾濫的情況出現，對於場地和創造人的選擇，

主辦單位會較少留意因為大多都是向錢看。

問：你會否和其他創作人有交流？

答：也是有的，我和其他大約十多位創作人有聯絡，也會有其他活動？

問：你覺得這種交流對於你的藝術創作有什麼影響？

答：有時可以交換一些資訊，例如來貨的地方、物料質素和市場資訊等，總比一個孤身作

戰好。例如在今日的市集，就有 3 至 4 個人是我們互相認識的。

問：所以你們得知哪裡有市集時便會一起去申請參加？

答：是的，我們會一起研究該次市集的場地、主辦單位背景、人流等，再作決定。

問：所以這一個藝術家的組織，除了在實際的資訊交流外，也能在不同層面幫到你們？

答：是的，這比起一個人的力量是相差很遠的。

問：你會否認為再擴大你們這個藝術家組織的規模能更加有效去推動整個文化？

答：其實也是好的。但現實中暫時未有，香港的一些藝術家協會是比較專門，未必能照顧

到我們一般的手作人。那些組織比較有階級制度，而且未能夠代表我們。

問：所以你認為一個更廣泛的藝術協會能夠更集中幫助手作人？

答：或者說是一個手作人協會，比如說有一班會員。現在手作界起碼有二至三百個手作人，

若能夠結合到他們就非常好。但始終是比較困難去進行。

問：因為沒有人去帶頭？

答：因為搞一個協會始終需要預備很多東西，所以未必有人願意去做。而且大多數手作人

也未必有時間心力去做，自己的東西也難以兼顧，加上現在在市集生存也愈來愈困難。例

如今次的場地也有很多限制。

問：因為主辦單位有很多限制？

答：其實主要是場地單位限制了主辦單位，所以主辦單位也沒有方式宣傳。例如這類大型

商場就有很多不同限制。其實市集很需要宣傳，否則外人不容易知道它的存在。

問：那你們會用什麼方式去自己宣傳？

答：主要都是透過 Facebook 去宣傳，希望可以一傳十，十傳百。

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問：例如 Facebook 有個社區叫「手作地圖」，你會否也有透過這個社區去進行宣傳？

答：其實有些人也會的。我認為這些方法也不錯。

問：你有否一些想法關於如何去宣傳和推動手作文化？

答：這個我現在也未想到，始終現在的情況也顧不到，這與現在的市集產品質素下降有關。

有些人只是轉售來自大陸的貨物，我覺得這對我們並不公平，始終心機和時間上的付出相

距太遠。

問：所以你覺得香港的手作文化在尚未完全成長的情況下就被這些人搞死了？

答：也可能這樣說。其實一年前的手作市集也是不錯的，是正宗的手作市集。反而現在的

市集質素很參差，只有一至兩個較大型的市集能夠保持水準。現在普通的市集對於申請人

的審查都不足，只能稱為跳蚤市場。

問：所以除了經營困難外，你認為這些外在因素也影響了你們的運作？

答：我覺得是拉低了手作市集的形象，大眾會覺得手作產品也是不外如是。現在的申請門

檻對真正的手作人是不公平的。

問：你對於手作界有什麼期望？

答：其實是希望有人能支持下手作界，例如在租金、場地方面，因為現在平均市集的租金

一日也要大約四百元。當然若政府能支持一下就更好。若然手作人協會能夠爭取到一些優

惠就更好。另一樣是集中市集數量，不要分散了人流，例如現在若到周未有十個市集，客

人去了一個就未必會到另一個，變相是減少了個人的收入。

所以人流就變相攤薄了。

答：是的，以前的市集大約就只有三數個，但現在最巔峰的時間就曾經試過有 20 個市集

在同一日舉辦。這個情況明顯是不受控制的，這太氾濫了，就像是隨便找一個場地和一些

商人就稱為市集。顧客會對手作的觀感大大下降，我就曾經見過有人在售賣波鞋、衣服等。

所以你現在可以看到很多東西也在市集出售，基本上像去了年宵市場一樣。

問：所以你認為一個像頭先提過的手作人組織要起到一個監察的作用？

答：是的，例如是互相監察，若然發覺有其他手作人的創作是有問題的話可以向協會舉報，

這可以讓他們做回一些高質素的手作。除了市集氾濫的問題外，另一個問題是租金問題。

問：你有否聽過一個政府籌辦的地方叫 PMQ？

答：我有曾經想過在那裏成立一個工作室，但最後打消了這個念頭，因為這個地方人流很

少，又不會定期舉辦什麼活動吸引人來，裏面又沒有什麼吸引的地方。所以我認為並不和

市集差很遠。

問：你認為政府在這件事上沒有充分擔當一個推動者的角色？

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答：我認為政府只是表面上為藝術界發展，但實際上並沒有幫助。只是靠藝術人自己去打

併，所以現在也出現了退租朝。我認為在一個藝術區之中搞藝術也捱不住的時候，是很可

悲的。

問：現在 PMQ 除了租給本地的藝術家外，也有租給大品牌，你覺得這好不好？

答：我認為這些大品牌的資金本身應該很充裕，若然再去租給他們是有點浪費，倒不如去

幫助一些本地的小型藝術家。但政府卻偏偏去資助這些大型企業。

問：你覺得普遍的手作市集和 PMQ 創意區有什麼分別？

答：最大的分別是手作市集要靠自己和與顧客交流，尤其是銷售方面要靠自己去推銷，不

像這些創意區會有客人自動上門。

問：所以你也很重視與顧客的交流？

答：是的，尤其是要向他們講解等等的製作過程和創作意念等，他們會較願意購買，且有

機會會參加我的教學班。但在 PMQ 中，我們這些獨立手作人根本不能夠和大公司競爭。

問：我也希望手作人協會能夠成立。

答：其實若然有幾個人願意出來組織，並有分階級，會比較好。若然只靠政府則萬事不成。

以我的這個手作人小組織而言，我們有時也會批評一下不同機構的辦事方式。

問：你覺得以這個手作人協會的名義去籌辦手作事集可行嗎？

答：這會比較容易實行，而且話事權也會大了。例如現在我們很多東西就受到場地單位的

限制，他們說一就一說二就二。就像今次我們的宣傳受到限制，變相是零宣傳。而我們的

客流量對他們也是事不關己的。因為主辦單位的權力太少，所以就被其他人壓搾了。我覺

得從一些大學中去實踐這個組織也有可能的。好像其中一間大學有舉辦過市集，就限制了

一定要是大學生才能參加。我認為這就是他們的限制，也阻礙了普通手作人的交流。若有

這個手作人協會，都可以以協會的名義與各大學合辦手作市集。而且協會在甄選的過程中，

也可以挑選一些有質素的手作人，去改變現在質素氾濫的情況。最好是可以令手作人維持

生計，尤其是令他們的價值上升，尤其是現在市集中的產品價錢實在是太低，不足以讓真

正的手作人維持生計。

問：一方面手作人需要訂立較高價錢去維持生計，但另一方面顧客有不願意付出？

答：因為顧客普遍有質疑價格的心態，我們會質疑產品的價格，他們會認為你手作的來源

也是從其他渠道購買回來。

問：所以你認為這些手作市集能提高香港人的文化水平嗎？

答：是的，為日本台灣有他們自己的組織，他們的是市集能搞得有聲有色，在各方面都非

常出色，由場地佈置到宣傳。反而在香港你也能看到人流是非常少的，可以說是比星巴克

更慘，主要是宣傳不足。這關係到權力的問題，若然是由手作人協會去籌辦今天的活動，

相信他們會爭取在露天的空地去舉辦活動而非這裏，現在連基本的人流也沒有。

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問：所以藝術家也會心灰意冷。

答：對的，現在擺手作市集也開始有離開的衝動。

問：今日就先到這裏謝謝。

答：好的。

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Baguette Just Baked

問：你好我是浸會大學市場系的學生，現在正進行一個關於香港創意市集的調查。

問：請問你曾參加多少次這樣的市集？

答：我不是參加過太多次，大約五次左右。有一年多之前開始的。當時我是認識一些朋友，

他們也是喜歡做手作的。起初沒有想過參加市集，然後碰巧有朋友參加，就鼓勵到我想嘗

試。我認為這是一個不錯的渠道去接觸一些普羅大眾，尤其是資金上會比較方便，比起租

舖位。

問：除了手作市集外，會在那裏售賣你的產品？

答：我會在網上售賣，尤其是 Facebook，一些顧客的推廣、又或是寄賣。

問：你會否認為在營銷上很困難在香港？

答：我認為是困難的，始終我學習手作的地方是在台灣，我感到台灣的風氣比香港好很多。

因為在台灣是比較盛行手作市集，大眾對手作的認知不同。台灣人會覺得手作是一項花心

機的創作，他們會比較懂得欣賞和願意付出。反而在香港，大眾會容易比較，覺得就算是

手作也應該要便宜。

問：始終香港的藝術未及不上一些先進的地區。

答：我也遇到過懂得欣賞的客人，如果是為他們度身訂造，他們會願意付出較高的價錢，

但坦白而言這類客人也比較少。

問：你覺得會逛手作市集的人是怎樣的？

答：我覺得這視乎不同的情況或場地，始終我不是參加過很多次，例如在這次山頂廣場，

遊客會比較多。有一次我在荔枝角參加市集，到場的人像是比較了解手作文化。

問：有否如果有人會專誠來參觀手作？

答：也有的，例如一些比較出名的市集會比較容易吸引人來專誠參觀。

問：你認為手作市集在香港的創意文化有什麼影響？

答：我認為是正面的，例如這次的主辦單位，也幫助了一些資金不太充足但又想推廣自己

的產品的手作人，為他們提供了一個渠道。這使到現在的全職手作人增加，給予他們機會。

問：所以你是一位全職的手作人？

答：我只是兼職的。

問：那麼你會遇到什麼困難？

答：我覺得時間不夠，例如在申請攤位的時候曾被人拒絕過很多次，因為別人不太認識你

的品牌。所以需要把握機會，當你做得好的時候別人就會知道。

問：參加手作市集對你而言有什麼的意味？

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答：有的，例如現在的一些主辦單位會幫你做宣傳，變相是增加了你的曝光率。而且這些

主辦單位，除了提供一個銷售的場地之外，也會提供很多不同的服務，當然前提時你需要

付款。例如你可以在他們那裏寄賣，也有很多其他方面的支援。

問：你會否和其他在場的手作人有交流？

答：這是最常做的東西。這有一個好處，和其他人有交流不同的意見，比起自己閉門造車

更好。

問：這會否提供一個參與組織的機會給你？

答：會啊，因為一個成功的市集是需要熱情的，而且給予身份認同予參加者。這方面台灣

會比較好。

問：所以香港的市場情況還未達標？

答：我認為這尚在發展之中，已經比前幾年為好。不僅是市集的數量增加了，而且大眾對

這個文化的了解也有增加。

問：可否講解一下你在台灣學習創作的經歷？

答：我一開始在香港找不到想學習的東西，然後從一本書中發現了台灣有，所以便到了那

裏學習，我也從我的老師中學到了很多。

問：你會否覺得台灣對藝術創作更加執着？

答：我也不是太熟悉台灣的市集，主要是和我的老師接觸，因為他的要求比較高，所以我

普遍覺得台灣的手作要求也比較高。因為成本上比較低，而且心態也有不同，他們願意花

心機去做好一件事。例如我的老師要求我花兩天去做一件手作，但在香港是比較不可能，

因為會計算成本。另一項有趣之處是，我發現我的產品在台灣能賣較高的價錢，為台灣人

更願意付出這個價錢。

問：所以台灣人更著重這個心思？

答：台灣人覺得手作是獨一無二的，所以會較願意花費。相反香港人會覺得你不是什麼大

品牌，所以我應該付較少的錢。

問：你覺得長久而言，更多市集還是集中市集數量會比較好？

答：長遠而言，某些市集會比較好。因為這視乎個別主辦機構的能力。當然放任市場去自

行運作會比較好，但若果政府能夠有更多的支持也會是一件好事。因為我眼見一些市集的

主辦單位的能力、資金也有限，他們的收入也視乎創作人的租金。所以我認為數量反而是

其次，質素才是最重要。

問：你會否認為一些手作人的自發性組織能夠更有效控制市集的長遠發展？

答：以我過來人的身份，當初我剛開始的時候，並沒有人認識我，是市集給予我機會去開

始。如果成立一個組織去監察，我擔心會做阻礙了有意加入的新手作人。

問：你會否覺得一些政府的組織的階級觀念太重？

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答：老實說，我並沒有想像到會和任何政府組織有聯繫。我覺得政府在推動上並沒有實質

推動。反而是市場上有需要，自然衍生出創作市集。當然政府的支持也很重要。

問：你有沒有聽過 PMQ？你覺得那個地方如何？

答：我有聽過但沒有詳細留意。也有朋友曾經向我提過。

問：若果它是一個收取低租金的地方，你會否感興趣？

答：我曾經看過一些關於 PMQ 的傳單，我感覺它是很高檔次。我沒有想過參加，一來是

我不是全職的手作人，而且我覺得不會很容易就可以申請加入。我覺得政府的宣傳不足，

就算是從事創作的人也不很了解它的運作。

問：除了在市集外，你還有在其他地方和手作人交流嗎？

答：我認為這視乎人與人的接觸，並沒有一定的流程，視乎每個人的際遇。

問：你覺得除了資訊交流之外，在還有什麼東西可以和其他手作人交流？

答：其實我也覺得既然這麼多人從事手作創作，為什麼不組織在一起，既可分擔租金，也

可以一齊合作。我也有想過一起合資購買一個地方，去幫助手作人和一起寄賣。我也有聽

過曾經有手作人嘗試組織起所有人，叫 HK Gallery，讓他們一起寄賣，但現在好像不了了

之。

問：所以你覺得類似的組織能夠幫助到手作人？

答：這可以提供多一個渠道。市集的不足之處是不夠長遠性。所以可以兩件事同時進行。

問：如果真的有一個這樣的組織，你期望它能夠提供些什麼支持？

答：我覺得是一個溝通的渠道，我認為新的手作人需要足夠的資訊去作決定。若然可以將

這些資料放在一個地方，有意加入的手作人可以輕易就獲得這些資訊。

問：你對於香港的市集文化有什麼期望？

答：坦白說，我認為一些手作市集存在非手作的產品，是我所不喜歡的。我希望一些組織

能夠幫助手作人集中，令他們更被人認識。另外網上的協助也很有用，我希望香港也可以

有一個提供各樣市集資訊的平台。

問：今日到此為止，謝謝。

答：好啊。

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Colour Freak Studio

問：你好，我是在進行一個市場學的功課，目的是想了解創作市集可以對香港的文化有多

大的幫助。首先想問你從何時開始參加創意市集？

答：我從今年 4 月份開始參加，到大約 6 月才認真參加，大約每月參加兩次市集，到現在

大約有十多次。從上月開始我辭了職，到現今為止參加了 7 個市集。

問：你之前的正職是什麼？

答：我之前是在花店做花藝師。

問：這和你的創作主題是一樣哦。

問：從你的經驗，你對於創意市集有什麼看法？

答：我覺得情況是每下愈況。一開始時，主辦單位會比較有心機，而手作也沒有這麼濫。

現在有更多人去做，但他們可能不是太認真，抱著一個找快錢的心態。

問：那你對於這個情況有什麼想法？

答：很慘，而且好像拖累了其他手作人的地位。但最主要的憂慮都是金錢來源，因為我想

成為全職手作人。所以除了擺市集外，我也會教班。現在很多人都是抱著只看不買的心態，

所以收入有所下降。可能是因為現在的每星期有大約 6 至 7 個市集同時進行，分散了客源，

而且部分客人的熱情開始減退。

答：而且香港人很多都不會理會手作人背後的心機和付出，只會考慮價格是否便宜。今日

我暫時未有生意，但在 D2 Place 會比較好。早期的客人會較願意付錢，現在就沒有那麼

願意。因為在那裡的賣家會把價格定得很低，但他們的產品卻未必是手作製品。

問：你會否覺得主辦單位沒有盡力去做監察？

答：會啊，例如上次在 D2 Place 有一攤位是售賣侵權的產品，我們有嘗試向主辦單位作

投訴，但最終也不了了之。它比較像一個散貨場，而不是手作市集。現在很多主辦單位都

沒有做好監察，很多人只要付了款就可以在場內賣物。

問：你會否覺得一個創作人的組織可以幫助改進現有的情況？

答：有幫助，但未知會有多少人願意去參加。

問：在你近幾次的經驗之中，你有否和其他的手作人去進行交流？

答：也有和別人交流，當作認識新朋友，也有透過 WhatsApp 來溝通。

問：你覺得這個小社團對於你創作上有什麼幫助？

答：有時會請教他們一些關於材料、印刷上的問題。他們也很願意去回答問題，因為手作

人之間應該要互相幫忙，也會互相支持對方。

問：如果這個創作人組織去一手一力建立一個市集，你覺得它有沒有能力去推動創作文化

的發展？例如作為一個監察人、主辦人的角色。

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答：我覺得這個主意是不錯的，但要實行起來才知道能不能成功。因為未必人人都能團體

起來。

問：你有否想過把你們的這個小社團推廣開去，結合不同手作人的小社區去帶來一個不同

的結果？

答：我認為這可以推廣一下手作文化，但長遠而言是比較困難。因為香港人不熟悉這個文

化，而且現在淘寶又那麼便宜。他們不是很珍惜手作的價值。

問：那你會否覺得若政府的支持會有幫助？

答：我不認為會有幫助，政府攪很多藝術的東西都是失敗收場。

問：你有沒有聽過 PMQ？

答：近期好像出現了退租潮，我不認為有什麼大幫助。

問：那你認為政府在創意市集上扮演了一個什麼的角色呢？

答：我覺得 PMQ 很多的鋪位都租給了一些品牌，若果把它們分租給一些手作人，反而更

有幫助。例如可以把鋪位間得更少或手作人分享同一個鋪位，因為未必每個手作人的產品

都需要造麼大的空間。

問：你認為 PMQ 是否發揮到應有的效用？

答：沒有，入面的品牌我覺得不是太吸引，而且選擇也是太多。

問：你認為 PMQ 的宣傳夠不夠？你認為有什麼可以幫助去宣傳？

答：不夠。若果可以揀選一些有質素的手作人進注 PMQ，去辦一些市集，也許會有幫助

而且很理想，最好可以踢走其他大型品牌。例如在中間的空地進行一個市集，以前它有辦

夜晚市集，但有些攤位也不是香港本土的。

問：所以在 PMQ 而言，你認為政府的幫助不大？

答：不太能幫助較貧窮的手作人和設計師，儘管 PMQ 是宣稱便宜租金，但對於大部分手

作人而言也是太高了，若果可以租得起也可以租其他地方了。

問：你覺得除了 PMQ 之外還有其他集結的方式嗎？

答：香港很多地方也可以擺市集其實。例如以前的尖沙咀碼頭，我認為若市集能集中在一

至兩個地方會比較好。因為若太多會分散了人流。

問：你在市集中會否遇到很多困難？你覺得最大的困難是什麼？

答：我覺得最大的困難是要吸引客人，客人不懂得分辨我的手作的特別之處，所以會覺得

我賣得比較貴。

問：你在創作上遇到最大的困難是什麼？

答：最困難的地方是租金，因為我有一個工作室，也會怕交不起租金。所以要想辦法去維

持創作和收入，始終籌集資金方面是最困難。

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問：你的工作室是在哪裏？

答：荔枝角

問：聽說有很多工作室也是那一邊？

答：會和其他手作人集中在一起。雖然荔枝角和地鐵站也相近，但平日很少自來客。主要

也是靠我 Facebook 的宣傳。

問：那在生計上也比較困難？

答：主要是靠熟客和他們的推介。一個途徑是開班教學去賺錢。如果只靠售賣手作去維持

生計是非常困難的在香港。

問：你有否和其他手作人交流一下如何維持生計？

答：也有的，他們說可以在一些網頁或雜誌宣傳一下，或者與社區中心合作。例如

YMCA 和青協，我們會和一些學校合作開班，那我們就可以有一些工作，也可以增加曝

光。

問：你的教學班會否有特別對象？

答：我的對象是 OL。因為普遍 OL會比較喜歡我的製造，我所見大部份的客人也是 20 至

40 多歲的女士。我想一班的教學有三位學生全部都是 OL。

問：那你和其他手作人之間會否有一些幫助？

答：其實也很少交流，不過例如他們若沒有地方開班，我也可以借我的工作室給他們。而

且一些手作人也歡迎我使用他們的工作室。

問：那認識更多的手作人就可以有更大的幫助？

答：也是的，例如在宣傳上，他們也願意教導我，提供不同的資訊和主意給我，是我之前

沒想到的。而且創作之路是很孤單的，有他們的支持很難維持下去。

問：除了創作上的交流，你們也會進行一些心靈上的交流嗎？

答：有的，主要是鼓勵一下對方，這令我們雙方也感到高興。開始遇到困難會感到很孤單，

但和其他手作人交流下發現他們也曾經經歷過。他們也是很努力的，例如在這一次，有些

人在出面人舉紙牌，本身是在商場貼指示牌的，但商場後來又說不行。

問：那手作人好像很沒有議價能力？

答：是啊，有時可能是比大商場壓榨。我覺得很難去提高議價能力在香港，大商場的人也

看不起手作。我覺得他們的心態是反正有一空地所以便租出去，但之後又不加以管理。有

些商場例如 D2 Place，租金可能沒有提高，但給手作人的枱就小了，可能只有這裏三份一

的大小。

問：你認為一個有力的組織可以爭取更多權益嗎？

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答：真的需要。當然最好就是有的，能夠作為一個代表，但真的不知道從哪裏找。就算真

的有代表，但若手作人玩並不實際支持，也沒有什麼作用。

問：在組織方面你有沒有遇到過什麼困難？

答：暫時還可以的，因為我通常都是先挑選主辦單位才參加。聽過朋友們的最壞情況，就

是主辦單位不肯聽取別人的意見。所以本身我就算預約了這個主辦單位舉辦的市集，我最

後也推掉了。

問：今日暫時到這裏，謝謝。

答：好啊。

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Still Online Store

問：你好，請問你有多少次參加這樣的創意市集的經驗？

答：應該有 4 至 5 次。我初期參加是保良市集。它是為期十期左右，是一季一季的形式。

慢慢中間斷左，到而家畢業才再出來支撐住。

問：根據你的經驗，你有沒有一些關於創意市集的特殊經驗？是什麼東西推動你來參與市

集？

答：首先，從客戶的支持是很重要的，這使我高興。例如在保良市集，它是最早期，每個

接觸到的客人都不一樣。因為它是設在尖沙咀，來自不同國家的客戶都聚集在那裡。通過

傾聽他們的意見，我可以知道他們如何看我的產品，並因此提高我對印章的了解。而對於

最難忘的經驗，我覺得是不久之前發生在 D2 Place 市集。我認識了一位從台灣來的手作

人姐姐。在交換意見的過程中，我們成為了合作夥伴。現在，她是負責設計工作，而我則

負責雕刻工作。通過這些經驗，我們都已經學會了如何提高自己。

問：你怎麼看待香港的創意市集？你覺得它在推動香港的文化上有幫助嗎？

答：其實是有的。起初，香港只有少數的創意市集，如 JCCAC 和保良市集。但是，到這

一至兩年內開始演變，創意市集的數量有所增加。我見到了很多不同類型的手作人都加入

市集來銷售自己的產品。這讓我了解更多不同的設計和創意。這個過程也讓更多的香港人

在創意市集購物，而不是只選擇常見的品牌和奢侈品。

問：除了和你的合作人外，你有沒有其他手作人交換意見或想法？

答：是的，當然。舉例來說，如果我看到有人在生產和我類似的產品，我們將分享我們的

想法，例如由雙方的製造過程、材料的選擇、市集的位置等等。我覺得這是不是手作人之

間的競爭，而是互相分享和改進。

問：那麼，你認為這樣的交流可以令大定都進步？

答：是的，我感到高興的。例如在之前，我認識了另一位手作人都是製作印章的。曾經有

一次她趕不及製作一張訂單，她把訂單給了我。我認為手作人的本質是互相幫助，而不是

競爭。

問：因為創意市集是香港一個相對較新的趨勢，你認為有必要建立一個團體，來收集不同

的手作人之間的信息和力量嗎？

答：我認為這是需要的。在創意市集有很多不同類型的產品。然而，普遍很難界定這些產

品是不是人手製的。我覺得這種組織可以幫助監測和控制的創意產品的質量。

問：除了監督素材的質量，您希望這個組織還有什麼功能，去促進創意市集？

答：我認為在宣傳方面可以有作用，因為現在的推廣是高度依賴於創意市集的主辦機構，

有時我們甚至需要由我們在互聯網和社交媒體上來推動，如 Facebook 或 Instagram 的。然

而，我認為影響人流最重要的都是地區性。

問：除了上面提到的功能外，你對於這個組織還有什麼期望？

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答：我認為，場地的選擇也很重要。在最近幾年，有創意的市集數量正在增加，而主辦單

位的數量也多了。我聽說有人參加一個市集，去到才發現沒有人流，感覺就像白白付了租

金，這對於一些手作人而言是個負擔。

問：我明白了。另一個問題是，你的客戶有否再回頭找你購物？

答：都有的。我有一個客戶是學校的老師。經過數個月，她從我這裡購買了產品，她建議

了其他教師購買我的商店和產品。因此，我成功地取得了另一項訂單，這讓我很開心。

問：那麼，就是這樣。感謝您接受我們的採訪。

答：謝謝。

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Le Tricotage de Willa

問：你好，請問你是第幾次參加創意市集？

答：我從今年 7 月開始。這次幾乎是第 10 次了。

問：哇，這麼豐富的經驗。

答：是啊。我有一份全職工作，但我盡量每個星期六和星期日都參加。我試圖盡可能參與

市集，看看它能否保持盈虧平衡。另外，我視創意市集為一個宣傳渠道。

問：所以，你想保持著知名度？

答：是的。由於我的業務仍處於開始階段，如果我沒有維持足夠的曝光，該客戶有可能會

認為它倒閉了。他們可能為此感到可惜。所以，我想維持甚至提高曝光率和知名度。

問：就廣告而言，什麼是你的主要渠道或工具？

答：我所經營是一個非常小的企業，預算相對較，社交媒體是主要的宣傳渠道。比如我用

Facebook 來宣傳，因為它是免費的，它有一定的效果。我觀察到我的 Facebook 粉絲頁面

的「讚好」增加了，但主要都是來自於創意市集。

問：所以這些讚好了你的粉絲專頁的人會來購買？

答：他們會的，例如會有訂單給我。而且現在我有提供教導。有些學生是最初讚好了我的

Facebook，之後想學，就成為了我的學生。

問：所以，你不只是生產手作製品，也教人如何創作。

答：是的。我想盡量撈取所有的潛在利潤。哈哈。

問：你有曾經參加過 10 次創意市集的經驗，你有沒有遇過任何特別的經歷？或者整體關

於市集的感覺？

答：作為整體的感覺，我認為創意市集的場地是非常重要的。如果某些位置很少人流，沒

有什麼可以做的了。如果位置夠好，能吸引人們去那裡購物，利潤可以很多。

問：你有沒有遇過一些創意市集的位置是很糟糕的？

答：我認為這是不可避免的。例如，這次創意市集的主辦單位已經盡量做宣導，但人流仍

然有限。我覺得這不是主辦單位希望發生的。這是我第二次參加該組織舉辦的市集。第一

次是在旺角的 Home 21。因為旺角的 Home 21 是需要上樓。我研究到每當場地是位於樓

上，人流是一定會少的。這需要樓上的宣傳來吸引人們上去。我認為，這次主辦單位已經

盡了全力。我認為場地比主辦單位更影響創意市集的成功。除非主辦單位是一些龐大的組

織，能夠投入很多去宣傳上。

問：主辦單位會不會影響你在選擇市集時的決定？

答：在選擇創意市集，場地位置的我的首要關注。主辦單位的知名度我也沒有研究。但主

辦單位的宣傳力度我都會有留意。有一些主辦單位是沒有落力宣傳，我是不太喜歡的。有

時候，他們只是在 Facebook 上分享貼文，而甚至沒有在 Facebook 上登廣告。

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問：你會否和其他手作人交流和溝通？

答：是的，我會的。大多數情況下是在創意市集的時間，我們會互相照顧。反而上一次，

我旁邊的手作人也是做針織的嬰兒服飾。這是唯一的一次，我和其他手作人有深入的交流。

因為主辦單位會很少會把一些同類產品的攤設在一起，所以，我很少有機會與類似的手作

人交談。

問：一般情況下，你認為創意市集上有沒有任何的競爭？

答：在實際的手工和創意市集，我覺得沒有惡性競爭。由於每個手作人都有自己的專長和

知識，他們會尊重其他手作人的創意。反而在 D2 Place 會有惡性競爭。我相信，大約 70

％的產品都不是手工製作。大部分的產品都是服飾類，可以在旺角等購物商場找到。而在

D2 Place，我覺得賣家之間是不尊重的，不過我沒有把他們當作為手作人之一。

問：所以很難去參加這樣的地方。

答：我認為我們的那種人不同，我們是不同的質素的人。我認為，真正的手作人必須尊重

並關心其他手作人。

問：正如你所說，不同的手作人可以互相幫助，你認為有必要建立一個組織或工會？

答：我認為這是必要的。作為個體的手作人，我們都太分散。我認為工會有共享信息的功

能，並且這些信息可以幫助選址等等。手作人之間現在也單打獨鬥，如果這種情況繼續下

去，創意領域將是在減弱。

問：因為它仍然是在初始的階段。

答：是的。如果不保護它，它可以消失速度非常快。

問：那麼你期望這個組織還會有什麼作用？

答：其實議價能力是非常重要的，尤其是在談判一個更好的場地位置。該組織能夠代表手

作人和主辦單位及場地管理溝通。有時，場地管理不會與我們和主辦單位合作。例如，這

次山頂商場的管理也不太合作。

問：像不合作照明或材料等管理問題？

答：是的。而且組織可以發揮另一個重要作用是作為一個法律顧問。正如許多手作人有創

意的市集以外的全職工作，我不排除有些手作人有任何法律相關的專業。如果工會能夠聚

集這些不同的專業人士，這就最好。

答：而且組織可以有足夠的資源、財力去做事，而一個人的能力是有限的。這可以促進和

改變很多。例如在宣傳方面，手作人只能承受很小的宣傳，社交媒體是我們有能力推動的

唯一通道。

問：是的，像電視，報紙，雜誌的渠道是非常昂貴的。

答：是的，當然。如果工會能夠聚集資源，宣傳效果會更加龐大，有利於手作人。而且宣

傳方面不可能只依靠主辦單位，因為他們的預算也有限。

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A：你認為社交媒體可以協助推動香港創意市集的文化？

答：我覺得互聯網的作用有限。由於在互聯網上的信息太多，人們可能沒有注意到我們的

信息。我認為在推動上需要一些實際的東西。而且使用互聯網是還不如面對面見面。另外，

這個手作人的組織也必須存在於現實生活中的，而不是在互聯網上，從而可以更好地說服

人們相信它的運作。

問：那麼，你覺得創意市集可以如何促進香港的文化？

答：首先，香港是否有什麼文化？我不認為香港擁有一些獨特的文化。我認為創意市集宣

揚的，這就是所謂的“獅子山精神”。作為一個手作人，我做的並不容易，但我仍然這樣做，

因為我不想放棄。

問：在香港，一些大的組織壟斷了市場，你認為創意市集有機會找到一條出路嗎？

答：我想是有可能的。雖然創意市集在香港仍然是非常初期的，但這僅僅是個開始，而一

切是由小開始的。反而讓我高興的是，我發現有許多的手作人在香港，會願意親手創造一

些有價值的東西。因為創意市集的興起，更多的人了解和參與，香港人可以創造一些有價

值的東西。而且團結的力量也很重要，它可以打破大機構在香港的壟斷地位。我相信，一

個健康的經濟狀況需要小東西的支持，例如這樣的創意市集。

問：除了在創意市集，你有否在網上銷售你的產品？

答：我有在賣少量的產品，但我仍然不太信任互聯網。另外，我認為網上購物在香港是不

可行的。因為在香港購物方便，不像國外一些國家。因此網上購物可以在國外流行，但在

香港卻不可行。此外，互聯網對於我們的海外銷售是沒有幫助，因為運輸成本太高，這對

於我們而高是負擔不起。

問：我認為這是整個採訪的結尾，謝謝。

答：不用客氣。

67

Boyi

問：你好，請問你之前參加過多少次市集？

答：大概 5 次。

問：為什麼你會想參加手作市集呢？

答：其實主要因為自己興趣，做了些手作飾物出來，想有人欣賞和認識，亦當成一個兼

職，可以賺些錢，所以就參加手作市集。

問：你對於香港的手作市集有什麼看法？

答：其實現在除了手作市集，普通市集都很多，多得我覺得有點泛濫，但反而手作的搞

手就不多，常見的都是那一兩個搞手，新搞手很多時都因為太新，未有一班 fans 班底，

所以少人去他們的手作市集，從而變成一個惡性循環，沒人去，無 FANS，我們手作人又

不去，所以其實都是一個幾挺不好的事情，不過我覺得 fans 要儲，可能而家所謂的手作

市集龍頭大佬那時又何嘗未必可能 ig facebook 只有幾百個 fans，現在過萬了，所以我覺

得都要時間儲。

問：你對於外國的手作市集有任何認知嗎？

答：外國的手作市集就沒有認知，通常多是網上看他們的作品。

問：你對於手作市集有什麼好/壞的印象？先說好方面？

答：嗯。。好…好方面就是真的會有些客人會特地為了這個市集而來，上網看到宣傳，

見到自己或者搞手宣傳都好，都會來看一下，就算不買也會來逛一下，欣賞下，路過也會

說句「好靚喎」，其實自己也會開心，即使他不買也好；如果不好的方面……可能香港還

沒…即香港大部份人還未習慣有這類創意行業的存在，亦不了解到我們花了多少心機，可

能由設計，到入貨，所有事情都是自己一手一腳做的時候，有些人會覺得，嘩賣這麼貴，

要議下價。其實我們很多人都已經把價錢定到最底，租金亦不便宜，因為參加手作市集也

要付租金，所以就…希望香港人多欣賞創意這回事，不要用價錢去衡量太多。

問：那你有曾經跟其他參加手作市集的手作人交流過嗎？

答：也有的，因為，我做矽膠飾物，玻璃球那種手作品，通常手作市集有很多不同類型

的手作品，可能有些是畫畫，整袋子，皮革，印章呀甚至乎台灣的朋友都會交流下，說好

辛苦呀…所以都是一個好玩的活動

問：你對於這些交流都是正面的嗎？

答：對，正面的。

問：你有曾經使用過社交媒體幫助你的手作事業嗎？

答：我目前暫時都是 FACEBOOK 同 IG，我知道有一個網站也是幫手作人去…就是讓他

們做一些網上賣東西，收一些手續費，而不是交月費，也不錯的。不過我現在沒時間去弄。

問：主要是想銷售，而不是交流？

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答：如果網上主要就是賣東西，但 FACEBOOK 同 IG 就，一來賣東西啦，二來跟客人交

流。

問：第二部分想訪問關於你香港既手作市集的風氣。

答：嗯…其實普遍都 OK 的，大家都是手作物，就是有些時候會比較參差，有時很明顯

知道有些手作人是淘寶買的貨物，其實我也知道很多手作人都是淘寶買一些貨源，之後自

己再加工，這也不算問題，起碼他自己有設計過，也無可厚非，成本比較低嘛，做出來的

質素也不差，但有些真的很明顯是淘寶直接買，不做任何加工就拿出來賣，所以有時候比

較參差，但大部份都 OK 好好，大家的競爭是開心的競爭，而不是說：「嘩佢淘寶貨黎既，

梗係平架啦多人買…」這樣。

問：你覺得如果用這些手作市集作為一個途徑去宣傳這類文化，有效嗎？

答：我覺得。。都…有效的，總好過我們手作人自己全部零散宣傳，起碼有手作市集，

無論搞手宣傳吸引人來還是別人自己路過進來看一下都好，都多了一個途徑讓普通市民接

觸我們手作這個行業。

問：手作市集對於你們手作人之間的交流有效嗎？

答：有的，即一個手作市集除了我們自己賣之外，我們也很喜歡閒逛，我們都會趁著開

始之前，或客人不多的時候，或者差不多完的時候個就會自己出去派卡片。可能見到一

些喜歡的手作品都會買，或者同對方交換自己的手作品，去做交流，手作市集是一個很好

的渠道。

問：你覺得對於你自己方面，當有了手作市集之後你有什麼改變？

答：無疑比較多人認識，有了手作市集之後就報紙雜誌那些都會報導啦，再吸引多些人

來，對推廣這個行業跟文化我們都覺得很有幫助。

問：對於你來說，在這個社區裹面你有歸屬感嗎？

答：也有的，始終都有參與過市集，這些市集的搞手會選我去參展呢，即其實我的手作

物會得到他們的認同，行內的認同，自己都覺得自己是他們的一份子。

問：最後想問這個手作市集對於手作人來說有什麼影響？

答：影響…。即手作市集對手作人的影響？

問：對

答：那一定是好方面的影響，多人認識，可以跟同行交流。是一件好的事情，起碼因為

有人真的不會網上購物，就算看到我們的作品，覺得漂亮，也不會網上買，不會說入數呀

寄貨比你，他們喜歡看實物，看到就可以直接來買這樣，有些客人真的會等市集，說我不

太想網上買啊，你什麼時候有市集呀？我直接來買吧。能夠方便我們和客人。

問：最後想問你未來會再繼續參加手作市集嗎？

答：也會的

問：謝謝你，訪問完畢

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Kaiwa

問：請問你有曾經參加過手作市集嗎？

答：有

問：你參加有帶什麼期望，或者目的嗎？

答：期望，我想最基本是希望可以賺回租金，因為其實租金也很貴，對於我們手作人來說

都是一個高昂的費用，其次就希望可以增加知名度，令多點人認識我的品牌，也希望可以

做到一些生意。

問：你對於本地的手作市集有什麼印象？

答：印象…我印象其實有些機構定期都會舉辦，例如我認識的有 HK D2PLACE，這些都

會定期舉辦手作市集，不過就不是每個手作市集都很好。

問：有什麼好跟不好的經驗可以分享下？

答：好的是…有一些市集的人流都不錯，做到不俗的宣傳效果，不過位置其實都很重要，

譬如我有一次去九展，因為那邊太偏僻，所以人流不太好，導致那次生意不太好。

問：你參加手作市集的時候有跟其他手作人交流嗎？

答：都有，主要是自己身邊附近那些啦，當作認識朋友，雖然大家做的作品都不同，但

都可以互相交流，大家的 business model 都相似，可以參考下。

問：還會交流什麼嗎？

答：會聊大家的出身背景，做自己手工藝做了多久這樣。

問：你覺得這種交流是正面或負面？

答：我覺得都是正面的，因為其實有些以前認識的朋友到現在對我都有幫助。

問：你有用社交媒體去幫助你的手作事業嗎？

答：我有用 facebook 跟 instagram， instagram 對於我地生意來講會比較好， facebook 就相

對次要。

問：你會用這兩個社交媒體跟手作人交流嗎？

答：透過 ig，facebook，都會有的，有時有些行家都會在我們 IG 留言聯天這樣。如果你

說實質點，比較商業性的話就會用 whatsapp 去聯，比較少在社交媒體高談闊論。

問：第二部份想問你對於香港創意文化有什麼看法？

答：我覺得也是一個 trend，但究竟是否長遠就看不透，所以，我也有想過要不要擴展業

務，但會擔心呢個 trend 是不是長遠的，如果擴張事業能否賺錢。所以我現在都是觀望狀

態。但我覺得整體來說都是好事來的，因為香港跟金錢掛鉤，如果可以發展，盛行這個

手工藝產業的話我覺得都是一個好事。

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問：你覺得如果用這個手作市集作為一個途徑，可以幫助到推動這個文化嗎？

答：都會。但有個負面的看法就是其實手作方面好多弊端，人們會鬥抄，或者偷偷的抄你，

其實會有惡性競爭。但整體來說某程度上都可以增長到。

問：你覺得有了手作市集之後對你個人來講，有什麼轉變？

答：眼界會變廣闊，因為拿了經驗，我這個行業是做皮革的，因為單價比較貴，譬如一

個錢包 1000 塊，其實比較少說客人逛市集就會放下 1000 塊買這個錢包。所以其實手作

市集對於我來說不是一個賺錢的工具，而是推廣自己品牌的一個活動多過賺錢的活動。

問：另外除了推廣你的業務之餘，會希望同手作人去交流嗎？

答：也會的。

問：你個人而言，在這個藝術社區有個歸屬感嗎？

答：我倒是沒有這種感覺，因為我個人覺得手工藝跟藝術是很不同的兩樣東西，不會相提

並論。

問：你覺得手作市集對於普遍的手作人來說有什麼影響？

答：好的影響。

問：對於整個香港的藝術文化呢？

答：會有改善，至於你說手作人的話，就多個渠道宣傳自己。

問：訪問完成，謝謝。

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Yan

問：你好，請問你是否自己弄手作品？

答：是的，平常我主要是自己設計一些手繪既賀卡，放在 instagram 賣。

問：你有聽過手作市集嗎？

答：有呀。

問：你有參加過手作市集嗎？

答：我本人就沒試過係在那邊擺攤，不過我平時自己週末有空都會去其他手作市集逛一

下。

問：為什麼你不在手作市集度擺攤呢？

答：首先因為我的手作品跟其他人有些不同，我是畫賀卡的，其實我都是根據客人的要求，

像說卡有什麼用途啦，可能是生日卡啦，賀卡啦，或者可能他們給我相片，我就照著相片

畫出來，或者看他想要畫什麼啊，比較個人化一些，那我就要多點時間去構思下要該怎麼

畫，起碼都要 6-7 日先能夠完成。但手作市集就因為你要立即刻畫出來，可能不能太仔細。

其實這也不算好大問題，因為都是根據不同產品去畫，賀卡可能會比較花時間，但有時候

有些客人都會給一本空白的簿子叫我幫他們設計封面這樣，相對可以簡單一點，大概 10

分鐘就能起到稿。但你問我為什麼不參加手作市集…嗯…我會考慮租金問題，因為不同

手作市集都有不同收費，便宜的也要幾百塊錢。但我如果在旺角街邊擺檔，或者上網賣，

其實不用錢，成本就會低很多。相比起來我當然會選擇街邊擺攤多多於在手作市集擺。

另外我也有用 ig 去展示我畫的作品，亦會截圖客人的好評，對我的生意都有幫助，令客

人對我畫的作品有信心，就會光顧我。

問：你有用過 instagram 去跟其他手作人交流嗎？

答：比較少，其實也算不上交流，但我可能會留意下他們的作品，因為始終可能都會有

些競爭關係，又會看一下別人怎樣畫呀，有什麼可以吸引人的地方可以參考下，但我用

instagram 主要都是想宣傳自己這門生意，以創業為主。不過我也知道 instagram 那邊有一

個叫 gopopyeah 帳戶，是會幫忙宣傳一些手作市集，我也有在那邊看過有什麼推薦的一兩

個手作市集。

問：你覺得手作市集是不是一個有效的渠道讓手作人之間作交流？

答：當然，手作市集就是讓一班手作人擺攤，其實過程就可以交流心得，交流技巧等等，

不止是做生意。另外亦可以擴闊自己視野，可以實體看一下別人的作品是怎樣的，雖然都

是些不同類型的作品，但都可以知道手作人的創作理念，對於手作人之間的靈感有很大啟

發，另外我覺得最重要是大家能夠互相支持，知道不是自己一個孤獨地創作。

問：你對於香港的手作市集有什麼看法？

答：我想這類手作市集越黎越多，有些真的會想幫手作人聚在一起作交流，分享一下，

可以宣傳手作文化的，其實我覺得這正正就是手作市集的原意啦，但有些其實就是為了賺

錢，可能質素就未如理想，令到客人覺得不值得，這對於其他認真做手作物的手作人是不

公平的，因為一但標籤了: 這些手作物能值多少錢啊，你又賣標這個價錢，是想要騙人嗎？

但可能有些真的很花心思整出來，但客人已經認定，或者他們不知道這個價值。你知道香

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港人啦，心態就是：「嘩你件貨，D 質料，可能買返黎幾蚊咋喎，但你賣到 5，60 蚊，邊

會有人買。」他們不懂得去欣賞這些手作品，沒有把我們弄手作物所投放的心思，時間，

藝術放進去衡量價值，單憑材料的價值就應該賣高一點錢，不應該賣多於幾十倍的價錢，

忽略了我們時間，心機同對藝術的付出，整件事就變得不好，不過我想這些只佔少數，我

相信好多人都會欣賞手作物，整體方面我覺得香港的手作市集都 OK 的。

問：你對於外國的手作市集有什麼印象/認知？

答：不太清楚。

問：你將來會考慮參加手作市集嗎？

答：都會的，因為始終手作市集都是一個好好的渠道去宣傳大家，可能有些只會關注一

個手作物，但可以透過手作市集看到更多不同的手作物，其實都會有宣傳的作用，另一方

面主要也不全是為了利益才會參加，因為除了增加知名度，可能賺少少錢，最重要的都是

可以係接觸不同類型的手作人，可以透過這個平台去認識下其他手作人，多看些不同的作

品。

問：第二部份想問一下你對於整體香港的藝術風氣有什麼感覺？

答：我覺得…現在做手作是會比以前多人認同和欣賞。以前的狀況就是如果你說你做手

作，先不說做手作，你說你做藝術，讀藝術的話，別人就會覺得，想法變得好負面，覺得

讀藝術不能維持生計，不能找工作。但其實現在有一個轉變就是會有份正職，做手作是為

了興趣，或者得到少少滿足感，即不全是為了錢，而是為了一份認同感。我都好希望可以

透過做手作去創立自己的事業，會得到人地的認同，肯定自己價值。而透過手作市集就正

正可以幫助到一班肯去肯嘗試的手作人，因為有一個渠道讓我們落手落腳去做完作品出來

以後可以讓別人看見，知道作品背後的意義。其實手作品很多時反映了我們自己的想法，

風格方面，透過這些作品表達自己，肯定自己。

問：你覺得手作市集可以幫助推廣這類創意文化嗎？

答：當然可以，因為手作都是一種傳統藝術，只不過可能比較小眾，或者規模會比較小，

但這幾年都是因為手作市集才令到更多人認識到創意文化這回事，因為始終一些大的藝術

品就不是人人皆知，但一些比較小的作品，例如鏈啦，畫啦，日常生活會用到的就比較多

人認識，亦自從上年的雨傘運動之後，香港人的本土意識都加強了好多，我們都會弄些手

作品去表達自己的心聲跟心願，像我自己，罷課期間我都有畫一些卡去支持他們啦，就用

一個比較我自己的風格去表達對他們的支持。

問：當你知道有手作市集之後你自己有什麼轉變？

答：手作市集令我知道除了 instagram 之外，亦有方法讓別人知道我的作品，雖然我自己

沒參加過，但起碼我知道有這個渠道會幫助我自己去宣傳。我也是因為常去手作市集，所

以才會嘗試去畫不同的畫，跟不同的人交流，可能從別人口中，其他手作人口中得到自我

肯定，相比起放在 instagram 一個相對單獨的渠道，手作市集就會比較好。

問：以你理解，去了不同的手作市集，你覺得有手作市集之後對於手作人方面有什麼轉

變？

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答：嗯…我想有了手作市集之後會多了人去認識這個行業，更會去參與，因為當沒有手

作市集的時候，或者未盛行的時候，大家可能不知道他自己喜歡做這些東西，未意識到原

來自己喜歡做這些手作物，是有他們存在的價值，當他們知道有手作市集，他們就會突然

知道:「原來我既呢 D 野，係我鐘意做既野黎既，可以令人地肯定到既野。」不會剩你一

個人這麼孤獨。

問：你覺得自己在這個藝術社區入面有歸屬感嗎？

答：嗯…。其實比較少，正如我剛才所說，因為我一直都是透過 instagram 去展示自己畫

的作品，雖然我平時都會去看一些手作市集，但可能比較單向 D，比較少相向的，因為我

的客人可能不會跟我一樣很喜歡藝術的方面，只是追求獨特。但我一直以來都很想將其變

成自己的職業，但我比較少跟其他手作人聯天呀，雙向交流這樣。但我相信手作市集是可

以促進手作人之間的交流，因為是一個好的平台讓他們展示自己的手作物，同時可以看別

人地的作品，給予其他人一些支持，好像有個社區，一群做藝術的人的社區，譬如你在畫

畫，我做其他顏色的東西，像有一種力量凝聚大家。

問：最後想問下你對於整體香港藝術文化，手作市集能發揮什麼影響？

答：首先會是一個好的影響，正如我剛才所說，香港的藝術文化大家都覺得是文化沙漠，

對藝術不認識，對藝術的評價就只有錢，用錢去衡量藝術。但有了手作市集就令更多人認

識，可能香港發展不了大眾，大型的藝術文化，但我地可以從小眾的藝術文化去發展，因

為可能始終是比較狹窄的藝術市場，但小眾藝術都是一種藝術來的，可能會更加適合香港

人。

問：你覺得香港的手作市集有機會成為一個主流既文化嗎？

答：主流就不好說，但都會存在一定的文化，例如星期六日，在香港如果你不想逛商場，

就沒地方可以去，所以而家多了很多手作市集，禮拜六日沒地方可去的話可以去逛手作市

集。其實都會幫到一些手作人，例如你稱讚他的作品好漂亮，他們已經很開心。

問：訪問完成，謝謝你接受訪問。

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Po

問：多謝你接受訪問，請問你是自己弄手作物的嗎？

答：是的，我都弄了差不多 1 年半，主要是一些手作飾物

問：你有聽過手作市集？

答：有呀，我成日都會去。

問：你有參加過手作市集嗎？

答：那倒沒，因為我還在唸書，沒那麼多時間去籌備，不過其實我都想參加下，不過要

申請，其實很麻煩，之後交表格，交錢，等抽籤結果，又要做很多準備工作，太麻煩了，

因為我學業比較忙。另外你還要好好設計攤位去吸引客人，其實太花時間和精神，花這麼

時間弄好攤檔，卻只為了一兩天，有些比較出名的手作市集可能又很遠，如果我要帶我的

手作物去賣，都要拉個行李箱才行。或者 sem break 的時候我會再考慮下參與。因為實在

太多東西要準備。

問：聽起來你也很忙碌，可是你還繼續弄手作物呢，你有什麼目的跟期望嗎？

答：雖然好忙，但整弄這些手作飾物都會很開心,主要都是興趣之一來的，可能平時看到

一些可愛的卡通人物，就會想自己弄成飾物自己戴或者拿去賣，有人欣賞和喜歡的話自己

當然會好開心，但其實過程中我也很享受，最初弄的時候會有些失敗作，自己看到都會覺

得好搞笑，怎麼會弄成這樣，但畢竟都是自己一手一腳弄出黎，可愛之餘又會覺得這個只

有我才弄的到，是我自己獨有的。現階段都沒想那麼多，嘗試弄這些手作物當娛樂自己，

有機會的話就賣下幫補下這樣。

問：聽起來你都很享受弄手作物這個過程呢，你有跟其他手作人分享過這份喜悅或交流

心得嗎？

答：嗯。。都有的。我在 facebook 有加入一個手作人的群組，他們不時都會講他們會去

哪裏擺攤之類的，可能一些大學，D2place，又會討論哪些 organizer 好，哪些不好之類，

我都會吸收經驗。他們又會上載自己弄的作品，有時我看到覺得好漂亮也會問下他們怎麼

弄的啊，難弄嗎？這樣。他們都好好人，會好詳細的回答我，我在 group 裏看過有手作人

分別弄布藝同首飾 crossover，弄了一個很漂亮的布頸鍊出來，後來才知原來他們都是透

過 group 裏面認識，之後互相交流心得，最後弄了這麼一個漂亮的頸鏈出來。

問：相比起手作市集，你覺得哪個渠道可以令到手作人可以有效交流，甚至推廣手作風

氣？

答： facebook 就撇除了地區和時間的局限，可以將不同地方的人隨時連繫，我覺得

facebook 是可以令大家有交流的，因為像我剛說那樣，兩個素未謀面的人透過 facebook

都可以合作，而成果是出乎意料地好，不過我覺得手作市集就可以做到你所說的交流，在

面對面，和推廣手作物兩方面都做到，首先你在手作市集擺攤的話可以見到更多不同類型

的手作物，又可以看到弄手作物的真人，我覺得這樣面對面而有直接的交流比 facebook

更好，沒有隔膜。因為你真的可以看到實物，不會有個顧慮說圖片與實物不符，因為我有

用 instagram 去展示我的手作物，曾經就有人懷疑真偽，所以真實地看到那個物件，可以

令客人有信心，另外如果你說推廣手作風氣，我覺得手作市集就更加可以做到，現在香港

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都越黎越多不同的手作市集，我覺得是好事來的，因為都變得多人留意這個文化，亦會親

手試弄手作物，我都是因為有朋友弄，我才跟著試試看，之後便愛上了。另外之前有在

facebook group 裏看過下香港手作市集的資訊，知道原來手作市集都有分不同主題，而不

同主題可以聚集志同道合的手作人，所以未來如果時間許可，不太忙的時候，我都想試參

加。可以推廣我的作品之餘，也可以多認識不同的手作人。

問：看來你對於香港既手作市集都有好的印象，那麼你對於外國的手作市集有認識嗎？

答：我很少留意外國手作市集。。

問：剛剛聽到你說會用 instagram 去展示你的手作物，為什麼會用 instagram 呢？

答：主要都是因為方便啦，因為我弄這些手作物出來都已經花了很多時間，沒時間去擺

攤了，用 instagram 的話就只需要一張相，打 caption 再加 hastag 就可以 post 出去，不過其

實都幾難去吸引客人來看，因為這麼多人做一樣的事，很難令人找到你的 instagram。另

外亦會有人懷疑是不是我親手弄的，會不會買回去之後發覺跟相片不相符。不過都算是

一個途徑去展示我的手作物。

問：即是你會用於吸引客人為主？會不會用社交媒體去跟其他手作人交流呢？

答：用 instagram 就是以展示我的手作物以吸引客人的，但你說交流的話…嗯…… 就之前

說的 facebook group，都可以跟志同道合的手作人交流下。

問：第二部份想問關於文化方面。你覺得香港的藝術文化風氣有什麼看法呢？

答：我覺得這個風氣是一直在增長的，越來越多人對於藝術有更深的認識，可能以前不

太了解，但現在比較多人嘗試去了解，或者想從事藝術有關的工作。另外越來越多的手作

市集，我覺得都可以幫助帶動到藝術文化，因為手作市集都是標榜手作，是自己一手一腳

設計，再弄出來，是獨一無二的，之後很多 organizer 都會用不同途徑去宣傳手作市集，

無疑能幫助到帶動這個文化，亦都令到更多人認識什麼是手作市集，除了吸引對手作物有

興趣的人，亦都可以幫到不同手作人，以我為例，我沒時間去擺攤，但我都會知道有這個

方法可以幫我去認識其他手作人，或者賣手作品這樣。不會有孤立無援的感覺。所以未

來時間許可的話我都想體驗下。

問：你個人覺得自己對狂這個藝術社區裏面有歸屬感嗎？

答：現階段就比較少，因為我目前唯一的連繫就只有 facebook group，是相對比較疏遠的，

所以我都想親身去接觸多些不同的手作人，看看他們有沒有屬於一個自己既圈子，有的話

就再融入落去，剛剛說的用布跟頸鍊 crossover 真的令我印象很深刻，我都好想有機會和

其他人夾下，有些新火花，是一件好奇妙的事。所以我覺得手作市集是一個好好的平台給

一些可能像我這些初接觸手作人交流下，因為之前我都有去過其他手作市集，普遍的人都

很友善，會跟你說他的創作理念，會好佩服他們的創意。

問：以你去看過其他手作市集的經驗而言，你覺得手作市集如影響到手作人，喜歡藝術

的人，以致香港的藝術文化呢？

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答：我覺得手作市集是一個好的平台跟渠道讓手作人之間，和喜歡藝術的人去互相交流，

而氣氛是很輕鬆的，不像講座、分享會，只有一個主持在說話，感覺好沉悶，沒有互動。

相比起手作市集就真的可以面對面交流，可以見到別人的飾物，就會有正面的影響。

問：那對於香港的藝術文化呢？

答：當然都有正面影響啦，可以讓更多人認識到藝術的文化和去欣賞藝術，手作物，欣

賞別人地的創意。

問：好，多謝你接受訪問。

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Karen

問：首先想問你是自己弄手作物的嗎？

答：是的。

問：你有聽過手作市集嗎？

答：有的。

問：那你有參加過手作市集嗎？

答：這倒沒有。

問：為什麼不參加手作市集呢？

答：一來因為價錢啦，二來因為其實我做的手作物是布藝，弄出來都是自己用呀，或者

送給別人這樣。但如果拿去賣的話一來可能品質未必可以迎合到其他人啦，二來因為很多

人都在做這些，比較難競爭。

問：你講到價錢,，你知道一般在手作市集租攤位擺攤的費用是多少嗎？

答：不清楚。

問：既然你沒參加過手作市集，那你有跟其他手作人交流過經驗嗎？

答：沒有。

問：那你想跟其他手作人去交流嗎？

答：會想的。

問：希望透過什麼途徑？

答：可能網上或者一些討論區。

問：你想在網上討論區想討論或者交流些什麼內容呢？

答：可能交流下其他手作人的經驗，或者因為弄手作物都要講技考方面的嘛，所以想知

道這一方面的知識。

問：你覺得手作市集會是一個有效的途徑讓手作人去交流嗎？

答：會呀，因為可以集中到手作人，可能我知道有手作市集，想買的話都可以集中到一

個地方去看／買這樣。

問：你對香港的手作市集有什麼看法？

答：我覺得現在是續漸都在增加，亦覺得這方面有潛力的，因為他們可能弄的手作物比

較特別，現在很多人都弄些比較特別的手作物，有不同的意念或者多了很多新的元素，所

以我覺得這方面都是有潛力的。

問：你將來會考慮參加手作市集嗎？

答：都會的。

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問：如果參加的話，會想賣你的手作品之餘，還有什麼其他目的想嘗試達到嗎？

答：除了賣之外，我覺得是想別人認識我這店舖的名字，或者這個品牌。

問：第二部份想問你對於香港的藝術文化風氣有什麼感覺？

答：我覺得其實是不錯的，因為我看到好多弄手作物的都是年青人，我覺得這方面亦可

以發揮年青人的潛力，例如他們可能很多自己技藝，可能沒地方去展示，或者真的可以將

自己的興趣發展成為事業，所以我覺得手作市集是一個挺好的途徑。

問：相比起來，手作市集可能是一個比較新興的潮流，你覺得可以在哪方面定位呢？

答：我覺得會是新興的潮流呀，因為都比較多的店舖都會參加，就算他們自己有實體店

舖，他們都會參加手作市集，一來因為手作市集聚集了一班真的想去買東西的人，即大家

都會知道這個市場賣什麼東西，所以他就會去買，可能可以接觸到他們的目標顧客。

問：你覺得手作市集可以幫助推廣到這類創意文化嗎？

答：可以。

問：可以怎樣幫助推廣？

答：一來如我剛說的地方集中性，都集中在同一個地方，二來因為他們都做很多的推廣，

另外他們的手作市集是由十多間至二十間手作的店舖，每一間舖頭都不停向外宣傳，廣泛

性都很高，會容易讓人知道有這個手作市場的存在。

問：你覺得有手作市集之後，對於手作人之間有什麼影響？

答：我覺得對他們的影響都是正面的，譬如因為他們沒開實體舖之前可以在手作市場擺

攤，可以嘗試一個創業的機會，第二亦可以在市場那裏作試驗，亦都可以認識手作人啦，

交流更多的經驗，可以在手作市集接觸到第一批客人，令到佢地公司以後賺錢都可能有一

批固定的客人。

問：你有用社交媒體去賣你的手作物嗎？

答：其實現今暫時還沒有，都是自己弄，但如果我將來在品質，或者技術成熟以後，都

會用 instagram 作宣傳。

問：最後想問你覺得手作市集對於香港整體藝術文化有什麼影響？

答：我覺得會在創意度方面會有所提高，因為假設大家都賣相同的手作品，其實賺錢的

機會變得比較少，所以每一間店舖都可能有不同特色，例如賣布的話大家都有不同的，可

能他自己會加入特別的設計呀，或者在出面的款式是這樣，他自己就不是這樣，因為畢竟

每人想法都不同，可能將普通的元素加進去自己的意念，亦會提升創意力，變得獨特，亦

不會被大型企業壟斷，其實現在的小店舖都可以接觸到一些比較少眾的顧客。

問：既然你跟其他手作人少交流，對於你自己在這個藝術社區有什麼影響？

答：因為其實好多人在手作市場裏面都會認識到其他的手作人啦，可能大家不同的手作

人都會有不同的經驗，或者大家一齊計劃去做事，如果溝通少的話可能會影響我自己會否

手作市集的決定，因為一來沒朋友一起，二來可能一些經驗都沒有，可能都會有阻礙我加

入這個市場。

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問：最後想問你將來參加手作市集會考慮什麼因素？

答：我覺得是價錢啦，二來是自己有沒有這個能力，跟別人比較我究竟有沒有可取之處

啦，另外就是地點，因為手作市集都有很多不同地方，可能每個市場賣的手作物都不同，

例如有些是在西貢，可能專門給小狗的，有個手作市集是荔枝角的，可能就專門給年青人

在藝術或設計方面的，即不同市場的定位和位置都會對我有影響。

問：好，訪問完成，多謝你接受訪問。

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Appendix 2: Summary of each Interviews

Chubby Pinkie (Handicraft Accessories)

The primary reason that Chubby Pinkie joins creative market is that they need to sell their

handicraft for making money to continue the business and to know other handicraft artist. After

making friends with other artist, they connected through Whatsapp group and hold different

activities. They would even hold creative market by themselves. Chubby Pinkie believe creative

market have little effect on promoting creative culture but it takes the role of helping artist to

continue their business which can be regard as a event function or a tool of creative industry. He

stated that the Hong Kong trading environment, there is no support to them. Shopping malls

allow them to hold creative market only because of their own marketing strategy and to package

themselves as a diversity brand.

The performance of creative market is facing a down turn because of unprofessional organizer

and fake handicraft artist who sell TaoBao product. As a result of the bad performance, customer

have lower confidence to creative market and they will not coming any more. To compare Hong

Kong and foreign creative market, he think Hong Kong market have vary quality and the

operation model is similar to Taiwan; the foreign market are more likely to sell commodity.

To improve the current performance, he suggested that artist and organizer should have better

cooperation and tighter control.

一甲立坊 (Ceramics)

Through joining creative market, the owner of 一甲立坊 wants to promote their business to the

public and to exchange information with other artist. They share different kinds of information,

such as the coming up market, the organizers’ background and performance, material source and

mental support. He thinks that the current official art organization classify artist and very

selective. These organizations did not provide any support and help to handicraft artist. Hong

Kong consumer do not respect handicraft product and artist, and focus on low price. The behind

reason maybe people are not educated in their childhood. Schools do not promote culture other

than academic performance related activities. Therefore, people have lack of understanding in art.

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Regarding to his past experience in participating in creative market, he feels the industry is

declining quickly with different reason. For example, there are too many creative market being

held in the same period, it lead to the dilution effect on customer. There is no support and

monitor from official organization and the government, so the overflow situation will become

worse. Unlike Japan, Taiwan and Korea, the atmosphere in Hong Kong is very weak; and the

governments of these places provide different levels of support to artist but none in Hong Kong.

He wishes to have a handicraft organization to help them to hold well-organized creative market.

The organization should be long term and be able to monitor the quality and concentrate the

promotion. So that the artist will have more bargaining power when dealing with different

stakeholders.

Baguette Just Baked (Handicraft handbag)

Baguette thinks that creative market provide an opportunity for artist to reach customer in low

cost, increase the exposure in public, able to exchange with other artist and to enjoy marketing

effort from the organizer. In her experience in interacting with other artist, they share experience

in creative market and own business. She thinks these sharing are valuable to her business

development and can be a reference to her business.

She believes that the creative market have positive impact on promoting the culture. Creative

market can be an encouragement and opportunity for artist to stay in the industry and continue

their creation work. However, the culture is not mature in Hong Kong; people have lack of

understanding to art work and price oriented.

She is optimistic to the development of creative market in Hong Kong and hope the government

will provide more support to them. She mentioned her learning experience in Taiwan, the

atmosphere is much better as they have the government support. Taiwan artist do their handicraft

business with lower cost and well understand by the public, people willing to pay more for

handicraft product.

In order to improve the current situation, she suggests lessening the number of creative market;

and hoping the government will support the industry. If there is a handicraft organization, she

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wishes it can provide a communication platform and a concentration camp for artist so that they

can share rent and stabilize their business.

Colour Freak Studio (Floral Jewellery)

The reason of Colour Freak Studio to join creative market is that it needs to earn money to

continue her handicraft business and to let more people know about her product. She enjoys

making friends with other artist. They share different kinds of information help each other,

provide mental support, share resources and studio. She thinks the performance Hong Kong

creative market is becoming worse than before. It is because organizers do not operate the

market seriously. They accept all applicants in order to share the rental cost even the applicant is

going to sell TaoBao product and infringe copyright product. Customers are bored with the

similar and low quality product. Lesser people are willing to pay higher price for unique

handicraft product. The atmosphere in Hong Kong is not strong enough and people do not value

their effort. She hopes organizers to be more professional. If there is an organization, she

expectsit can monitor the quality and do more promotion although it is difficult to have a person

to take the lead and most of the artist prefer concentrate in their own business.

Le Tricotage de Willa (Woolen)

Le Tricotage de Willa uses creative market as a promotion tool of their business. As their

business is small scale, social media, a free platform, become their major channel to promote.

There are more people follow their fans page and she believes those followers come from

creative market.

As a whole, she feels the location of creative market is very important even more than the

organizer. If the location is good, the event will be more attractive and encourage people to visit.

For those markets operated upstairs, the attraction will be lessened and the organizers need to do

more promotion.

She found that some organizers are unprofessional. For example, they promote the event only by

uploading few posts on their Facebook fans page.

She enjoys interacting with other artist because they will take care of each other. However,

organizer seldom arrange similar product to sit together, so that they have fewer opportunities to

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have deeper level of interaction. She think the competition between artist are healthy because

each of them has own advantage and knowledge, and they respect each others’ creation.

She thinks it is necessary to create an organization to help handicraft artist. In this industry,

participants are too independent, they usually work alone. It is not good for the further

development. The exits of the organization function as a communication channel which helps on

different area such as location of operating creative market. Creative market is still in a growing

stage, if it is not protected, it will soon disappear. The organization is expected to have more

bargaining power when dealing with property owner, to provide different kinds of professional

service such as legal advice. The organization should have enough resource to run which can

multiply the effort paid such as the promotion aspect. Unity makes them powerful.

Still Online Store (Seal)

The owner of Still agree that creative market indeed has positive influence in Hong Kong

creative culture and provides more options for Hong Kong people. The major benefit for Still

Online Store to participate in creative market is that they can interact with the customer and other

artist. The interaction improves their creation and brings new ideas. People share the ideas and

art work in creative market which leads to advancement rather than competition.

She thinks it is needed to have an organization to monitor the creative market because she found

that some people pretending artist to sell fake handicraft. Moreover, the organization can help

them to promote creative market and to find better location for operation.

Boyi (Glass Ball)

The reasons for participating in creative markets are taking as a hobby, part-time job, and

wanting to be appreciated. The impression towards creative markets is overflow, since organizers

are unable to capture a group of fans (artists), then no one will go to creative market, causing a

vicious circle. The good experience was that customer will come just because of the artist is

participating in creative market. Although they may not buy the handicraft, they still appreciate it.

The bad experience was some customers tried bargain for better price, but did not concern the

rental fee paid by the artist. Artist had deep connections by expressing the tough experience. The

interviewee has use social media for selling purpose.

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The interviewee thinks the quality of products sold in creative markets varied. Some TaoBao

products without processing by the artists were easily recognized. But overall performance was

acceptable. The competitions against artists were happy, not fierce. The interviewee thinks a

creative market can help promoting the creative culture by providing a means for the public to

know more about the handicraft industry. The interviewee thinks the connection between artists

through creative markets is effective since they can exchange their business card and handicrafts,

which is a good tool by means of creative markets.

At last, the interviewee indicated that she will continue participating at creative market in the

future.

Kaiwa (Leather Craft)

The reasons for participating in creative markets were to gain the reputation, the goal is to settle

the rental fee, or even make sales. Since the interviewee is doing leathercraft, the product may be

a bit expensive to be sold at creative markets, therefore creative markets are means for him to

promote his brand. The impression of local creative markets are: some will regular organize

creative markets, but some are not good as expected. The good experience that the interviewee

had was the customer flow of some creative markets was good and he was able to promote his

brand, whereas bad experience was because of location, he was not be able to make sales. The

interviewee had deep connection with other artists in order to make new friends, background, as

well as knowing how they run the business, he was able to adopt the business model as a

reference. The interviewee has used social media mainly for sales, or chatting via Instagram, but

not for some commercial related topics.

The interviewee thinks creative market is a trend, yet it is questionable whether it is long-term or

not, but it would be a good thing for Hong Kong to promote handicraft industry. He thinks

creative markets can help promoting the art culture among artists, but there will be vicious

competition since some artists may copy the handicraft from the interviewee. But he said that

was an extreme case, the creative market can help promote the art culture among artist in general,

as well as having positive impact towards the society.

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Yan (Card Drawing)

The interviewee has not been exhibited at creative markets since she needs time to design how to

draw the handicraft, which needs 6-7 days. But she concerns the rental fee for exhibition at

creative markets, which will be a large cost for her, when comparing to setting up a small booth

at Mong Kok roadside. Instead, she used Instagram to show her handicraft, as well as print

screen customers’ positive opinion to help her business, yet not for connecting her to other artists.

She just use Instagram for starting up and promoting her handicraft business. In her thought, she

thinks creative market can let a group of artist set up a booth not only for selling, but also interact,

sharing of techniques and widen horizons, which gives inspiration for art creation. Also, creative

market can give mutual support to each other, let artists knowing that they are not alone. But she

also pointed out some different view of creative markets that although artists pay much efforts on

making the handicraft, but customers have already labeled and perceived the value of the

handicraft by the material used. Yet it was her extreme thought and what she interpreted by

herself, she does think the overall creative markets in Hong Kong are good.

The interviewee thinks there are recognition nowadays when people said they engaged in art

related industry, since there was a perception of being poor and unable to earn a living in the past.

But now, artists can take handicraft as their hobby and gain satisfaction. Creative markets

provide opportunities for artists to display their product, explain their rationale, express

themselves. Creative markets enable more people to know about the industry, letting artists know

they like making handicraft. She thinks an art community can help grouping a group of artist

together.

The interviewee also said that she would like to participate in creative marketing in the future in

order to know more artists, communicate with them and widen her horizon.

Po (Handmade Accessories)

The interviewee has made handicraft for 1.5 years and she has never participated in creative

market, yet she will always visit creative markets. Due to the complicated procedure and time

constraint, she was not be able to set up the booth at creative markets for only one to two days.

She has joined an artist Facebook group to get information on different creative markets and the

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artists will also share their experiences. But when comparing social media with creative markets,

she thinks face to face interaction through creative markets will be more effective than social

media since people are able to see the exact handicraft. She thinks Hong Kong is having more

and more creative markets, which is a good phenomenon since this can raise the awareness of the

culture and to try to make handicrafts, as well as grouping artists together. Creative markets are

good platform to let artists and the one who appreciate arts to communicate, and let the mass

public to know and appreciate art, which helps promote the culture.

Social media is rather a convenient tools to show and post her handicraft.

The interviewee thinks the art culture is growing since more and more people are willing to

know more or even engage in art industry, where creative markets help a lot. She thinks creative

markets have the label “handmade” on it, which is unique, and organizers will promote the

markets, which helps promoting the art culture as well. Although she did not have time to set up

booth, she can still know there are means for her to know more other artists, or sell her handicraft,

which may support her a lot. She thinks she did not have sense of belongings in the art

community since the only connection was Facebook, which is not an effective connection tool

though. She hopes to participate in creative markets in the future.

Karen (Cloth Handicrafts)

The interviewee has never participated in creative markets, since the rent was high, and she

concerned her quality cannot meet the expectation of customers if she tried to sell her handicraft.

Also, there are fierce competition among the handicraft that she was making. She wants to

interact with other artists through online forum, which she can know some techniques in doing

the handicraft. She thinks creative markets will be an effective means for artists to communicate

since it can group artists together, and she can visit creative markets if she was interested. She

thinks the creative markets trend is growing and there will also be a potential growth since artists

make many different and special handicrafts with different ideas and new elements. Creative

markets will be an effective tool in promoting the art culture since artists were centralized, and

through promotion by artists and organizers, it gains an extensiveness and more and more people

know about creative markets. She will considerate participating in creative markets since she

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wants more people to know her brand or the store, yet location, cost, and theme will be her

considerations.

She thinks the art culture is good in Hong Kong since she observed that most artists are young

adult, where creative markets will be a good tool to show their talents since the talents cannot be

shown to others in the past, or even develop and becoming a career in the future. Since many

stores will participate, Creative markets will also be a trend and means to group artists together,

and let them to capture their target customers, who really want to buy handicraft. Creative

markets can increase the creativeness in the art culture since artists need to differentiate

themselves in order to be unique, this can also stay away from the big enterprises which have

dominated the industry. She thinks lack of communication will affect her belongingness in the

art community since she won’t be able to gain experiences as she has never participated in

creative markets.

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Appendix 3: Sample of Interview Questions

Section 1

1. How many times you have participate in CM?

2. Why do you join the CM? For what purpose and expectation?

3. What is the meaning for participating in the event?

4. Can you talk about the impression of CM?

Local

Foreign

5. Can you talk about your most impressive experience in CM?

Good

Bad

6. Have you ever interact with other artist?

How does it feel?

Why to do so?

7. Have you ever used social media specifically for your crafting activities?

Why to use/ why not to use?

How do you use it? Like interaction with other artist

Section 2

1. How do you feel about HK creative/art culture/atmosphere?

2. Do you think CM can promote the creative culture?

3. What changes after having CM?

Personal

Societal

4. Personally, do you have belongingness in the art/creative community? Why and any example?

5. How does it influence your behavior?

6. Finally, what are the influence of CM?

To artist

To art lovers

To HK art culture

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Appendix4: Sample of Questionnaire

We are final year students concentrating on Marketing from the Hong Kong Baptist University.

We are conducting a feasibility study on promoting creative culture among artist in Hong Kong

by means of creative markets. It will be our great pleasure if you can spend a few minutes to

complete the following survey. All data collected will be solely for research purpose and will be

destroyed once the study is completed.

香港手作市集問卷調查

你好，我們是香港浸會大學的市場學系學生。我們正在研究透過手作市集推廣創意文化的

可行性。希望閣下可以花數分鐘時間完成以下問卷。所收集的資料只會作研究用途，並於

研究完成後銷毀。

Section 1: Opinions regarding creative markets

第一部份: 關於你對手作市集的意見

1. How many times you have been participated in creative market? (within a year)

你在過去一年內參加過多少次手作市集?

1-5times 1-5 次 (1)

6-10 times 6-10 次 (2)

11-15 times 11-15 次 (3)

16 次或以上 (4)

90

2. The following best describe my reasons for participating in creative markets

我參加手作市集的原因

Strongly

Disagree 非常不同

意 (1)

Disagree

不同意 (2)

Neutral

中立，即

沒有傾向

同意或不

同意 (3)

Agree

同意 (4)

Strongly

Agree

非常同意

(5)

Can be

connected to

other artists

可以接觸

其他手作

人 (1)

Can widen my

horizons

可以擴闊

自己的藝

術視野 (2)

Can depth-

communicate

with other

artists

可以與其

他手作人

深入交流

(3)

Can

communicate

with customers

可以與客

人交流 (4)

Can promote art

culture among

artists

可以推廣

手作人之

間的藝術

文化 (5)

Can sell

handicrafts

可以售賣

手作品 (6)

Can promote

the brand

可以推廣

自己的品

牌 (7)

Can gain

handicraft

exposure

可以增加

手作品的

曝光率 (8)

Others (if any):

Please Specify

________

其他(如有

): 請註明

(9)

________

91

3. Have you ever interacted with other artists?

你會否在參與手作市集時與其他手作人交流?

Yes 會 (1)

No 不會 (2)

92

Answer If 3. Have you ever interacted with other artists? Yes Is Selected

3a. I have interacted with other artists through creative markets regarding the follow content:

我會與其他參展的手作人交流以下內容

Never

從不 (1)

Seldom

很少 (2)

Often

間中 (3)

Usually

經常 (4)

Always

時常 (5)

Exchange creative

markets information

交換手作

市集資訊

(1)

Meet and get to know

other artists

認識其他

手作人

(2)

Share of thoughts 分享創作

理念 (3)

Share of art

knowledge/experiences

分享藝術

知識或經

驗 (4)

Share of experiences in

participating other

creative markets

分享在手

作市集擺

攤的經驗

(5)

Share of difficulties

encountered in

participating creative

markets

分享在手

作市集擺

攤遇到的

困難 (6)

Sales 銷售情況

(7)

Normal conversation 閒談 (8)

Mutual Support 互相支持

(9)

Others (if any):

Please Specify

________

其他(如

有): 請註

明 (10)

________

93

Answer If 3. Have you ever interacted with other artists? No Is Selected

3b. Reasons that I have not interacted with other artists:

我不會與其他參展的手作人交流的原因

Strongly

Disagree

非常不同意

(1)

Disagree

不同意 (2)

Neutral

中立，即

沒有傾向

同意或不

同意 (3)

Agree

同意 (4)

Strongly

Agree

非常同意

(5)

They are

competitors

他們是競

爭對手 (1)

Busy on making

handicrafts

忙於創作

手作品 (2)

Focus on sales

專注於售

賣手作品

(3)

Not necessary to

do so

沒必要交

流 (4)

Others (if any):

Please Specify

________

其他(如有

): 請註明

(5)

________

4. Feelings towards creative markets:

你對於手作市集的感覺

非常不同

意 (1)

不同意 (2) 中立，即沒

有傾向同意

或不同意

(3)

同意 (4) 非常同意

(5)

Participating in

creative markets

make me feel

satisfied

參與手

作市集

使我感

到滿足

(1)

I will participate

in creative

markets in the

future

未來我

仍會繼

續參加

手作市

集 (2)

94

5. The following factors may affect my decision on choosing creative markets to participate

以下因素會影響我選擇手作市集

Strongly

Disagree

非常不同

意 (1)

Disagree

不同意 (2)

Neutral

中立，即沒

有傾向同意

或不同意

(3)

Agree

同意 (4)

Strongly

Agree

非常同意

(5)

Location 市集地點

(1)

Opening

Hours

市集開放

時間 (2)

Organizers 市集主辦

單位 (3)

Section 2: Opinion of using social media for crafting business

第二部份: 使用社交媒體經營手作事業的感覺

6. Have you ever used social media (e.g. Facebook, Instagram, Twitter) specifically for your

crafting activities?

你有否使用社交媒體(如 Facebook, Instagram, Twitter 等)作為推廣手作事業工具?

Yes 有 (1)

No 沒有 (2)

7. Have you ever used social media (e.g. Facebook, Instagram, Twitter) to interact with other

artists?

你有否曾經使用社交媒體(如 Facebook, Instagram, Twitter 等)與其他手作人交流?

Yes 有 (1)

No 沒有 (2)

95

Answer If 7. Have you ever used social media (e.g. Facebook, Instagram, Twitter) to interact with other

artists? Yes Is Selected

7a. I have interacted with other artists through social media regarding the follow content:

我曾透過社交媒體與其他手作人交流以下內容

Never

從不 (1)

Seldom

很少 (2)

Often

間中 (3)

Usually

經常 (4)

Always

時常 (5)

Exchange creative

markets information

交換手作

市集資訊

(1)

Meet and get to know

other artists

認識其他

手作人 (2)

Share of thoughts 分享創作

理念 (3)

Share of art

knowledge/experiences

分享藝術

知識或經

驗 (4)

Share of experiences in

participating other

creative markets

分享在手

作市集擺

攤的經驗

(5)

Share of difficulties

encountered in

participating creative

markets

分享在手

作市集擺

攤遇到的

困難 (6)

Sales 銷售情況

(7)

Normal conversation 閒聊 (8)

Mutual Support 互相支持

(9)

Others (if any):

Please Specify

________

其他: (請

註明) (10)

________

96

8. Do you think social media can help you in your crafting business?

你認為社交媒體對你的手作事業有幫助嗎?

Yes 有 (1)

No 沒有 (2)

Answer If 8. Do you think social media can help you in your crafting business? Yes Is Selected

8a. 我認為社交媒體有助於:

Strongly

Disagree

非常不同

意 (1)

Disagree

不同意 (2)

Neutral

中立，即

沒有傾向

同意或不

同意 (3)

Agree

同意 (4)

Strongly

Agree

非常同意

(5)

Being

Connected to

other artists

接觸其他

手作人 (1)

Communicate

with other

artists

與其他手

作人交流

(2)

Communicate

with customers

與客人交

流 (3)

Promote art

culture among

artists

在手作人

之間推廣

藝術文化

(4)

Selling

handicrafts

售賣手作

物 (5)

Others (if any):

Please Specify

________

其他(如有

): 請註明

(6)

________

97

Answer If 8. Do you think social media can help you in your crafting business? No Is Selected

8b. Reasons that I think social media cannot help in my crafting business:

我認為社交媒體對於我的手作事業無幫助原因

Strongly

Disagree

非常不同意

(1)

Disagree

不同意 (2)

Neutral

中立，即

沒有傾向

同意或不

同意 (3)

Agree

同意 (4)

Strongly

Agree

非常同意

(5)

Difficult to

operate

難以經營

(1)

Difficult to

reach others

難以接觸客

人 (2)

Not effective 成效未如理

想 (3)

Others (if any)

Please

Specify:

________

其他(如有):

請註明 (4)

________

9. I will use social media for my crafting business in the future

未來我會為我的手作事業使用社交媒體

Strongly Disagree 非常不同意 (1)

Disagree 不同意 (2)

Neutral 中立，即沒有傾向同意或不同意 (3)

Agree 同意 (4)

Strongly Agree 非常同意 (5)

98

10. I think an artist association can help in the following aspects:

我認為手作人的圈子能夠發揮以下作用

Strongly

Disagree

非常不同

意 (1)

Disagree

不同意 (2)

Neutral

中立，即

沒有傾向

同意或不

同意 (3)

Agree

同意 (4)

Strongly

Agree

非常同意

(5)

Organize

creative markets

舉辦手作

市集 (1)

Provide low

barrier entrance

opportunity

以低門檻

方式讓手

作人參加

手作市集

(2)

Monitor

creative markets

監管手作

市集 (3)

Promote

creative markets

宣傳手作

市集 (4)

Promote art

culture among

artists

集中宣傳

藝術文化

(5)

Enhance artists’

bargaining

power

增強手作

人的議價

能力 (6)

Introduce

different kinds

of handicrafts

引入更多

不同類型

的手作品

(7)

Monitor quality

of handicrafts

監控手作

物的品質

(8)

Leader of artists 帶領手作

人 (9)

Provide

resources

提供資源

(10)

Motivate

communications

between artists

鼓勵手作

人之間互

相溝通

(11)

99

Others (if any)

Please Specify:

________

其他(如有

): 請註明

(12)

________

11. I wish to engage in artist community by means of: (can choose more than 1)

我希望透過以下渠道參與/融入手作人的圈子 (可選多於一項)

Creative Markets 手作市集 (1)

Social Media 社交媒體 (2)

Artist Association 手作人組織/機構 (3)

I do not want to engage in artist community 我不希望參與/融入手作人的圈子 (4)

Others (if any) Please Specify: __其他(如有): 請註明 (5) ____________________

Section 3: Personal Data. Data collected in this section will be solely for research purpose and

shown statistically, and won’t be used for identification.

第三部份: 個人資料只會用於研究分析，並會以統計數據劃一顯示。所收集的資料絕不

會用以辨識身分。

12. Your Age 你的年齡

18-24 (1)

25-31 (2)

32-38 (3)

39-45 (4)

46-52 (5)

53 or above 53 或以上 (6)

13. Gender 你的性別

Male 男 (1)

Female 女 (2)

100

14. Education Level 你的教育程度

Form 3 中三 (1)

Secondary School Graduated 中學畢業 (2)

Associated Degree/Higher Dipolma Holder 副學士/高級文憑 (3)

Undergraduate 學士課程 (4)

Postgraduate 博士 (5)

Master Degree Holder 碩士 (6)

15. Concentration of Study 主修科目類別

Literacy 文學 (1)

Science 理科 (2)

Business 工商管理(3)

Education 教育(4)

Engineering 工程(5)

Law 法律(6)

Medical 醫學(7)

Social Science 社會科學(8)

Others: Please Specify:________ 其他: 請註明(9) ____________________

Art 藝術(10)

16. Are you a part-time artist or full-time artists?

你是兼職或是全職手作人?

Part-time 兼職 (1)

Full-time 全職 (2)

101

Answer If 16. Are you a part-time artist or full-time artists? Part-time Is Selected

16a. Your Full-time job:你的全職職業是?

Students 學生 (1)

Free-lancers 自由工作者 (2)

Administrative Staff 行政人員 (3)

Civilian 文職人員 (4)

Service Personnel 服務人員 (5)

Labour workers 勞動階層 (6)

Salesperson 營業員 (7)

Teacher/Tutor 教師/導師 (8)

Technician 工程/技術人員 (9)

IT Staff 資訊科技員 (10)

Others: Please Specify: 其他: 請註明 (11) ____________________

If Student Is Selected, Then Skip To 17. Your income earned from previous creative market participated?

16b. Your monthly salary for full-time job? 你的全職月薪是?

$8,000 or below $8,000 或以下 (1)

$8,001-$11,000 (2)

$11,001-$14,000 (3)

$14,001-$17,000 (4)

$17,001-$20,000 (5)

$20,001 or above $20,001 以上 (6)

17. Your income earned from previous creative market participated?

你上一次於手作市集擺攤的收入是多少?

$1500 or below $1500 以下 (1)

$1501-$3000 (2)

$3001-$4500 (3)

$4501-$6000 (4)

$6001 or above $6001 以上 (5)

102

Appendix 5: Respondents’ Demographic Data

Variables Frequency Percent Cumulative

Percent

Gender Male 25 25.0 25.0

Female 75 75.0 100.0

Total 100 100.0

Age 18-24 36 36.0 36.0

25-31 44 44.0 80.0

32-38 16 16.0 96.0

39-45 3 3.0 99.0

46-52 1 1.0 100.0

Total 100 100.0

Education Level Secondary School

Graduated 12 12.0 12.0

Associated Degree/

Higher Diploma 39 39.0 51.0

Undergraduate 44 44.0 95.0

Master Degree 5 5.0 100.0

Total 100 100.0

Concentration Literacy 8 8.0 8.0

Art 40 40.0 48.0

Science 13 13.0 61.0

Business 24 24.0 65.0

Education 2 2.0 87.0

Medical 3 3.0 90.0

Social Science 6 6.0 96.0

Others 4 4.0 100.0

Total 100 100.0

Nature of Artist Part-time 84 84.0 84.0

Full-time 16 16.0 100.0

Total 100 100.0

Full-time Jobs for

part-time artists Students 28 33.3 33.3

Free-lancers 15 17.9 51.2

Administrative Staff 5 6.0 57.1

Civilian 15 17.9 75.0

Service Personnel 5 6.0 81.0

Salesperson 5 6.0 86.9

Teacher/Tutor 3 3.6 90.5

Technician 4 4.8 95.2

103

IT Staff 1 1.2 96.4

Others 3 3.6 100.0

Total 84 100.0

Monthly Salary

for full-time job $8,000 or below 18 25.0 25.0

$8,001-$11,000 18 25.0 50.0

$11,001-$14,000 12 16.7 66.7

$14,001-$17,000 8 11.1 77.8

$17,001-$20,000 10 13.9 91.7

$20,001 or above 6 8.3 100.0

Total 72 100.0

Income earned

from previous

creative market

participated

$1,500 or below 55 55.0 55.0

$1,501-$3,000 38 38.0 93.0

$3,001-$4,500 4 4.0 97.0

$4,501-$6,000 2 2.0 99.0

$6,001 or above 1 1.0 100.0

Total 100 100.0

104

Appendix 6: Results of Reliability Tests

Reliability Test: Reasons

Reliability Statistics

Cronbach's

Alpha N of Items

.871 8

Item-Total Statistics

Scale Mean if

Item Deleted

Scale Variance

if Item Deleted

Corrected Item-

Total Correlation

Cronbach's Alpha

if Item Deleted

Reason 1 30.91 12.682 .610 .857

Reason 2 30.69 12.070 .698 .847

Reason 3 30.97 12.463 .561 .864

Reason 4 30.32 13.208 .607 .857

Reason 5 30.74 11.986 .611 .859

Reason 6 30.20 13.071 .648 .854

Reason 7 30.14 13.031 .663 .852

Reason 8 30.16 13.004 .684 .850

105

Reliability Test: Interaction


Cronbach's

Alpha N of Items

.851 9


Scale Mean if

Item Deleted

Scale Variance

if Item Deleted

Corrected Item-

Total Correlation

Cronbach's Alpha

if Item Deleted

Interaction 1 29.04 21.109 .695 .823

Interaction 2 28.86 21.190 .669 .825

Interaction 3 29.31 21.126 .639 .828

Interaction 4 29.38 20.484 .673 .824

Interaction 5 29.12 21.374 .707 .823

Interaction 6 29.56 23.027 .329 .863

Interaction 7 29.85 21.709 .472 .848

Interaction 8 28.42 23.201 .458 .846

Interaction 9 28.88 22.552 .580 .835

Reliability Test: Feelings


Cronbach's

Alpha N of Items

.855 2


Scale Mean if

Item Deleted

Scale Variance

if Item Deleted

Corrected Item-

Total Correlation

Cronbach's Alpha

if Item Deleted

Feelings 1 4.36 .516 .748 .

Feelings 2 4.09 .588 .748 .

106

Reliability Test: Considerations


Cronbach's

Alpha N of Items

.815 3


Scale Mean if

Item Deleted

Scale Variance

if Item Deleted

Corrected Item-

Total Correlation

Cronbach's Alpha

if Item Deleted

Consideration 1 8.88 1.703 .763 .660

Consideration 2 8.98 1.535 .657 .763

Consideration 3 8.90 1.788 .598 .814

Reliability Test: Contributions of Social Media


Cronbach's

Alpha N of Items

.640 5


Scale Mean if

Item Deleted

Scale Variance

if Item Deleted

Corrected Item-

Total Correlation

Cronbach's Alpha

if Item Deleted

Contributions of

Social Media 1 15.63 4.473 .527 .513

Contributions of

Social Media 2 15.81 4.458 .471 .545

Contributions of

Social Media 3 14.69 5.355 .434 .572

Contributions of

Social Media 4 15.13 5.145 .384 .591

Contributions of

Social Media 5 14.53 6.252 .162 .679

107

Reliability Test: Contributions of Art Association


Cronbach's

Alpha N of Items

.943 11


Scale Mean if

Item Deleted

Scale Variance

if Item Deleted

Corrected Item-

Total Correlation

Cronbach's Alpha

if Item Deleted

Contributions of

Art Association 1 39.82 57.783 .812 .936

Contributions of

Art Association 2 39.92 56.871 .697 .940

Contributions of

Art Association 3 39.79 55.659 .803 .936

Contributions of

Art Association 4 39.76 57.145 .793 .936

Contributions of

Art Association 5 39.75 56.925 .806 .936

Contributions of

Art Association 6 40.14 56.592 .688 .940

Contributions of

Art Association 7 39.93 58.148 .642 .942

Contributions of

Art Association 8 40.05 56.130 .717 .939

Contributions of

Art Association 9 39.95 55.946 .781 .936

Contributions of

Art Association 10 39.67 56.265 .816 .935

Contributions of

Art Association 11 39.92 56.973 .756 .937

108

Appendix 7: Results of Regression Analysis

Simple Regression: Connection and Future participation in creative markets

Model Summary

Model R R Square Adjusted R Square Std. Error of the Estimate

1 .405a .164 .156 .660

a. Predictors: (Constant), Reasons- Can be connected to other artists

ANOVAa

Model

Sum of

Squares df Mean Square F Sig.

1 Regression 8.383 1 8.383 19.258 .000b

Residual 42.657 98 .435

Total 51.040 99

a. Dependent Variable: 4. Feelings towards creative markets:- I will participate in

creative markets in the future

b. Predictors: (Constant), Reasons- Can be connected to other artists

Coefficientsa

Model

Unstandardized

Coefficients

Standardized

Coefficients

t Sig. B Std. Error Beta

1 (Constant) 2.736 .376 7.278 .000

Reasons- Can be

connected to other

artists

.410 .093 .405 4.388 .000

a. Dependent Variable: 4. Feelings towards creative markets:- I will participate in creative

markets in the future

109

Simple Regression: Depth Communication and Future participation in creative markets

Model Summary


1 .467a .218 .210 .641

a. Predictors: (Constant), Reasons- Can depth-communicate with other artists

ANOVAa

Model

Sum of


1 Regression 11.101 1 11.101 27.048 .000b

Residual 39.808 97 .410

Total 50.909 98



b. Predictors: (Constant), Reasons- Can depth-communicate with other artists

Coefficients

a

Model

Unstandardized

Coefficients

Standardized

Coefficients


1 (Constant) 2.712 .324 8.369 .000

Reasons- Can depth-

communicate with

other artists

.423 .081 .467 5.201 .000

a. Dependent Variable: 4. Feelings towards creative markets:- I will participate in

creative markets in the future

110

Simple Regression: Promoting art culture among artist through creative markets and Future

participation of creative markets

Model Summary


1 .411a .169 .161 .658

a. Predictors: (Constant), Reasons - Promote art culture among artists

ANOVAa

Model

Sum of


1 Regression 8.632 1 8.632 19.949 .000b

Residual 42.408 98 .433

Total 51.040 99



b. Predictors: (Constant), Reasons - Promote art culture among artists

Coefficientsa

Model

Unstandardized

Coefficients

Standardized

Coefficients


1 (Constant) 2.919 .329 8.864 .000

Reasons - Promote art

culture among artists .350 .078 .411 4.466 .000



111

Multiple Regression: Contribution of Social Media and future usage of social media

Model Summary

Model R R Square

Adjusted R

Square

Std. Error of

the Estimate

1 .620a .385 .350 .563

a. Predictors: (Constant), 8a. Being connected to artists,

Interacting with other artists, Interacting with customers,

Promoting art culture among artists, Selling handicraft

ANOVAa

Model

Sum of


1 Regression 17.473 5 3.495 11.005 .000b

Residual 27.942 88 .318

Total 45.415 93

a. Dependent Variable: 9. I will use social media for my crafting business in the

future

b. Predictors: (Constant), 8a. Being connected to artists, Interacting with other

artists, Interacting with customers, Promoting art culture among artists, Selling

handicraft

Coefficientsa

Model

Unstandardized

Coefficients

Standardized

Coefficients


1 (Constant) 1.350 .461 2.932 .004

Being connected to artists -.083 .126 -.109 -.657 .513

Interacting with other artists .133 .118 .186 1.126 .263

Interacting with customers .277 .107 .290 2.581 .011

Promoting art culture among artists -.006 .075 -.007 -.080 .936

Selling handicraft .386 .110 .400 3.514 .001

a. Dependent Variable: 9. I will use social media for my crafting business in the future

112

Multiple Regression: Factors affecting decision of future participation in creative markets

Model Summary

Model R R Square

Adjusted R

Square

Std. Error of

the Estimate

1 .565a .320 .298 .601

a. Predictors: (Constant), a. Organizers, b. Opening Hours,

c. Location

ANOVAa

Model

Sum of


1 Regression 16.309 3 5.436 15.027 .000b

Residual 34.731 96 .362

Total 51.040 99

a. Dependent Variable: Future participation of creative markets

b. Predictors: (Constant), Organizers, Opening Hours, Location

Coefficientsa

Model

Unstandardized

Coefficients

Standardized

Coefficients


1 (Constant) 1.574 .448 3.514 .001

Location .042 .143 .039 .297 .767

Opening Hours .316 .107 .348 2.948 .004

Organizers .269 .108 .269 2.490 .015

a. Dependent Variable: Future participation of creative markets

113

Appendix 8: Results of One-Sample T-Test

One-Sample Test: An artist association can help promoting art culture: Rating exceeds 3

One-Sample Test

Test Value = 3

t df

Sig.

(2-tailed)

Mean

Difference

95% Confidence Interval

of the Difference

Lower Upper

10. I think an artist

association can help -

Promote art culture

among artists

12.906 99 .000 1.120 .95 1.29

114

Appendix 9: Descriptive Statistics

Means: Art Association

Descriptive Statistics

N Minimum Maximum Mean Std. Deviation

Organize creative markets 100 1 5 4.05 .796

Provide low barrier entrance

opportunity 100 1 5 3.95 .989

Monitor creative markets 100 1 5 4.08 .971

Promote creative markets 100 1 5 4.11 .863

Promote art culture among artists 100 1 5 4.12 .868

Enhance artists’ bargaining power 100 1 5 3.73 1.024

Introduce different kinds of handicrafts 100 1 5 3.94 .941

Monitor quality of handicrafts 100 1 5 3.82 1.029

Leader of artists 100 1 5 3.92 .971

Provide resources 100 1 5 4.20 .910

Motivate communications between

artists 99 1 5 3.95 .919

Valid N (listwise) 99

Means: Preference of Choices

Descriptive Statistics

N Minimum Maximum Mean

Std.

Deviation

11. I wish to engage in artist community

by means of- Creative Markets 92 1 1 1.00 .000


by means of- Social Media 49 1 1 1.00 .000


by means of- Artist Association 72 1 1 1.00 .000


by means of- I do not want to engage in

artist community

1 1 1 1.00 .


by means of- Others (if any) Please

Specify: __

0

Valid N (listwise) 0

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