第二十二期傳新報純文字版 P.1 內地共享經濟年收逾 3 億人民幣 《回家吃飯》APP 家廚月入增10倍 共享經濟在內地崛起，不少應用程式（APP）或網站也圍繞衣、食、住、行開展共享平台。以飲食業為例，《回家吃飯》、《燒飯飯》、《媽媽味道》等APP，提倡共享家庭廚房，讓不在家的人也可品嚐住家飯。當中，《回家吃飯》在北上廣深杭 5 個城市中，平均每天也有數十萬用戶使用，亦是上述 APP 中，目前唯一仍在營運的平台。家廚之一的湖北風味小廚房主廚丈夫陳先生認為，《回家吃飯》讓他們以興趣做小生意，每月更錄得約 3 萬元（人民幣．下同）收入。 記者：李嘉韻　鄧燕君 （深圳報道） 高靖琳　趙俊賢　梁凱菱 （香港報道） 　　《回家吃飯》APP 始於 2015 年中央電視台的同名節目，由曾在阿里巴巴工作多年的唐萬里，與多位來自其他電商的專業人士一同創辦，旨在透過自取或配送方式，給上班族提供「吃得安心」的飯菜，目前已獲數個創意獎項。 實測《回家吃飯》APP 　　記者於深圳福田區實測《回家吃飯》APP，記錄由點餐到收取食物的過程。APP 被開啟後，會自動偵測用家位置，並提供鄰近的家廚建議。我們挑選評分達 5 分、屬人氣精選的湖北風味小廚房，並點了 8 道菜，共 165 元。點餐時，客人可點選額外要求，如「少放辣」﹑「菜多些」等。過程中，記者沒有透露身份，並選擇自取食物。 　　付款後一小時，我們在這家小廚房附近領取餸菜。食物以保溫袋盛載，並由陳先生送上。用餐時，食物仍熱騰騰，味道和份量亦有按照訂單要求烹調。 當家廚後 收入翻十倍 　　陳先生指，兒子於去年底在菜市場看到《回家吃飯》家廚招募廣告後，鼓勵他們參加。他們想起女兒工作時經常吃快餐，「很讓人不放心」，故希望「打工仔」能吃住家飯。加上，他們一向對做飯很有興趣，認為當家廚能發揮特長，又能帶來收入，毫不猶豫地參加了。 　　他負責買菜，太太負責做菜，而女兒則負責接單。半年間，已在深圳的數十戶家廚中突圍，成為機構認證的十位優秀家廚之一，每月獲發數十元獎金。他表示，目前每月約有 300 至 400 位食客，收入約 3 萬元。 　　已退休的陳太太本在小食店工作，月入不到 2000 元。加上陳先生經營燈具店約 1000 元的收入，現時月收相等於從前二人的十倍。陳太太更指，會將每月的盈餘存起，「有病也不用麻煩兒女」。 　　湖北小廚房收入理想，但陳先生稱，他們沒有採取特別策略吸引顧客。雖然機構教導他們如何回應食評，但他相信「客人的眼睛雪亮」。餸菜味道好，顧客自然會傳揚開去。他指出，目前老客戶佔近七成，附近保安或白領也經常點餐。有光顧了 8 次的魏小姐在平台上留言表示，他們的菜「清淡少油，食材新鮮，有家裡的味道」。 與機構合作 共贏共享 　　陳先生指，他們要就每張成功交易的訂單，分拆約一元信息費予機構。同時，機構在不同地區均設有分部協助家廚，亦會定期與家廚合作，推出優惠吸引食客，如近來每逢周二推出的半價活動，而優惠開支則由家廚及機構攤分。不過，APP 內的家廚質素較參差。其中，有一間只獲 3.9評分，被指其招牌菜「手撕雞」只有骨，卻沒有肉。食客遇到食物變壞的情況亦無可申訴，即使家廚或會被機構除名，但沒有實質的法律責任。 共享經濟將佔內地未來經濟 重要一席 　　中國互聯網分享經濟工作委員會早前發表了《中國分享經濟發展報告 2017》，指出去年中國分享經濟市場規模約有 3.4 萬億元，參與共享經濟活動的市民總數逾 6 億。同時，報告亦估計，未來數年共享經濟每年平均增長速度約 40%。直至 2020 年，市場規模更會佔 GDP 的 10% 以上。 P.2 港版共享廚房 嘆難複製內地共享 APP 模式 記者：李嘉韻　鄧燕君 （深圳報道） 高靖琳　趙俊賢　梁凱菱 （香港報道） 在香港，由非牟利慈善團體成立的《社創基金》所推動的「共廚家作」去年中成立，創辦人鄭耀彤指，此前曾參考內地《回家吃飯》APP 的運作方式，最終因香港法例的限制放棄念頭。取而代之的是與餐廳合作，讓一群廚藝了得的婦女，在閒置的廚房烹調食物出售，實行共享廚房。 港法例成障礙 自創嶄新共廚計劃 　　共享廚房是目前香港飲食業界中鮮有的共享經濟平台。項目透過善用食肆「落場」時 ( 非繁忙時間 ) 閒置的廚房，讓婦女製作食物，並在食肆直接出售，目前僅由社企「共廚家作」提倡。 　　 鄭指出，初期曾考慮《回家吃飯》的運作模式，但發現無法在港推行。「香港法例不允許在家居廚房製造食物出售，所以家中製作的食品，不可共享」。因此，在應用科技上，「共廚家作」目前只能停留於用 Facebook 專頁宣傳理念及推廣產品等。 餐廳供「地」免收租 婦製食物旺人流 　　「共廚家作」除了希望善用閒置的資源外，協助貧窮家庭也是理念之一。目前，共有 15 位婦女參與計劃，當中兩位是全職，其餘是兼職。「全職參與的婦女月入約 1.3 萬元，對她們來說是個很大的數目，而兼職的時薪亦有 50 元至 80 元。」 　　「共廚家作」擔當中間人的角色，尋找食肆合作，提供廚房讓婦女煮食。他指出，婦女需要分拆四成利潤予社企作為「中介費」，而「共廚」則毋須繳交租金予食肆。雖然沒有租金收入，食肆也有「意外收獲」。有食肆反映，參與合作後營業額錄雙位數增幅。「餐廳可以在不聘請新員工的情況下，增加售賣的食品種類及人流；家廚亦善用時間發揮所長、增加收入，互惠互利。」 跨越第一步 冀越做越大 　　鄭承認，社企營運初期難以說服食肆參與，「很多餐廳也被不能收取租金嚇怕了」。即使其後共廚概念得到廣泛報道，增加不少食肆參與的意欲，但配合起來並不順利，廚房空置和家廚空閒的時間必須一致，才能成功推行。 　　機緣巧合下，鄭於去年底在長沙灣開設門市，目前已通過試業階段。他表示，當時有餐廳空置了門口位置，剛好使他們有空間開設門市，專門售賣家廚在各食肆製作的食物。他預料，共廚概念將得到更多認同，甚或會有更多食肆主動借出廚房，並期待香港的共享經濟有更多可能。 學者： 港共享經濟滯後 修改法例有得追 內地與香港的共享經濟發展速度不一，《中國分享經濟發展報告2017》指出，內地提供共享經濟服務的人數達 6 千萬。而本地組織「香港青年創業軍」的統計則顯示，目前香港只有約 33 個共享經濟平台，涵蓋24 種行業，包括單車、飲食，甚至司儀服務等。 兩地步伐不一 法律漏洞成關鍵 　　香港中文大學經濟學系副教授莊太量表示，內地共享經濟規模比香港大，發展速度比香港快，主要由於內地人懂得利用法律未規管的空間。以飲食業為例，正因為內地沒有監管，企業或機構毋須繳交稅項、配置衛生或安全設施，內地人才可在家居廚房煮食，並對外出售。反觀香港，「要經營食肆或提供餐飲服務，必須註冊、掛牌、交稅，並通過消防處、衛生署等部門定期巡查。若按既定程序，共享經濟的模式根本無法發展或錄得盈利。」 　　他又指，內地互聯網資訊比香港流通，可謂完全透明，亦為共享經濟開綠燈。「內地人着重方便多於私隱，他們不介意在平台上公開真實電話號碼，讓有興趣參與共享的人聯絡。」他們在平台發放資訊，讓人知道有東西在閒置，造就共享經濟。相反，互聯網在港人眼中是虛擬世界，「他們傾向擔心造假等問題，大部分人不會毫無顧慮地使用。」他續指，受惠人口多、需求大的優勢，內地共享經濟比香港走得更遠。 港放寬法例 共享有出路 　　但莊太量坦言，共享經濟不能成為經濟的推動力，亦不能取代傳統經濟。當沒有效率的被完全使用，便無法再提高效能。 　　可是，香港仍可借鑑內地成功的因素，鼓勵企業參與共享經濟，提高商品及服務使用率。他認為，香港政府應適度放寬監管及法例，「例如金融管理局去年共批出十三個儲值支付工具牌照，是放寬監管的好開始」，但並非完全置諸不理。 　 　 共享經濟涉及貨品交易，政府有責任保證質素，阻止「有毒產品」利用共享經濟圖利。他預料，在內地成功的共享模式會逐漸滲入本港，若香港政府不作改變，兩者距離只會越來越遠。 地下樂隊邊緣求存 香港地下樂隊文化存在多年，卻一直未能獲得大眾關注，長期處於「地下狀態」。地下樂隊文化有別於 一般主流音樂，受眾較窄，未有唱片 公司願意投資宣傳，加上政府未有支 持，在練習場地上諸多限制，令地下樂隊未有太多的演出收入這種非主流 文化於本港日漸式微，將來可能只有主流音樂獨估市場了。 記者：張鈞凱　鄔鎮楓　李柏穎 　　地下樂隊於本港經營主要面對三大困境，分別為市場限制、營運資金和內部問題。地下樂隊鬥牛梗低音結他手黃嘉輝表示，香港市場 情形極不理想，由於香港生活節奏急速，大眾 未能靜心感受非主流音樂，速食文化亦令市場 單一，「k歌」和戀愛題材的流行曲比比皆是，而地下樂隊主題集中對社會不公義現象的情緒抒發，唱片公司因盈利因素未有為非主流音樂作廣告宣傳。音樂風格的單一化令非主流音樂更難發展，商業音樂充斥市場，而非主流音樂 中例如極端金屬等音樂類型未成為主流，使這 種音樂文化長埋「地下」。 　　地下樂隊式微的原因包括營運資金的不足。現時一般Band房的租金昂貴，三百呎的地方月租五至六千元，樂隊唯有利用法律漏洞於工業大廈作練習和演出，然而終究是違法之舉，絕非長久之計。怒人樂隊表示，現時政府對場地運用的寬限不足，加上速食文化的影響，估地較少的Busking（街頭賣藝）文化迅速興起，著名樂隊Supper Moment亦不斷推動這種熱潮。反觀地下樂隊面對場地和資金限制，加上唱片公司為迎合大眾口味，不斷壟斷市場，進一步打擊非主流音樂。 　　由於經營樂隊無利可圖，不少團員因工作和經濟考慮而退出樂隊，主流音樂文化日漸式微，團員的招收難上加難。黃嘉輝更指在面 對團員不和的問題時，很多時候只可以「頂硬上」，對外吸納團員可謂天方夜譚之事。要經 營樂隊就必須放棄正常工作和陪伴家人的時 間，一星期可能用四至五天去練習，團員的流 失令非主流音樂文化雪上加霜。由於團員缺少練習機會，樂隊的質素日漸下降。 　　反觀台灣、歐美地區的地下樂隊文化興盛，一場表演入場觀眾人數可達兩至三萬，而且氣氛高漲，樂隊文化更為興盛，有不同的唱片公司爭相為樂隊進行廣告宣傳，唱片的銷售亦為樂隊帶來大量盈利，加上樂隊之間的交流合作，令其於當地樂壇佔一席位。相反香港樂隊之間未有合作交流，面對艱巨環境的挑戰，地下樂隊文化未見起色，樂隊數目屈指可數，香港地下樂隊文化正面臨被淘汰的危機。 地下樂隊走向主流 　　地下樂隊的音樂風格有別於流行曲，例如有重金屬，唱說，藍調音樂等等。不少樂隊都想堅持自己的風格，但無奈香港大眾喜愛主流口味，在生存與堅持之間，他們需要作出選擇，而香港有一些成功由地下樂隊轉型為主流樂隊的例子，作品變得商業化，為了生存或是提高知名度，他們會迎合市場口味，著重時下年輕一代在意的主題，作品會變得大受歡迎，能夠轉型以此為事業，例如Supper moment。 　　而另一批則是默默的堅持自己的興趣，創作非主流的音樂，例如怒人樂隊，會以含有粗言穢語的歌詞抒發自己對社會的意見。儘管不能以自己的作品獲利，但他們都非常享受自己所做的事，能夠得到心靈上的滿足。 　　地下樂隊鬥牛梗低音結他手黃嘉輝表示，地下樂隊即使幸運成名，需要不斷改變風格才能生存，在香港堅持著一種風格是沒可能，這在外國才能做到，他們喜愛主流與非主流音樂的人數各佔一半。香港的文化環境所限，港人過份「貪方便」，他們很少留意非主流音樂，大多只聆聽流行曲。雖然地下樂隊文化不會消失，但這些另類文化亦應受到政府和市民的關注。 P.4 Men In Bra Reporters: Marco Lam Winnie Choi Karen Kong Man Tsz Wa For quite a long time, the bra has been seen as a woman’s item. Walking into a high-end lingerie shop--Chasney Beauty, located at one of the most crowded districts Causeway Bay, out of surprise, the one who is welcoming us is not a woman but a man. His name is Joe, both the CEO and designer of Chasney Beauty. Chasney Beauty, a lingerie shop established by Joe, is now a well-known international brand exporting to different parts of the globe and has been on international fashion display in France and Shanghai. However, what is so special about it is that this company is started by men from roots. It is believed that the non-users’ first impressions of women’s lingerie, or more specifically, bra, are mostly from their mothers. “Something flesh-coloured and parents don’t allow children to see.” Joe described what bra meant to him in his childhood. Growing up in such a conservative Chinese society where people treat underwear as taboo, Joe’s cognition of bra was limited. “Except seeing it while mum did the laundry, I had no chance to look at bra. Even when we went past the bra store in the wet market, mum used to draw me away and walk faster, told me that boys can’t look at it.” He remembered. Until he grew up and studied Fashion and Textiles in Hong Kong Polytechnic University, Joe still couldn’t imagine that he would devote himself to bra design industry. “I teased my male schoolmate who worked as an underwear designer when we graduated from university, but unpredictably and ‘unfortunately’, I also followed his footsteps afterwards.” He chuckled as he mentioned it. Lesson from Japanese underwear At that time, a Japanese underwear lace company visited Hong Kong for overseas recruitment, Joe was employed, and he invited Ben to join the team. “The Japanese treat every detail very seriously, design, selection of materials, patterns… every single process takes a lot of learning. After completing the whole rigorous training programme, I understood that lingerie design is a profession, and I never feel embarrassed anymore.” Joe said. After Joe acquired an agency right of a high-end lingerie brand of Australia, he established his own brand, Chasney Beauty. Joe became the CEO and invited Ben to serve as Creative Director of the company. Two male designers abandoned social norms, embarked on the journey pursuing the real beauty of bra. Majoring in fashion design, Joe takes the elements of evening dress as reference. “The colour selection of evening dress often brings us inspiration. Isn’t it a pity to hide the corset with high quality cloth and lace, as gorgeous as evening dress inside outfits?” Following the trend of exposed underwear, the release of high-end corset made a hit, and attracted a number of local brands to release some similar corsets in Taiwan where the market used to be monopolised by traditional style. Their idea that involving unique pasties design in bra has been rejected by female designers, but it finally had a great vogue! The collection ‘Victoria’ continuously won ‘The Best Lingerie’ of Anan, a famous Japanese fashion magazine for two years. At present, the products of Chasney Beauty are exported to Europe, Japan, Taiwan, China and other countries. They also participated in international exhibitions in France and Shanghai. “Bra is the best friend of a girl” “There is a saying that ‘bra is the best friend of a girl’ Bras are very important to a girl. Therefore, there are many bras in the market with different functions, sizes, and colors.” Joe pointed at the bras on the display wall while speaking. “The variety of bras helps girls to find the most suitable one for them to wear.” So, what is the difference for being a male bra designer? “Nowadays, most of the bra designers are female. This is because the bra is the closest thing to a girl. Therefore, they know the needs of a female. .” At the same time, Joe took out a figure and showed us how he can wear a lace bra on it and shaped it to look good. “For example, while fitting a bra, female designers are able to touch a customer’s body helping them to wear it. Also, it is more convenient for customers to talk about their needs and problems to their homosexual designers. In the course of time, there is a stereotype that only females can be the bra designers. Therefore it is quite difficult working as a male designer.” Joe exclaimed. “There is no doubt that male bra designers are unusual in the society, especially in China.” So how can Joe’s company survive in the market? Joe said they had the courage to innovate. “Because I am not a female, so my designs are not trapped by the traditional concepts. Therefore, our bra designs are more creative and unimaginable. Also, we think that the beauty of a bra is judged by men. We know the most attractive point of a bra.” Joe then showed us some sketches where he highlighted a few points which are important to bra design, such as the lace material, and how to shape a bra. “However, some bra models and customers will feel embarrassed while we are with them during the fitting time. To solve this problem, often, we will find female assistants to help them. As for now, female designers still are the main force of bra design. However, the existence of male bra designers brings innovation to the industry, breaking traditional stereotype, creating more creative and stunning bras.” As a man, did Ben and Joe try on a bra? Joe laughed and said, “Of course I had. I realized that if the chest or shoulder strap is too tight and too hard, it will be uncomfortable for women to wear. That is why the designs are based on the lingerie templates generated from years of studies as standards, and then adjust them according to the difference in materials and designs. Models will be invited to fitting sessions, and products will be revised according to their opinions before they are launched into the market.” Whether a bra is comfortable to wear or not cannot be determined by the feels and perspective of a male designer. “When it comes to fitting, each size will be tried by several models. We will give them two sets of bras and underwears for a week or so, and the views we get from models must be objective.” said Joe. 5 mm, a big difference To provide the best bras to the beauties, there are many challenges to deal with. “The process to produce a bra is complicated, involving the combination of 52 tiny elements!” said Ben. A bra might look simple, but it requires more knowledge which is beyond your imagination. “Unlike fashion design, the difference between sizes is small. People will not recognize if there is a 5mm difference. However, big contrasts exists even there are just little changes. It will highly affect the shape of cup and the size of bra.” To provide the most comfortable and user-friendly bra to the beauties, every step must be done very carefully and precisely. From the beginning till now, Ben and Joe met a lot of embarrassing things in the pathway. During their first “field trip” to the department store―to look into the products of different brands, Joe said, “it is super embarrassing. I always feel that there are thousand pairs of eyes looking and laughing at me. But this is my job. I must overcome all these to be a professional.” Once you form a habit, it becomes natural to you. “After several tries, the hard feeling is disappearing.”