I went to Paris to attend the collection.

During Paris Fashion Week, Paris is like a festival, with fashion industry workers from around the world gathering together, creating a microcosm of global fashion.
For journalists, the seating arrangement at the show is a report card of the previous season's performance. Who sits in the front and second rows is a big issue. Journalists are constantly judging each other, and if they're not satisfied with their seating, they sometimes lash out at the press or get up and leave. I even got punched in the shoulder once (lol).

Of course, shows are a way to look at the clothes, but their main function is as a "judging session."

At first, I thought it was pointless, but I soon began to enjoy it. The "shows" unfold, with competitors trying to outdo each other.

Condé Nast affiliates from each country are strong, as are Style.com, WWD, and the New York Times, which actually write articles about the shows. American media is, of course, very strong, while Italian and French media are slightly weaker than British media. Then there's the small Russian influence. In this way, the power dynamics between media and countries become clear. Unfortunately, the number of seats reserved for Japanese media is shrinking year by year, while China and other Asian countries are increasing their seating. While many seats are allocated to Asia, Asia is actually uncharted territory for many press, so the seating arrangements are quite arbitrary. China is perceived as powerful, for some reason. Looking at it this way, it's somewhat similar to the power balance between countries at international conferences. While viewing the collections, grown adults are seriously struggling within the power balance. Here, a reversal of roles takes place: from "showing the collection" to "being shown the show." To me, that's the trick behind Paris Fashion Week.