The cultural myth: Japan’s endurance for the line

Don’t you hate waiting in line? It’s often cited as one of Japan’s charming features by foreigners: the sight of perfectly organized, silent queues of people waiting for ramen or the latest gadget. We Japanese have been rigorously disciplined to stand in line since kindergarten.

However, based on an old survey I recall, Japanese people are not actually significantly more tolerant of waiting than other Asian countries. We may queue neatly, but we are internally seething.

This brings me to a modern conundrum: The privatization of pleasure.

The trade show vs. dreamland: The rise of pay-to-play

Two weeks ago, I was in Milan for the Salone del Mobile (Milano Salone), the world’s biggest furniture trade show. I was astonished by the long queues in front of the most popular booths (Molteni, Minotti). As a professional queue-observer, I admit the lines were neat, but my professional concern was for the visitors’ internal endurance.

I overheard that these long queues were not due to popularity alone, but because many major exhibitors have begun to restrict entry strictly to loyal, high-paying clients.

This immediately reminded me of Tokyo Disney Land (TDL). TDL famously abolished its free Fast Pass system in favor of a paid priority-boarding service. Even in the magical dreamland, money makes the world go round.

The cost of a TDL ticket has almost doubled since my twenties. The operating company now proudly reports that the average spend per visitor exceeds ¥16,000 (approx. $105). For a family of four, this becomes a literal fortune. TDL has ceased to be an attainable dreamland for ordinary families. I understand that overcrowding ruins the experience, but is it ethical for Disney to explicitly exclude the masses based on their ability to pay?

The real value of the real show: Entertainment as the anchor

Milano Salone is not a dreamland; it’s a trade show. Exhibitors are fully entitled to restrict entry to loyal clients. Do I agree? As someone who was made to stand in those lines, absolutely not.

Trade shows worldwide are struggling: fashion, auto shows, even the previously unstoppable E3 (Electronic Entertainment Expo) in the US was canceled in 2023. Why is Salone succeeding while others decline?

My theory is simple: Salone dominates because it anchors itself in irresistible, non-business entertainment.

Milan in April offers comfortable weather, nice food, and beautiful streetscapes. It is a complete sensory experience. Though we are there for business, we are human; we don’t focus only on the job. Entertainment is not supplementary to the trade show; it is the precondition for its success.

The organizers must remember that even if they dominate now, entertainment always underlies human choice and behavior. My whiny complaint about the restrictive queues is a plea to keep the experience broad and inclusive.

Speaking of entertainment: Don’t forget Asahikawa Design Week here in Hokkaido every June. We offer comfortable weather, delicious local food and sake, and spectacular natural landscapes. We are much smaller than Milan, but I am confident we hold our own in the one thing that truly matters: pure, accessible entertainment that makes the business secondary.

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