The Creation of Virtual Stands in the Metaverse: Applications for the Textile Sector

Abstract

This study explores the potential of the Metaverse in designing trade-fair stands for the exhibition of products and services related to the textile sector, with a particular focus on upholstery fabrics. The primary aim is to enhance relations between manufacturers and customers by leveraging virtual environments. This research is part of a broader investigation into the applications of the Metaverse within the framework of Industry 5.0, emphasizing design aspects and user engagement. The applied methodology seeks to extend the functionalities of traditional physical stands while offering a viable alternative for the promotion and sale of textile products. To create the digital environment, the Metaverse platform, Spatial.io, and its Spatial Toolkit—featuring a Unity-based template which allows for the more efficient editing of scenarios in their three-dimensional aspects—were employed. Although the template is subject to certain limitations imposed by Spatial, such as restricted access to Unity’s full capabilities, these constraints were mitigated through effective programming. This enabled the incorporation of a texture selector, allowing users to combine and visualize fabric options dynamically. The authors of this article have designed a virtual stand in alignment with client specifications by applying compositional resources grounded in basic design principles of modernity and simple structural systems. This virtual stand was tested at the Habitat Fair in Valencia 2024. The results demonstrate the promising potential of these emerging technologies in advancing the capabilities of the textile sector.

1. Introduction

Alcoy, a city with a population of approximately 65,000, is located in the northern region of the Alicante province, Spain. Since the 15th century, Alcoy has been a benchmark in the textile industry, specializing in the production of blankets, carpets, woolen goods, and industrial fabrics. The quality of these products was historically regulated by guild standards and certified at the Casa de la Bolla, which issued a distinctive seal to guarantee their Alcoyan origin. In the 19th century, the establishment of the Royal Cloth Factory (RFPA), conferred with "Royal" status by King Charles IV, established itself as the first institution of textile technical education. This institution later evolved into the Higher Polytechnic School of Alcoy, now functioning as the Campus of the Polytechnic University of Valencia.

Since the second half of the 18th century, the RFPA implemented modernization strategies that included recruiting foreign experts and integrating technological advancements. However, by the late 20th century, the local textile industry experienced a decline due to intensified international competition and the outsourcing of production. To address these challenges, the AITEX Textile Technological Institute was established in 1985. Today, AITEX stands as one of Europe’s leading institutions in textile and cosmetic research, offering support to companies in the modernization and specialization of their production processes.

This research investigates the application of emerging technologies such as virtual reality (VR) and the Metaverse (MV) in the design of virtual stands for promotional fairs, refs. [1,2] with a focus on the textile sector. The study aims to address the limitations of traditional physical stands, including high production costs, reduced usage time, low visitor turnout, inadequate design considerations, and significant energy and material consumption.

The adoption of VR and MV technologies has shown benefits across various sectors, enhancing both professional workflows and user experiences (UX). Industries such as tourism, e-commerce (e.g., clothing and accessories), digital goods (e.g., NFTs), and event management (e.g., trade fairs, art biennials, fashion shows, congresses, concerts) are increasingly integrating these technologies. Architecture, construction, and interior design are also leveraging VR and MV to explore design innovations unconstrained by physical laws.

In tourism, the integration of VR and augmented reality (AR) with other digital elements, refs. [3,4,5,6,7,8], can offer multi-sensory experiences in tourist destinations. This evolution of digital technologies allows for immersive virtual tours, experiences prior to the actual trip, and receiving or providing personalised assistance through avatars or virtual assistants for itinerary planning; in short, it contributes to the gamification of tourism.

The user can also participate in any event and/or congress. VR is gradually being implemented as a tool for the promotion and marketing of many tourist destinations. The act of travelling is being modified by adding immersive experiences. A whole range of previously unknown experiences are presented, allowing visitors to discover territories and countries without having to travel at all. This has led to the emergence of “passive tourism”, allowing individuals to explore destinations virtually while maintaining interest in cultural diversity.

In the hospitality sector [9,10,11,12], particularly in luxury hotels, the possibilities for virtual planning and booking are beginning to multiply due to the offering of virtual tours of the hotel’s surroundings. Guests can enhance their experience through AR-enabled interactions with facilities, menus, and historical facts.

In the field of [13] architecture, architects and interior designers can explore and experiment with virtual environments (VEs) without the physical constraints of the real world. In the MV, buildings and environments can be designed completely digitally. The fact that there is no obligation to consider physical laws frees the design process from the discipline-specific structural and economic constraints that these disciplines face on a daily basis. It offers the possibility of rethinking the concept of habitable and walkable space, so that projects can be more creative and highly experimental, as in the case of the Zaha Hadid Architects team who have designed experimental spaces in the MV through the Liberland platform for Decentraland.

Architecture in the MV not only makes it possible to think, create, and design digital spaces for virtual platforms, but also offers experiences of the prototypes and modelling of its projects to satisfy curiosity and anticipate visiting a future home, thanks to the photorealistic finishes that these technologies enable.

On the other hand, it facilitates the evaluation, confrontation, and validation of results through the possibilities of global connection, in real time, with any equipment and in any part of the world. Thus, some architectural offices and building construction companies have already implemented this technology to display building modelling information (BIM), the construction process and its subsequent monitoring. In addition, the MV serves as a test laboratory, where sustainability solutions can be experimented with and even new building technologies can be tested without the constraints of time, cost, or environmental impact. For example, it is possible to design structures using sustainable materials and simulate the impact of their execution on the immediate surroundings and/or the environment, before materialising them in the real world.

It was to be expected that MV would influence the construction sector [14] with its digital tools and solutions that can improve the design, planning, execution, and maintenance stages of construction and traditional projects. Although still at an early stage in this sector, the integration of MV-related technologies such as VR, AR, digital twins, and 3D modelling is revolutionising the way construction companies approach projects. With digital twins, accurate virtual representations of a building or infrastructure in real time assist construction teams in the process before (predicting weather conditions and improving energy efficiency), during (visualising the construction process in an optimised way, anticipating problems to manage resources more efficiently and minimising costly mistakes) and after (monitoring the building for doors opening, leak detection, alarm activation, etc.).

Linked to the previous sector, the design of events and other cultural spaces is beginning to mark professional paths among architects and interior designers, who are specialising in digital environments. Within the MV, traditional cultural spaces such as museums, biennials, art galleries, or concert halls have emerged. These new environments also allow for the organization of exhibitions, events, and performances without the limitations related to the location, space, and time of the physical world. As an example, we can cite the catalog of flexible architectural strategies applied to projects that transgress space–time boundaries. It was presented in the 17th edition of the International Architecture Exhibition, which included the Biennale di Venezia 2020, and the virtual exhibitions that were designed specifically for visitors to the MV at 109 at the Venice Architecture Biennial 2021. Both experiences propose new forms of coexistence, with broader and more ambitious environmental and social implications based on these technologies.

Smart glasses are used in these areas [15]. Product development in the field of optics converges directly with MV. This technology is bringing about a comprehensive transformation in the optical sector [16], offering solutions for both professionals and consumers. Devices such as Meta Quest (formerly Oculus), Ray-Ban Stories, Google Glass, or Apple Vision Pro are bridging the gap between the physical and digital world.

Not only does it thrive on immersive shopping experiences (through VR and AR technologies, customers can enter optical shops in fully digital environments and behave as in a shop in reality), but it also proposes new forms of training (the recreation of clinical scenarios for optical professionals) and, with advanced technologies such as smart glasses, the interaction between the optical and the MV opens up a number of opportunities to improve services and user experience.

The retail sector has also embraced MV and uses it to encourage interactivity to test products before they are released [17,18,19,20]. This growing trend leverages VE to connect with consumers. Thus, as platforms such as Decentraland, The Sandbox, and versions of MV developed by large technology companies such as Meta (formerly Facebook) gain popularity, attentive brands are exploring all the forms of interaction they have to offer. This type of marketing uses virtual experiences and interactive content to create advertising and other digital services installed within these decentralised spaces or scenarios [21,22,23,24,25].

One of the most popular forms of marketing in the VM is the virtual shop. Brands can design 3D virtual stores, where users through their avatars can explore, try, and purchase products in fully digital environments, that are then delivered by courier to their real-life homes. Luxury brands such as Gucci and Balenciaga have successfully implemented digital fashion lines within gaming platforms such as Roblox and Fortnite. This field is starting to demonstrate benefits, particularly in terms of loyalty. It has been proven that new ways of interacting with consumers and customers are more attractive because they are closer, more direct, and more personalised [26,27].

These shops replicate and enhance the physical experience by allowing customers to explore all of their collections and purchase their products in real and virtual stores. Major brands such as Tommy Hilfiger and Ralph Lauren have opened the doors of their shops on the MV Decentraland platform, where avatars can walk through shops, try on clothes, and buy them, both digitally and physically. Fashion shows on the MV allow brands to present their collections in a more accessible and democratised way.

Additionally, digital fashion, garments, and accessories available solely in virtual environments have gained traction. These digital assets, in the form of NFTs, are often exclusive and limited access, which increases their value within virtual reality and gaming platforms. In 2023, Samsung offered a free skin within the game Fornite (see Figure 1) for the purchase of its latest mobile model. Sales increased in this sector by 20%.

The very concept of the virtual environment leads to the sale of purely digital products, such as NFTs (non-fungible tokens) of art, fashion, or any good that can be integrated and enjoyed in an immersive way. The trade of digital goods, such as NFTs or virtual products, of an exclusive nature, opens up new lines of business for brands beyond physical products, appealing to a tech-savvy, younger audience. NFTs are especially popular among the Millennials generation and the so-called Generation Z or GenZ, who have developed technological knowledge about virtual or augmented reality, compared to previous generations [28,29,30].

In parallel to this research, in the fashion industry [31], the MV offers new methods for the design–purchase interaction. Fashion brands are exploring how to leverage VR, AR, digital twins, and immersive experiences to create new commercial opportunities and continually redefine the relationship between people and fashion. They are also developing virtual fitting experiences, where users can see how garments look on their bodies through AR technology. This is starting to be available both in online shops and within the MV platforms.

All of this also makes it possible to connect to industry events, so that users can attend all kinds of fashion shows, more or less exclusive, regardless of their physical location. Virtual fashion events [32], which include fashion shows, collection launches and exhibitions, are already accessible to a global audience [33]. The breaking of space–time barriers indicates the gradual and inexorable shift away from in-person events.

Thus, the Decentraland platform organised the first Metaverse Fashion Week in 2022, where brands like Dolce and Gabbana, Etro, and Elie Saab presented digital fashion collections to a massive, diverse, and multicultural audience, going beyond the role of mere spectators to directly participating in the event.

One of the advantages of digital fashion is that it reduces the need for physical production; following the eminently sustainable character of immersive reality, this applied technology increases social responsibility [34].

Brands can create innovative experiences that strengthen their image in a new virtual environment that is constantly evolving. This happens because a more direct interaction between brand/user favours the improvement of products and services on a more continuous basis. It is inevitable that the purchasing process will become more than just a simple selection of products [35].

This is how the MV and artificial intelligence (AI) [36] are redefining the future of fashion. From the creation of exclusive digital garments to the possibility of experiencing virtual fashion shows, fashion in the MV is already, in itself, a creative and dynamic platform that forces every sector that visits it to be constantly evolving.

This article focuses on the application of MV [37,38] technology within the textile sector, specifically for the Alcoy-based company Manissa, which specializes in upholstery. Our intention is to create a real application case to improve the exposure of their products, their sales, and their relationship with their customers. Textile companies like Manissa invest many resources in designing their promotional fair stands. The ephemeral nature of the stands makes the investment unprofitable due to the substantial amount of resources used in their manufacturing, assembly, and transportation processes. Generally, they have a short period of usefulness, only 3 to 5 days at each event, and after disassembly, they are hardly reusable at other fairs [39,40]. That is why, to achieve economic viability, the manufacturer opts to present stands without any professional design study, resulting in excessively simple and unattractive outcomes. The textile sector is at a point where both the customers and the suppliers of the company have to travel thousands of kilometers to learn about the manufacturer’s new products, which is costly and requires a significant time investment. The interest of manufacturers and customers in promotional fairs has decreased, and investment in new technologies is necessary to provide new benefits to manufacturers and attractions to customers.

Through VR and its application to MV, it is possible to create virtual stands, digital twins of the physical ones, to solve the previously mentioned problems [41,42]. These technologies offer solutions by enabling the creation of virtual stands that transcend physical limitations, providing clients, suppliers, and users access to products and promotions without requiring travel.

Another advantage is the possibility of defining a space in the stand for immersive space experiences. Additionally, a new sales channel is built for the brand, free from space–temporal limitations, as the virtual platform can continue offering customers their products and promotions.

In this article, we describe the study conducted on the design of virtual stands in the textile sector and how the application of basic design theories helps achieve a comfortable UX. The current trend is for these technologies to reinforce the concept of Industry 5.0 [43], which focuses on the collaboration between humans and machines to enhance productivity, creativity, safety, and worker well-being.

This study is part of the thesis “Study and Improvement of VR Applications through Design Techniques”, including “Evolution towards Industry 5.0”, proposing guidelines so that any user, regardless of their technological and digital knowledge or without basic notions of composition and design, can achieve an acceptable result when building their immersive spaces.

To conduct the study, we collaborated with the textile brand Manissa. Based on our experience and under their supervision, the most advanced 3D design tools have been used: 3ds Max version 2024 to model the stands, Unity version 2022.3 to apply materials, animations, and define the texture change carousels, and the Spatial.io platform to publish the 3D content and turn it into an MV stage.

To be able to contrast the results, two types of spaces have been created. The first is a digital twin of the brand. It is a model that requires few concepts and design notions, more neutral in terms of a specific style, and is more economical. The second one is designed under a study that requires more complex composition concepts and is more linked to contemporary minimalist trends. Testing involved approximately 200 visitors at Manissa’s booth during the Habitat Fair in Valencia (Spain), held from 30 September to 3 October 2024. After this introduction, the article is structured into four sections: in Section 2, the generation of the MV scenario with the two stand designs is described; in Section 3, we describe the usability of the scenario and the applied interactions. Finally, in Section 4 and Section 5, the discussion and final comments provided are detailed, respectively.

2. Materials and Methods

2.1. Methodology for Designing Virtual Textile Stands

The methodologies used to create the virtual stands (Figure 2) follow a comprehensive approach to developing virtual scenarios for fairs in the textile sector and can serve as a foundation for any industry. These methodologies support the creation of digital twins of physical stands as well as their redesign. The purpose of this article is to provide a structured guide that outlines each phase of the design process, from the initial concept to the final product delivery. Key aspects such as identifying customer needs, selecting technical tools, and constant iteration are addressed to ensure the final result meets the expectations of both users and clients within the MV framework. This study emphasizes the importance of human–computer interaction (HCI), ensuring that interface design is user-friendly, intuitive, and enhances user experience (UX). This study extends beyond these factors. Both methodologies share the same stages, with the exception of the initial phase. For digital twins, the client typically determines the design specifications for their virtual stand. In contrast, in redesign scenarios, it is the designer who decides how the stand will look. Nonetheless, final decisions in redesigns are usually subject to client validation before publication on the digital platform. This process is structured as a step-by-step system.

2.2. Modeling, Texturing, and Animation of the Digital Twin

The process of modeling the digital twin begins with a meeting with the client, during which they provide the plans for the physical stand, including furniture, displays, and specific requirements for its virtual replica in the MV. The client also provides fabric samples (hangers) that need to be scanned to create the textures that define the digital samples. This phase is essential to align the client’s expectations with the project’s technological limitations. The next step involves modeling the physical stand using 3ds Max and applying materials based on the client’s specifications. The following step is to model the physical stand with 3ds Max and apply the materials according to their specifications. This process is quick, as there is no design study yet; it only needs to be replicated in the virtual world, as projected for the fair stand. In Figure 3, the result of the 3D modeling of the proposed physical stand can be seen.

It is a simple design that aligns with the client’s economic means. After several meetings, the modeling of the stand, furniture, and displays is defined, according to feedback and adjustments. This 3D modeling is exported to Unity, to optimize the objects and textures and incorporate them into the Spatial.io template [44]. Although the modeling and texturing could have been completed with Unity, using 3ds Max simplifies the process [45]. In contrast, the Autodesk program lacks the necessary features to implement modeling into MV, which Unity provides. Other VR and MR construction tools, such as Epic Games’ Unreal Engine (version 5) or Nvidia’s Omniverse (version 2025), have been ruled out due to their incompatibility with Spatial.io. The modeled stand features a conventional structure with product displays and meeting tables. It is a robust structure, with a visually heavy appearance. The side walls are closed and prevent the view of the stand from multiple angles, only allowing passage through the space in a longitudinal direction. We proceed to define the creative process of stand 2, under the premises of our basic design concept or “good design”.

2.3. Redesign of the Virtual Booth Modeling, Texturing, and Animation

In this case, we present a redesign of the actual stand, without any constraints from the client. For this, we apply the basic design concepts. We provide a brief summary of them:

• Proportion (a good proportion ensures that the components of a product are visually and formally balanced).
• Symmetry (when the parts of an object are reflected in a balanced manner across one or more axes, reinforcing the concepts of balance and order).
• Order (a good sense of order provides hierarchy and increases the indicative value of the product, which benefits the aesthetic aspects). The aim is to guide the intuitive use of the stand through shapes and spatial composition.
• Hierarchy (the arrangement of elements that allows the user to immediately know which parts of the product are most relevant or prioritized, favoring intuitive usability).
• Functionality (the ability of a product to effectively fulfill its intended purpose).
• Clarity (the ease with which a user can understand and use a product).
• Simplicity (reducing complexity that diverts balanced and aesthetic perception). First, it was decided that the color palette of the stand would be monochromatic (See Figure 4), fading from the brand color, with increments of brightness, to white. The colors are arranged in simultaneous contrast, adhering to the principle of Proportion.

To give the stand greater lightness, a system of enclosures and arches has been designed that bear the Manissa brand logo, ensuring that the perception is always formally and chromatically balanced, adhering to the principle of Simplicity. (See Figure 5 and Figure 6).

For the assembly of the different elements, it has been decided to place an L-shaped structure, which allows the user to move comfortably between the various areas, applying the principles of Order and Functionality. The result is a harmonious composition combining three shades of the same monochromatic range. The overall space has been designed using Symmetry, so that the user has a sense of harmony, applying the principle of Clarity. See Figure 7).

For the base or ground, a symmetrical chromatic arrangement has been decided in accordance with the rest of the three-dimensional set (See Figure 8).

Analyzing the design of the stand, it was found to be too flat, and it was decided to insert stairs in two of the panels to better differentiate the four areas (see Figure 9).

And finally, warm and comfortable furniture was designed. We decided to place a set of two armchairs and a sofa (See Figure 10).

Regarding the fabric hangers or samples, we decided to digitize them. In the MV, carousels will be used to exchange the designs of upholstery fabrics applicable to sofas and armchairs. Our MV avatar can sit comfortably and choose textures from the carousel and apply them to the selected sofa or armchair model (See Figure 11).

In the case of constructing the real or physical stand, it would be preferable to use tablets or AR applications instead, to be able to show the customer “on-site” the possibility of combining and modifying textures in the same way.

2.4. Optimization of Models and Materials with Unity Creation of Interactions and Animations

Unity is one of the most popular and versatile game engines on the market, alongside Unreal. It has become a key player in the development of applications for MV due to its ability to create interactive 3D environments and immersive experiences. Its technology enables developers to build virtual worlds in real time, making it a key tool for projects ranging from video games to VR, AR, and Mixed Reality (MR) experiences, all of which are fundamental components of MV. The platform facilitates the creation of enriched, interactive, and customizable experiences that can be accessed on a variety of devices and platforms.

Although Unity and Spatial.io are closely related in the context of developing immersive experiences and VE, they serve different roles within the 3D content creation and MV ecosystem. Their interconnection lies in the fact that Spatial.io utilizes Unity as part of its development backend. The 3D environments and interactions showcased in Spatial.io are powered using Unity technology, enabling the creation of visually appealing and realistic experiences in real time. Spatial.io provides an accessible platform for leveraging 3D worlds created with Unity, facilitating social, collaborative, and commercial interaction in the MV, while Unity serves as the technological foundation, enabling the construction of these environments with a high level of detail and interactivity.

The version of Unity used for the creation of the digital twin and the redesign was 2021.3.21f1. To start working, we import the Spatial.io template into Unity, which provides example assets to initiate the project. (See Figure 12).

Within this template, there is the group that defines the texture selection menu and the Viewport, which contains the graphical elements of the menu. (See Figure 13).

In the Content group, the buttons that have been used to define the Open/Close function in the Texture Selector can be found. (See Figure 14).

The Title is the text component where a title for the menu can be defined (See Figure 15).

In the Objects group, spheres have been defined, which allow users to select fabric samples in the Texture selector. (See Figure 16).

In the Interactable group, the name of each texture has been defined. (See Figure 17).

We also need to change the text displayed below the button: We select the Text (TMP) component. (See Figure 18).

In the Properties panel, we are able to edit the text. (See Figure 19 and Figure 20).

It is recommended to use power-of-two textures, with 1024 × 1024 being the recommended resolution. (See Figure 21).

You need to edit the Sprite that defines the texture images so that they do not appear distorted. (See Figure 22).

2.5. SPATIAL.IO. Insertion of Multimedia Material

Once we have finished editing and programming the scene in Unity, we publish it on the Spatial platform. There, we can enter and navigate through the scene with complete freedom. All multimedia elements, such as images, videos, presentations, etc., must be configured from the online platform, using the Empty frames introduced in Unity. (See Figure 23).

2.6. Research Design

To validate the Tester versions of the digital twin and the redesign created for this research, a laptop and VR glasses, Meta Quest 3 (Meta Platforms, Menlo Park, CA, USA), were used. Our intention was to allow users to test both platforms and evaluate their respective advantages and disadvantages. The tests were conducted individually. Before each test, a technician provided a simple tutorial to explain how to put on the glasses and use the controllers and buttons to navigate through the space and its menus. The tools for socialization and avatar creation were demonstrated, along with the tools for image- and video-capture creation. Users were warned about the possibility of experiencing dizziness and advised to avoid sudden or quick movements.

During the test, the technician accompanied the user virtually using their own avatar. This was done to prevent them from getting lost on the route and ensure they knew how to correctly use the virtual texture carousel and apply it to the furniture. Once the user became comfortable with navigation, they were allowed to explore the scene freely without a time limit. The same process was followed for the rest of the users who tested the application. They were introduced to the same scenario, with the person who was simultaneously testing the VR glasses. The tests were conducted during the International Furniture and Lighting Fair Hábitat València, from 30 September to 3 October. For this, the physical stand of our client Manissa was used to showcase both platforms. In this way, the user could virtually visit the physical stand and compare it with the redesigned stand.

The interactions and reactions of the users were recorded during each test for later evaluation. The test concluded when the user requested to leave the stage.

2.7. Data Analysis

To validate the methodology employed in the trials, interviews were conducted with the users and tests were carried out to assess the degree of satisfaction with the experience of the digital twin stand (Case 1) and the redesign. (Case 2). Two standard questionnaires were subsequently given to each user: the IPQ (Igroup Presence Questionnaire) [46] and the SUS (System Usability Scale) [47].

The Igroup Presence Questionnaire (IPQ) is specifically designed to measure a person’s sense of presence in virtual environments (VEs), such as VR. Presence refers to the subjective feeling of “being” truly in a virtual environment, beyond simply interacting with a digital simulation. This questionnaire is a widely used resource in virtual reality studies and interactive digital environments, as it effectively evaluates the immersive experience.

The IPQ consists of 14 questions designed to evaluate different aspects of the presence experience, such as:

• Spatial Presence: evaluates the perception of “being physically in another place” while in the virtual environment.
• Immersive Presence: measures the level of engagement in the virtual environment. Greater participation suggests that the user has emotionally “immersed” themselves in the experience.
• Presence Realism: captures the perception of realism of the virtual environment. Evaluates whether users feel that the environment is “realistic” or similar to the real world.
• General Presence: a more general measure of presence that complements the other dimensions and allows for a comprehensive view of the presence experience.

The IPQ is used to evaluate the effectiveness of VE in generating an immersive experience, compare different VR or AR technologies to determine which ones generate a greater sense of presence, and improve the design of immersive experiences in areas such as video games, training simulations, exposure therapy, and educational applications. The 14 questions included in the IPQ questionnaire are detailed in

Table 1. Table with the IPQ issues.

Number	Question
IPQ1	In the computer-generated world, I had a sense of “being there”.
IPQ2	Somehow, I felt that the virtual world surrounded me.
IPQ3	I felt like I was just perceiving pictures.
IPQ4	I did not feel present in the virtual space.
IPQ5	I had a sense of acting in the virtual space, rather than operating something from outside.
IPQ6	I felt present in the virtual space.
IPQ7	How aware were you of the real world surrounding while navigating in the virtual world? (i.e., sounds, room temperature, other people, etc.)?
IPQ8	I was not aware of my real environment.
IPQ9	I still paid attention to the real environment.
IPQ10	I was completely captivated by the virtual world.
IPQ11	How real did the virtual environment seem to you?
IPQ12	How much did your experience in the virtual environment seem consistent with your real world experience?
IPQ13	How real did the virtual world seem to you?
IPQ14	The virtual world seemed more realistic than the real world.

.

The measurement method used for this questionnaire is a 7-point Likert scale. In this article, the variables of each test are analyzed, using a standard deviation of the average scores of the questions in each test.

The SUS is a 10-question questionnaire designed to evaluate the usability of technological systems and products, such as websites, applications, and devices. Developed in 1986 by John Brooke, it is widely used due to its simplicity, quick administration, and effectiveness in providing a general measure of usability. The 10 questions are detailed in Figure 24, and users must complete them after interacting with the system or product. The questions alternate between positive and negative statements to reduce bias and cover aspects of system usability and learning. Each statement is evaluated on a 5-point Likert scale, ranging from 1 (totally disagree) to 5 (totally agree).

The SUS provides a scoring system from 0 to 100. It does not represent a percentage but rather provides a means to compare the relative usability of different systems and determine whether a system is easy or difficult to use. (See Figure 25). The formula can be expressed mathematically as follows:

In this formula, the variables from Q1 to Q2 represent the answers to the 10 questions. To evaluate the responses of all tests, the mean and standard deviation are calculated.

3. Results

In this section, we detail the generated MV applications, case 1 (digital twin) and case 2 (stand redesign). To showcase these applications, a video demonstration of both cases has been created, where one of the users uses the Meta Quest 3 glasses model and another user navigates from a laptop. (See Figure 26). The two users previously completed the tutorial to familiarize themselves with the application. Video of case 1; video of case 2 (Consulted on 31 October 2024).

Upon entering the immersive space, users could freely navigate both virtual stands, explore the client’s textile products, and modify the furniture fabrics. They were connected via the same Spatial.io account, enabling them to interact simultaneously from different devices. (See Figure 27).

Figure 27 shows details of the virtual stage of the digital twin, showcasing exhibitors, tables, meeting chairs, and roll-ups. In contrast, Figure 28 illustrates the redesigned stage, featuring the distinct sections of the stand. It also shows how the avatar can sit on the sofa and use the programmed carousel to configure and apply different upholstery textures. The ability to configure the fabrics in real time and see their application on the furniture impressed the users.

Different behaviors were recorded: the VR glasses user experienced a greater sense of immersion, accompanied by a mild feeling of dizziness. He spent more time observing the screens and the furniture. In contrast, the laptop user spent more time experimenting with the tools for running or jumping, as well as the socialization features of the Spatial platform, including chat, performing dances, and sending emoticons. The VR user focused more on exploring and navigating the space, driven by curiosity about the spatial design.

The interaction between both users was smooth. Emojis and text messages were exchanged, initiating a conversation about the stand’s appearance, which demonstrates the enahancement of the virtual experience. The VR user reported difficulty handling some menus and icons, and reported occasional dizziness when navigation was abrupt.

The analysis was applied to a total of 14 users. The demographic breakdown was as follows: half indicated they were men and the other half women. The demographic balance was as follows: 7.14% were under 18 years old, and 35.71% were between 18 and 25 years old. Those between 25 and 40 years old made up 28.57%, those between 40 and 55 years old represented 21.43%. Finally, the group aged between 55 and 70 years represented 7.14%. Regarding academic education, 28.57% had basic studies, 50% were graduates, and 21.43% had a postgraduate degree. Regarding the use of these technologies, 42.86% stated that they used them daily, either at work or for leisure in video games or watching movies, and 21.43% stated that they used them occasionally. Finally, they were asked if they had already had experiences with the MV, and 28.57% responded affirmatively.

In the following figures (See Figure 29 and Figure 30), the data obtained from the IPQ can be observed for case 1 (digital twin) and case 2 (redesign). In Figure 29, the mean and standard deviation for each question of the IPQ are indicated. In Figure 30, each subscale of the questionnaire is indicated in percentage form, with respect to the mean and the deviation obtained from the responses.

The data obtained, for case 1, indicate that 85.71% of the respondents experienced a General Presence, with a deviation of 1.52%. This suggests that the users had a high sense of immersion within the visual environment (VE). Regarding Spatial Presence, a score of 72.11% with a deviation of 1.19% was obtained, showing that users felt physically present within the digital twin of the stand. Additionally, 70.92% of the respondents, with a deviation of 1.35%, reported a high level of engagement within the VE. Regarding Experienced Realism, 73.21% of the respondents, with a deviation of 1.05%, stated that they felt immersed within the VE. These data support our first objective, to create a digital twin of the physical stand, so that customers from anywhere in the world can access the manufacturer’s news without the need to travel to the promotional fair.

Regarding the data obtained for case 2 (the redesign of the physical stand), it can be observed that the respondents rated it higher than the digital twin. For General Presence, 91.84% of respondents, with a standard deviation of 0.94%, reported feeling a strong presence within the VE—an increase of 6.13% compared to case 1. For Spatial Presence, users felt physically present 80.27% of the time with a deviation of 1.04%, 8 points more than in the first case. Additionally, 80.87%, with a deviation of 1.2%, indicated that their participation in the VE almost 10% higher than in the case of the digital twin. Finally, in the Experienced Realism section, 84.44% of users, with a standard deviation of 1.3%, reported constant immersion in the VE, 11.23% more than in the previous case. These findings reinforce our initial hypothesis, which highlighted the lack of design and artistic criteria in the creation of virtual worlds. The data show that users have a better sense of the immersive space if it is created based on the basic principles of design. For the data obtained from the SUS questionnaire, for the first case, 73.39% of the respondents, with a standard deviation of 7.26%, indicated the high usability of the application. For the second case, the result was 88.04%, with a deviation of 3.35%. (See Figure 31).

It is worth noting that the majority of the respondents agreed with the advantages of these types of applications and expressed their intention to use them more frequently. They stated that the experience had been gratifying and smooth, with the applications easy to learn and use. This data supports our hypothesis that well-executed design study can significantly improve the experience and usability of VR and MV applications.

4. Discussion

The public presentation of the two applications took place at Home Textiles Premium, by Textilhogar, during the Feria Hábitat València 2024, held from 30 September to 3 October 2024. Taking advantage of the manufacturer’s physical stand, this space was used to allow users to visit the two virtual stands.

A Meta Quest 3 headset and a laptop connected to a television screen were used for the presentation, allowing visitors to observe in real-time how users navigated through the virtual stands. Before each test, one of the authors of this article explained to each user how to operate each device and the functions within Spatial.io. The author entered the virtual stands from their mobile device and acted as a guide, showcasing the functionalities of the stands. Once the user demonstrated smooth navigation of the application, they were granted full freedom to explore and test each function.

The two applications, digital twin and redesign, were presented to the textile specialist audience as new tools to complement physical stands. These applications provide better interaction with customers from anywhere in the world, creating new sales channels, and providing a new platform for training and presenting new products for the brand. After the experience, users were invited to complete a seven-question survey (See Figure 32) about the applications of the virtual stands and their experience in the MV. Twenty-five users aged between 30 and 65 responded to the survey, which aimed to measure interaction with the furniture, the correct use of the texture selector, and navigation through the space.

The user could respond on a scale from 5 (“Very satisfactory”) to 1 (“Very unsatisfactory”). The average score obtained was 4.1, with a standard deviation of 1.1, which indicates that the users were satisfied with the experience. Only three respondents rated any question with a value of 1, citing difficulties navigating with the VR glasses. A total of 75% of the users expressed satisfaction with the use of the texture carousel, and only two had problems applying it to the furniture upholstery. These data highlight areas for improvement, such as enhancing the explanatory tutorial and adding visual aids within the virtual environment to better guide users in handling the application’s internal tools. In general, the experience for most users was satisfactory, although they later indicated some improvements to be made, such as integrating a voice-over, designing some interactive aids, supplementing the experience with a virtual tour explaining the application’s functionalities, and implementing minor graphical improvements.

Initially, users were surprised by the application’s capabilities, and as they explored the space, constructive suggestions for improvements began to appear. These insights were used to implement improvements, particularly in the tutorial. (See Figure 33). Explanatory text was removed and more graphic information was added. Explanatory signs were added to indicate the keyboard functions to the user. In Figure 33, some examples of the new explanatory signs added can be seen. In Figure 34, visual aids can be seen to improve the use of the carousel.

These changes aim to enhance navigation and UX in the immersive space. For the future, plans include expanding the user base, as well as the number of virtual reality glasses, to study the interaction among a larger number of users and the possible relationships between them, via chat, voice, etc. [48,49]. Improvements and updates made to the Spatial Toolkit Creator will also be studied and applied to the applications if deemed appropriate.

It is important to highlight that applications like those presented in this article can significantly benefit the textile industry in boosting their sales [50] by presenting their products in a different and interactive way. Sectors such as tourism [51], hospitality [52], marketing [53], or fashion and accessories design [54] are already leveraging similar technologies. However, privacy and data protection for users interacting with these applications must be considered. The tests conducted for this study have been anonymous, but future implementations might require user data collection, so existing legal regulations regarding privacy and data protection must be taken into account [55,56,57,58]. Although it is a tool that facilitates connection between people around the world [59], accessibility, and inclusion, it is unlikely to completely replace human relationships.

Another critical consideration is the sustainability and environmental impact of future display devices. These should transition to less-polluting and recyclable materials, much like the mobile industry’s progression toward smaller, more environmentally friendly devices. VR tools are expected undergo the similar transformation. It should be noted that Meta has already developed a prototype of VR glasses, the Orion (See Figure 35), which are lighter, more sustainable, and more powerful than the existing Meta Quest 3. Although these devices are currently very expensive, it is expected that they will become an everyday-use object, combining functionalities into a single device, alongside current mobile phones, watches, cameras, or headphones, etc., and with the possibility of enjoying VR or AR.

5. Conclusions

This article outlines the results of a trial that explored the application of new technologies to enhance and modernize industrial sectors, with a particular focus on the textile industry. Through the use of the Spatial Creator Toolkit v1.60, released in mid October, as a tool for creating content in the MV, the trial demonstrated how to design a digital twin of a physical trade-show booth and how to execute a virtual redesign of the same booth. Empirical tests have shown that it is possible to design and easily reproduce a stand based on the compositional principles of basic design, complemented by fabric simulation tools, as an aid in selling these products. This approach increases engagement, immersion, and overall user experience. The findings of this research are applicable to any industrial sector seeking to improve the appeal of its products at trade fairs while reducing the costs of manufacturing, transportation, and stand assembly.

The potential of these technologies seems so vast that we are confident that their application in any sector will drive the evolution towards Industry 5.0, This new phase focuses on the synergy between humans and machines, the improvement of production, and the promotion of a more human and sustainable industry. Unlike Industry 4.0, which prioritizes automation, digitalization, and the use of artificial intelligence, Industry 5.0 takes a step further by more prominently integrating human creativity and personalization into industrial processes. In this context, human well-being and environmental sustainability are key, aligning closely with the Sustainable Development Goals (SDGs).

This is why the course of future research is to continue exploring the application of these technologies and insights to other industrial sectors, such as ceramics and furniture. Additionally, there is potential to enhance the role of MV in training and education functions, as well as in industrial improvement, in the field of sustainability and the environment. We consider their application in companies dedicated to the manufacturing of stands as very feasible. These technologies also hold great promise for companies to offer new, more eco-friendly, and sustainable services to their current clients.

We propose the following research article, the study of digital twins in product manufacturing. Our intention is to model a plastic injection machine in 3D and apply it through Spatial to the MV. The user will be able to interact with the machine and input different values to configure the part (material, temperature, injection times…). We believe that the use of digital twins in the industry will help train young people in universities and operators in factories, without having to waste time using a real machine, avoiding unnecessary risks and significantly reducing energy consumption.

Another objective for future research is the creation of a best-practices manual for content design in MV. This guide should outline and detail the necessary steps to create engaging content according to the principles of basic design, enabling the effective management of shape composition concepts and color application to enhance usability.

We are convinced that the creation of future MV spaces will require adherence to proper design guidelines. This approach will transform our virtual incursions into conventional or exceptional ones.