It is necessary to focus on a VR environment centered on a tangible interaction (TI), which provides and interacts with the user experience (UX) with various sensational forms. Therefore, this study attempted to present UX evaluation items for VR fashion product shopping environment through focusing on the TI. In addition, the developed factors were evaluated for validity through empirical experiments and attempted to explore the possibility of using a VR shopping UX evaluation methodology. As a result of factor analysis of items related to VR shopping, six factors were extracted, and each factor was named as intention to use, playfulness, sharpness, telepresence, interactivity, and usability, respectively. As a result of a t-test for the difference in UX between immersive VR and non-immersive VR, it was found that there were significant differences in intention to use, playfulness, sharpness, and telepresence. As a result of performing a multiple regression analysis to analyze the effect of TI on the VR fashion shopping UX, it was found that interaction, playfulness, and telepresence are UX factors that are formed under the influence of TI in an immersive VR. In addition, intention to use, sharpness, telepresence, and usability were found to be factors experienced as an effect of TI in a non-immersive VR.

As a part of material culture, clothing embodies the cultural specificity based on the influence of that culture on individuals. The cultural value model of Hofstede broadly describes the dimensional characteristics of each country. At the same time, the proximity of clothing to a self-scale represents the level of psychological closeness of clothing to identity. Even though it is theoretically correct that these two concepts—culture and clothing that expresses one’s self—are related, few studies have highlighted this connection. In this study, we investigated the effect of cultural values on how the individuals involve their clothing with their social identity by focussing on the differences between two culturally different countries: South Korea and Mongolia. Quantitative surveys from 179 in South Korea and 262 in Mongolia and t-tests showed cultural differences in both countries’ individualism and indulgence vs their restrained disposition. The multiple regression analysis results revealed that uncertainty avoidance and indulgence correlate with three dimensions in the proximity of clothing to self: clothing to self as structure, clothing as a response to others’ judgements, and clothing-related to self-esteem. The moderating effect of each country was not found. This result implies that knowing the cultural values of a particular group can infer their clothing consciousness. Thus, when fashion companies target millennial women in South Korea and Mongolia and establish a more significant presence abroad, examining a country’s or a group’s culture helps identify the target market's clothing perceptions.

The ongoing COVID-19 pandemic has forced the fashion industry to digitalize the conventional work system. Fashion designers were required to work from home, and textile trade shows were held online. However, fabric suppliers were unable to present their fabrics in a manner that enabled their properties to be easily understood. Visual information, such as photographs, videos, and the brief explanations provided by fabric suppliers were insufficient for fashion designers to comprehend the fabric’s properties. Thus, this research aims to identify the critical information for fashion designers in their digital fabric search and to discover effective ways to present this information. The current state of online tactile information was analyzed by conducting content analysis on several online fabric retailers. Then, semi-structured one-on-one in-depth interviews with 25 fashion designers were conducted to identify the strengths and weaknesses of the existing types of visual and textual information. Results revealed the most effective ways to present fabrics online. Specific guidelines were established for photographing or writing each type of information. Finally, a conceptual framework for fabric tactile communication in digital environments was developed. This study can contribute to the improvement of a designer’s experience in online fabric markets and can be used as a fundamental guide on designer’s tactile perception of fabrics, which can support technologies, such as haptic devices and 3D clothing simulation software.

Virtual technologies such as haptic devices and virtual try-ons have been developed to bring more certainty to the non-touch shopping experience; however, they are still no substitute for the in-person experience. In order to resolve the current limitations of haptic technology, it is necessary to carry out fundamental research on the ways in which humans perceive and discern different tactile properties. This study investigated how vision and physical touch affect the evaluation of the tactile properties of knitwear and discovered factors that affect tactile evaluation in a non-touch environment. The result of this study proved that humans can perceive tactile properties similarly when they are able to physically touch the fabric, whether their vision is obstructed or not. However, participants were unable to accurately perceive the tactile properties of knitwear when they evaluated fabrics using only visual materials, especially stretchiness and flexibility. It is confirmed that a surface haptic experience could increase the accuracy of stretchiness and flexibility evaluations, but it did not help in the evaluations of fabric thickness and heaviness. Findings from interviews suggested that the shape, width and number of folds, density, and thickness of the yarn are all major factors that influence the tactile perception of knitwear when participants could only evaluate properties through on-screen visual materials. Findings from this study contributes to the improvement of the consumer experience in the contact-free shopping environment and can be used as a fundamental guide to human perception of clothing, which can support technologies such as haptic devices.

Today, fashionable menswear is appropriating traditionally feminine design elements on an unparalleled international scale. This phenomenon should not be interpreted purely as a subversive gender issue, but should also be viewed as an expression of personal style and taste. In order to properly describe this phenomenon, the term ‘crosssexual’ must be introduced to English fashion vocabulary. This paper examines the innovative design characteristics of contemporary crosssexual menswear emerging prominently in men’s suits since 2015 and also raises the necessity of coining a new term: ‘neo-crosssexual’. Ultimately, this paper reveals how neo-crosssexual fashion employs a great variety of innovative silhouettes and novel design elements—ranging from structural or decorative details to colors, fabrics, patterns, and accessories—all of which enable the wearer to express whatever image of themselves they desire. Previous studies have interpreted crosssexual fashion as men simply portraying themselves as effeminate by wearing such clothing, but this conclusion is reductive and reveals there is still an unconscious recognition of limiting binary associations. The richness of neo-crosssexual fashion design, rather, gives individuals freedom to choose a sartorial image devoid of binary constraints. Conventionally classified ‘feminine designs’ are now perceived as creative and functional means to fluidity. This positive cultural shift has led to an increasing number of men choosing to wear suits that incorporate ‘feminine’ design elements, freeing this traditional garment from its limited formal use and symbolic hegemonic power.