IAAC Fabricademy 2022 - Cosmic Armour final project thesis by Lena Platow

c o s m i c

Le n a

a r m o u r

Pl atow

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a c k n o w l e d g e m e n t s My experience at Fabricademy has been truly incredible and transformative. To my tutor Anastasia, you are an inspiration and I’m so grateful for your persistence and patience. I thank Eugenio, Maud, Josep and Daphne especially who taught, guided and motivated me during my studies.

To my family, thank you for your endless support.

And to my friends, thank you for your presence and listening.

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c o n t e n t s ACKNOWLEDGEMENTS 2 CONTENTS 4 ABSTRACT 7 INTRODUCTION 11 AIMS & OBJECTIVES 13 CONTEXT 15 STATE OF THE ART 23 DEVELOPMENTS 31 VOCALISED RESEARCH 31 INTERVIEW 32 SURVEY 39 PROTOTYPE I 41 CRAFT FABRICATION 45 DIGITISING LACE 45 BIOMATERIAL EXPERIMENTS 47 PERLITE CALCIUM CHLORIDE 48 PERLITE ALGINATE CELLULOSE 50 KNIT RESPONSE 52 PROTOTYPE II 52

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c o n t e n t s ADDITIONAL CONSIDERATIONS 54 3D PRINTING 54 TROUBLE SHOOTING 56 FINAL CONSTRUCTION 60 CONCLUSION 66 FINAL IMAGES 69 IMAGE SOURCES 77 BIBLIOGRAPHY 81

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a b s t r a c t Cosmic Armour is the name given to this project because it seeks to realise a new format of engagement through clothing. The motivation for this project is driven by the societal situation concerning physical and mental wellbeing in the 2020s. It is driven by the impact of the global pandemic which highlighted the fragility of human life.

The research discusses the main concerns we are faced with, impacting the quality of our lives. This serves as the basis and reasoning, the issue to tackle. It is met by tools in the form of clothes – an unlikely solution but a necessary to reconsider what clothes can become for us. This perspective challenges our relationship with garments in order to shift reasoning for fashion driven solely by aesthetic. Exploring the State of Art to decipher what is missing in this field reveals the infusion of science and technology to create a possible solution.

Not only is it a designer’s responsibility to identify a cause to support: it is also important to recognise the approach and modes to propose beneficial solutions. Part of the reasoning to challenge our relationship with clothes is to declare that there are sufficient aesthetic global offerings.

With this is in mind, the steps to reform the possibility of what is manufactured and why, offers an emerging hybrid. The project seeks an answer to the loose yet weighted question: How can fashion benefit people? A necessary response is to establish what their needs are which is explored in this project.

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i n t r o d u c t i o n Recognising the undeniable shift in individual lifestyles, pace of life, performance pressure and collective commitments are just some examples contributing towards our “age of anxiety”. This project begins with a detailed exploration of such an affliction. The cause and effect which highlight a systemic cause for concern, not least triggered by the outbreak of Covid-19 but also the digital revolution perhaps accented by our surveillance capitalist state.

This project entails an investigation into the causes of popular suffering by thorough reading backed up by vocalised discussion. It is guided by contributions of designers and products, responding with curiosity to their projects. Practical development stems from digital tools and craft techniques. And biomaterial experiments attempt new recipes to infuse in the wearer’s experience.

Clothes have long been a vehicle for protection so this project revisits this evaluation to re-establish a more relevant connection. The following steps explore the existing techniques offered by clothes to relieve our symptoms of distress. Evidence to support this new direction of design responsibility arise at the vertices of sensory, protective and wellness approaches. Collecting as many relevant examples as can remotely relate to benefitting the wearer creates a noticeable gap for where the project can be identified. This also highlights the prevalence and potential for Cosmic Armour to prevail.

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a i m s & o b j e c t i v e s The goal for this project is to create an item of clothing incorporating elements of therapy. In order to do so, research into existing therapies relative to design and manufacturing will be considered thoroughly. Consideration from all angles such as the scenario that the garment exists, and the customer’s lifestyle are very important for the piece to remain relevant. The final sample will combine digital design and manufacturing techniques to engage with fresh possibilities for future variation – the potential to evolve after the first final outcome. Expressing a solution via parametric design is an essential stage for Cosmic Armour. Displaying an abstract aesthetic to promote awareness for care. Exploring the realms of wellness serve not only as the core destination for the piece to work but also inspires the aesthetical position from the perspective of a fashion designer. Practical experiments will be explored to understand how incorporating a biomaterial complex and detail will enhance functionality.

As uniforms promote commonality, this project demonstrates the potential to normalise closer body relationships. “the symbolic meaning is always automatically embodied because it directly stems from the physical experience.”

(Adam, H. and Galinsky, A.D. 2012)

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c o n t e x t At the core of this project is the concern for care. Mental and physical wellbeing are interconnected and co-dependent as “certain social, environmental and lifestyle factors can promote systemic chronic inflammation” (Furman, D., et al. 2019).

How we manage our stress correlates to our overall health. Therefore, tackling stress is a crucial starting point. This project demonstrates how this can be achieved through clothes.

From a designer’s perspective it is highly desirable to shift the negative connotations of the clothing industry into a positive domain. Fashion is linked with detrimental impacts on a mass scale affecting the environment, manufacturers and the consumer. This project seeks a new paradigm where the role of the garments is a new tool, encasing a new concept and reshaping what clothes mean and can do.

Mental wellbeing has long been an aloof subject – stigmas and label attachments have created an otherness that can be difficult to recognise as well as share. According to The Guardian, prior to the outbreak of Covid-19: “an estimated five in every 100 people in England were experiencing regular or uncontrollable worries about multiple things in their lives – a condition known as generalised anxiety disorder” These figures increased by 31% percent in March 2020 as a consequence of social isolation and uncertainty about the future. According to a recent study lead by Dr Gemma Taylor these challenges “cannot be undone overnight”. Therefore, there is space to explore methods of therapy that will influence these challenges.

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The pandemic demonstrated a direct sabotage of our lifestyle, freedom and relationships. It put pressure on our human connections: over a fifth of adults (22%) experienced a complete breakdown of a relationship (including partner, family, friend, colleagues or neighbours). This impact supports the view that our fragility corresponds to our perception of the world around us.

We have however lived in a building state of mental unrest with the abundance of constant technoferance (Wilson, K. 2019) – a lower the quality of your interaction when devices are present or in sight.

The prevalence of smart phones impact large proportions of youth populations. Heavy smartphone use and media multitasking result in “chronic sleep deprivation, negative cognitive control, academic performances and socioemotional functioning” . This amounts a high cause for concern as our generations grow, a reason to assemble new modes of interaction.

(McDaniel, B.T. and Drouin, M., 2019.)

With many negative connotations of social media, the main notion for its use is the multiple connections one can make which simply highlights our craving as creatures for connection with others.

“Humans genetically inherit a strong impulse to connect with people predominantly to share their emotions.”

(Graciyal, D.G. and Viswam, D. (2021) Scientists have concluded that dopamine creates pleasure, is addictive and experienced alone, whereas serotonin causes happiness, is non-addictive and can be shared. (Graciyal, D.G. and Viswam, D. 2021). The popularity of social media is merely an instinctive reaction to our natural pursuit to share and experience community.

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“We are social creatures so we share the emotions of others” (Zak, P. 2011) The rise of social media and self projection has flattered the outward perception of self by motivated “tendency to compare with fellow human beings” (Graciyal, D.G. and Viswam, D. 2021). This correlates to a boom in the self-care industry which in 2019 was estimated to be worth a $11 billion.

(Arboine, N. 2019) However, the current trend of being “booked and busy” is another layer to the pressure to perform as it signifies success and status among milliennials. To demonstrate our resilience, many businesses call on their employees to “expand their abilities and improve performance”. Meeting such demands such as being socially and professionally accessible 24/7 contributes to this generation’s burnout culture.

CBT (cognitive behavioural therapy) is one of the most accessible forms of therapy whereby mindfulness techniques are crucially introduced. Many symptoms of depression for example, conclude that we are not present in our surroundings but rather, consistently taken over by negative and troubling thoughts. Mindfulness techniques engage us with our surroundings.

This can be done in several ways – there is not a particular format. The predominant methods require breathing techniques. Inhaling and exhaling deeply, observing our senses and repeating these techniques bring an immediate awareness to our bodies. Knowing we are breathing, recognising the senses, rhythm and sensations created and experienced by our bodies anchor our perception. Therefore ongoing practices strengthen this awareness and our ability to prevent our thoughts from wandering or becoming troubling. Mindfulness brings a distinct satisfaction and increases appreciation for our existence.

According to Thich Nhaht Han, “the energy of mindfulness is the energy

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that can bring about the energy of concentration” When considering the approaches to healing our distresses, it makes sense to build on the natural phenomena and functions inside the body in order to recognise patterns and make changes to our behaviour. Cosmic Armour is motivated by this thinking and to highlight the importance of learning more from our own bodies – not to look or compare to others and not to adhere to synthetic or temporary approaches. The consideration of body and awareness is paramount to this project as it aims to promote the body as a unique phenomenon which continues to surprise us. The more in touch we are with our bodies, the more we can appreciate the world.

Hence Cosmic in the name that kindles the mysteriousness of our existence. Many of the pressures we face are in response to redundant belief systems or restricted mental constructs. Cosmic Armour is the protection we can seek inside ourselves and outward in a reciprocated breath, recognising our oneness with the universe.

According to Dr. Meghan Sultana, “Both acupuncture and meditation work on the parasympathetic nervous system and toning of the vagus nerve for example can be achieved in both practices” (The Vagus nerve connects the brain to the rest of the body). The project therefore progresses to focus more acutely on acupuncture due to the detailed focus on the body.

The documentary Who Am I? follows Dr Ming Jie Wu a dedicated TCM (Traditional Chinese Medicine) practitioner. In TCM health is achieved by balance and harmony of mind, body, spirit. It is an interconnected and interdependent relationship based on yin yang. The practice works on the principles of finding root causes, blockages and energy imbalances. Pressure points are all over the body and tend to be found where a number of different nerve endings meet. Pressing the points can relieve symptoms of mental and physical ailments – from diabetes to cancer and arthritis to depression. Dr Wu describes how symptoms are the results of an over-

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working or deficient production in the body.

Where fashion has harnessed many definitions regarding the human zeitgeist, an industry integrating creativity, techno-industrial manufacturing, image projection of conscious and subconscious participation, it must have the capacity to support therapy methods. Cosmic Armour is represents a positive role for the future. As Radio Ballads considers art practices as key to support systemic transformation, Cosmic Armour seeks a new paradigm where clothes map and integrate proven techniques to create engagement with long term support.

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After recognising the relevance of concern in wellbeing at the core, it is necessary for the project to establish itself through the lens of clothing.

The State of the Art prepare the vision for response by understanding and being acquainted with the work of other designers, manufacturers and artists. Determining the position of the project in relation to contemporaries is crucial to considering what can be offered differently with a new perspective.

Exploring the concept of care in clothes begins with direct translations represented for the healthcare industry. Such niche designs can parallel with their level of innovation in sportswear. Cosmic Armour wishes to question why this level of expertise and consideration is not infused more into clothes so that they can be worn with more compelling purpose.

CalmCare is a sensory clothing brand with compression capabilities. Their products use CalmTex® fabric – a breathable sensory material providing gentle compression and body temperature regulation. Compression sensations work well in this industry because it imitates the feeling of being hugged - increasing the release of serotonin and oxytocin. CalmCare claims to provide “the perfect amount of sensory input to calm, soothe and support self-regulation”. Working with “proprioceptive feedback” a term sometimes referred to as our “hidden sixth sense” and a predominant focus in occupational therapy. Proprioception uses proprioceptors, giving us access to knowing and recognising the motion of our bodies. These might include recognising opening and closing joints as well as weight, pressure, position and tension. Proprioceptors give us all this information and are crucial to reducing anxiety which can be built up through lack of circulation.

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Similarly, weighted blankets work on the principle of compression. Newborns are tightly wrapped to feel secure and it is proven that deep pressure detected by receptors sends signals of safety to the brain. Weighted blankets contain glass beads to create pressure. Gravity blankets recommend blankets weighing 10% the body’s weight for maximum effect. According to PTSD UK “Not only does a weighted blanket calm your nervous system and provide a feeling of comfort, but the deep pressure touch stimulation (DPTS) of a weighted blanket also helps to encourage serotonin production” Weighted blankets are powerful tools in psychiatric care because they aid restorative sleep, improving mood levels and relaxing muscles. Providing benefits that are similar to that of a massage is a major inspiration for this project because it proves how valuable these tools are.

Upon searching for recovery clothing Under Armour’s RECOVER range is a definitive highlight. The collection comprises of sleepwear made with Celliant technology: bioceramic textile structures. Bioceramic textiles use nanoparticles of multiple ceramics at small percentages which are melted into the fibres at high temperatures. The heat conservation properties of these ceramics create what is also known as a FIR process (far infrared).

This fabrication has become popular in sportswear and claims to activate and conserve recovery after exercise. The energy and heat produced by the body is conserved within the ceramic particles and circulated back to the body, relaxing the muscles and improving blood circulation. Under Armour’s integration of such intelligent and considered fabric is progressive in this industry despite its marketing towards high impact athletes.

This sleepwear and bedding range by Under Armour has become an extension of care: from motivating and supporting exercise, to recovery and regeneration. Cosmic Armour proposes to utilise this approach toward healing textiles but aimed at the wider population. The inspired technology has the potential to expand, utilising the body’s response in favour of

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the wearer.

Artists and designers have concluded with many different approaches to promoting wellbeing through their visions. Magnifying different senses is a profound theme towards enhancing and grounding a feeling of wellbeing. However, the limitations of this integration may be reflected in the wearability, longevity, manufacturing and scenario of what is produced. It is motivating though that the themes reflect a shared consensus for designing self-care tools and promoting positive feeling – to learn more from our own responses before waiting until we should seek medical advice. It is a proactive approach to sustaining good health.

Kristi Kuusk’s Vibe-ing was designed as a self-care tool, encouraging body movement and healing through vibration therapy. Fabricated in wool, the piece contains pockets embedded with electronic circuit boards that vibrate from actuators on specific pressure points. The project’s aim was to inform a multi-disciplinary audience about merging self-healthcare services with everyday activities.

The Healing Imprint by Laura Deschl is a capsule collection of activewear integrating “trauma-healing” techniques. The project incorporates a grid into the knitted activewear where massage balls can be inserted and moved to specific points. Deschl’s project focuses on movement in the body – specifically trauma sensitive yoga – as a major role in overcoming buried memories and emotions.

Haptic technology, kinaesthetic communication or 3D touch, refers to any technology that can create an experience of touch by applying forces, vibrations, or motions to the user. Sofie Di Bartolomeo’s Tactile Haptic Fabric uses 3D surface texture in a modular pattern. Stimulating touch helps regulate emotions and calms stress receptors. The rubbery surface pearls create abstract touch stimulation. Organic irregularities in the design en-

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courage touch and curiosity as some areas are more dense than others.

Iga Węglińska’s Emotional Clothing collection was focused on the topic of human-object interactions. Her clothes respond to the wearer’s heartbeat and uses sensors to trigger light visuals. Stress usually causes a rise in temperature and a faster heartbeat. Węglińska’s aim was to help people to recognise their stress as temporary when they experience the changing state of their clothes.

The State of the Art concludes with a full palette of influences from all the examples. There are many points to consider for the manufacturing process. The fabrication and material detail is a distinctive focus in these project – especially the functionality to enhance the wellness experience.

The scenario that the product is inserted into is an important role in its sustained use. It is likely that the final outcome of this project will serve as a starting point for many others. Cosmic Armour is differentiated from these projects as it aims to loosen the niche of its sphere and become easily integrated into the lives of its demographic. A close look at Palpatine

by Daniel Sanchez, an auxetic bra highlights the approach of simplicity as perhaps the most effective.

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d e v e l o p m e n t s This final chapter consolidates all the findings thus far and interprets all the influences towards practical experiments and manufacturing. Cosmic Armour’s materialisation is dependent on channels of development running parallel, supporting the project holistically: vocalised research, digital and craft fabrication and biomaterial research. Each step is supported by digital tools.

Cosmic Armour uses details from State of the Art to support its realisation.

Some primary considerations regarding the aesthetical fabrication as an item of clothing and its wearability are defined by a recognition of sensitivity. Channelling self and collective care require soft aesthetics such as knit and lace. A garment reflecting intimacy through meditative qualities aims to feel light on the skin just as loungewear reflects relaxing capabilities through loose fit. In addition, Cosmic Armour includes biomaterial experiments based on the bioceramics featured by Under Armour and glass beads in weighted blankets.

vocalised research In the context of integrating properties of care into garment design, acupuncture has been identified as the most realistic and provocative approach due to its sharing meditative and recovery qualities. Addressing pressure points on the body directly shows where design is definitely required so this aids the visualisation.

The first point of vocalised research is a conversation with Jo Curle – a professional acupuncture therapist with twenty years of experience. It makes sense to work with acupuncture because it directly affects the nervous sys-

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tem which can be visualised via design and fabrication. Pressure points are activated at different depths depending on the body’s density and are also located by measuring the cun – thumb width measurement. This project will not use needles because it is more concerned with highlighting the points to raise the awareness of the body sensation.

interview J: You’re right it is very tailored to the client. There are hundreds and hundreds of acupoints that you would choose from for a client but the majority of those that you use are more or less universal. We probably use the same thirty or forty points on most people. And then you dip into the wider scope when somebody has something particularly unusual. But when you see most people with stress related things or mental emotional condition, or gut conditions or gynaecological conditions or pain conditions: it’s the same kind of points that come up again and again. There are certain points that are considered the most powerful points to use and you’re always going to get at least a couple of those on pretty much every person. There are points that are beneficial for everyone.

L: Do you mind sharing what those points are? I read this article from an online magazine that mentioned three combinations: small intestine...

J: So that one is here” (gestures to face) “yeah just down from the outside of your eye until it lies just under your cheek bone. In terms of wellness it does affect facial things: sinusitis – that kind of thing – ear pain, face pain. But it’s also a point where the connective tissue or channels of the whole back meridian can bind under the cheek bones. That’s an unusual one for an article to have said... What were the other ones?

L: The other one was hip flexor and yin tang and then the other one

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was stomach... It was just this website called MindBodyGreen. They were talking about the ones you can access yourself for self-acupressure.

J: Well yin tang is dead centre between the eyebrows – where if you were looking at chakras, would be your third eye. The stomach channel is huge: it runs from behind the eye, down the face, all the way down the front of the body, down through the abdomen, down through the groin, all the way down the legs, to the second toe... It’s a long one. The most powerful stomach point that we use is just here on the outside of the knee. So that might work if you were creating leggings or tights that had points for people to push on. There’s a lot of really powerful points on the inside of the lower leg... so a pair of knee-high socks with points printed on them might be interesting.

L: Do you do acupressure as well as acupuncture?

J: I trained in it about 20 years ago and recently did acupuncture 7 years ago. So I was using that when I was a massage therapist. But when you do acupuncture, you’re always going to have to touch to find the places first – so you are using a fair bit of pressure to locate the right point before you put the needle in – when you do acupuncture on the face there’s a lot of that type of thing. Massage on the face so it is included with that. Patients will always say, ‘oh that one hurt’ or ‘that one’s sensitive, what does that one refer to?’ And then they’ll often go home and have a good poke themselves. [both laugh] And self treat those areas. But you’ll always find, or typically find that when you hit the actual point, it’s much more significantly tender just 1cm to the side of the point: so you know there’s something there – compared to just randomly pushing on someone’s body.

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L: Is there an element of heating the different points?

J: You can... most of the time – no. But for certain things you can put a substance called moxa – which is a herb and you put it on the end of the needle and set fire to it. It’s not appropriate for every condition but it also puts a lot of smoke into the air so a lot of clinics don’t allow the smokey moxa... We use heat lamps where you put a heat lamp over somebody to put heat into that area. It really depends – that is very specific to the person: whether they need heat in that area or not. You wouldn’t want to put heat into a point where you didn’t want it.

L: Is there an age range of clients that you see?

J: I don’t see children – that’s quite a different speciality. I’ve seen a 19 or 20 year old at least and I think probably my oldest patient was about 97. The majority of people I’d say are mid-thirties to late fifties. It’s not included on the NHS so you have to be able to pay to do it. So when I see those that are younger, either they’ve got a great job immediately or their parents are paying for their treatment. I’ve seen a fair few student who are completely stressed or having headaches with their studies. Usually I see people who are at a point where they’re starting to get issues in their mid thirties and think, ‘I need to sort this out... I’ve abused my body for long enough, I need to sort this out now and I can afford to do it’.

L: What’s the severity of the symptoms that you encounter that you can relieve with acupuncture?

J: It depends. I’ve seen people with back pain or neck pain where they consider it 20/10: they’re in excruciating agony and the doctor can do nothing for them but give them a ton of painkillers; they’re literally at the end of their tether. With that kind of pain, acupuncture can usually sort it out pretty quickly.

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L: That’s incredible!

J: Oh it can be, sometimes it’s a case of a couple of muscles spasming terribly and the nervous system just goes haywire because you’ve got some muscles spasming terribly. Acupuncture’s really good at sorting that out. When people come for headaches, they’re usually pretty extreme for them to come.. Headaches, gut problems. It can be pretty extreme. For some people, we’re the last attempt – so by the time they get to us, by the time they’ve thought to try acupuncture things may have resolved a little bit. I’ve seen everything from a 2/10 patient to a 20/10 pain but people also just seek it for wellbeing, facial acupuncture, fertility... its not always a symptom that they want to tackle but also a method to improve their current state.

L: I tried it once and was just fascinated by how just from listening to the pulse on the wrists the guy just knew... what I was eating, said you run a lot, your heart feels very heavy. And I thought how can you know just from listening to my pulse? Would you say there’s a general area or pressure points you work on more than others?

J: Yes I’ll take screenshots of the areas and send them to you. Primarily from top to bottom: there’s one at the very crown of the head, yin tang, two on the hands, one dead centre just above the bellybutton, on the legs you’ve got those on the outside of the leg, at least three or four on the inside of the leg, a couple on the top of the foot, between the big toe and the second toe. They’re your main common ones. Unless you’ve got somebody face down, then you’re looking at a line on the spine and on both sides – there’s a point down there for every organ in the body. You just pick which one you want to work with and they do tally up with the nervous system: so the point for the heart is directly over the nerve that come out from the spine the relate to the heart, and the same with the kidney, spleen. There’s a

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couple of points in the bum cheek that are really common for helping back pain and sciatica.

L: How deep do the needles go?

J: Entirely dependent on where it is – some points only 2 or 3mm some a few centimetres, some points go in perpendicularly, some go in so transversely that you’re really just skimming under the surface. It depends where they are. For example you can’t go into the top of the head because the skull’s there – so go at an angle. You don’t go directly perpendicularly in anywhere on the torso because of the lungs. If you’ve got someone with sciatica and they’ve got a pretty sizeable bum cheek, you need to go in a fair distance to directly kick it off. You go directly in on the sides of the leg but only about 1cm. It depends on how big someone is. The location of the points is relative to the body that you’re working on. So when we measure the location of the point it’s in relation to an anatomical landmark but in relation to the size of the person. We use a cun measurement which is the width of the first knuckle on the thumb. You get a knack for finding the points and you can find them based on sensitivity but you’re always looking for a landmark.

L: And you said you do massage therapy?

J: I trained in that 20 years ago, I did all the other holistic therapies, aromatherapy, reflexology, indian head massage, massage, acupressure and I worked in spas.

L: Would you say there’s a crossover between the philosophy of acupuncture and massage therapy?

J: In the sense that they’re both holistic: yes. There’s certainly more of a crossover between reflexology and acupuncture. The reflex points on

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the feet are not the same as acupuncture points but it works on the same principle of one area affecting another area. For example, all the points on the foot affect the different points on the body. We might put a point in the ankle to fix somebody’s lower back pain or I might put a point in the hand here to fix somebody’s neck pain. It’s about where it relates to. They’re both holistic treatments and both working very much on the hormonal system in terms of the stress response. We can be very assured now – or at least it’s going that way anyway with research – that most diseases are caused or made a lot worse by stress. And stress hormones can massively be helped with acupuncture and massage. Any time to relax and get rid of those stress hormones, the interactions with those stress hormones with the other hormones affect immunity causing pains and cancers – it definitely ties in.

L: To be honest that’s why I’m researching this because.. Well I read that you’re supposed to have 8 hugs a day and I just thought I’m definitely not...

J: I suspect they were probably talking about that because of the hormone oxytocin which is the bonding hormone and it’s released when we hug. They’ve also discovered when your arteries get smaller from stress, oxytocin is the hormone releasing them again. In general it’s important for health and hugging is a way to get it. The article was probably highlighting how isolating lockdown’s aren’t good for your health.

L: Does massage help release oxytocin?

J: Absolutely, that’s one of the key ways it can because it’s physical touch. Trust creates and releases oxytocin. Studies show that when you have a massage, the person receiving the treatment receives oxytocin but the therapist giving the treatment releases more than double the amount because they are being trusted to help the other. In a non-sexual way it’s the most intimate way to you can touch somebody. You’re literally rubbing their

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arms and legs and back with something akin to: you really care about that person you’re doing the treatment for. You can’t do a treatment and not like them. If there’s no rapport between the person giving the treatment and who is receiving they tend not to come back for the treatment. They would just get a feeling and not want to come back. You wouldn’t go back if you didn’t have a connection with someone. You can’t touch someone like that and not have trust. There’s quite a high level of trust that goes in there which is why in training there’s a big emphasis on not doing anything inappropriate.

It makes sense to work with acupuncture because it directly affects the nervous system. The way it works is to activate pressure points at different depths depending on the body’s density. This project will not use needles because it is more concerned with highlighting the points to raise the awareness of the body sensation. According to health psychologist Kelly McGonigal, human connection aids stress resilience because seeking and giving support increase the release of oxytocin – which is why although acupressure can be self-applied, it is more effective to involve another person.

sur vey Including a survey was also important to validate the direction of design but also to ground the research to date. 78 people answered 8 questions regarding their experience of factors challenging their wellbeing and how they manage such symptoms. The results concluded that 23% experience anxiety and 16% experience depression. Asking participants to map where they experience discomfort in their body helped reaffirm the design focus.

Cosmic Armour’s focus on acupuncture relates to the prediction that it is not so widely used by its demographic – backed up in addition by Curle.

The survey clarified this to be true in question 4 with only 6% declaring they have used acupuncture therapy. With regard to this, question 5 exposes the restrictions people might face in accessing such therapies. The highest scor-

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ing reasons for those not accessing therapy was distance with 62%. This was followed by price and efficacy both scoring 49%.

The survey revealed a future possibility to expand this project towards a medical case study. With 6% of participants diagnosed with Multiple Sclerosis – a condition damaging the nervous system – Cosmic Armour considers future specialism. A study revealed acupressure reduced fatigue in women with Multiple Sclerosis. This is a unique supporting discovery defining a future market.

To summarise, the survey results confirm that restrictions are out of participants’ control and provides a space to insert Cosmic Armour. People are proactive about how they feel and want to improve themselves. As Curle states in the discussion, “its not always a symptom that they want to tackle but also a method to improve their current state”.

prototype i Responding directly to the vocalised research, the first prototype is inspired by spiritual and sci-fi art references. This inspiration is significant as they ground the notion that artists continue to ask existential questions and seek affirmation – but also their perplexed interpretations with the world. These references provide a comfort in morale that, underline temporary conflict and emphasise the unique power of spirituality.

The first prototype is a simplified idea for style and construction featuring raglan sleeves and lace inserts. The key details for this sample refer to the most used pressure points as stated by Curle, becoming the design feature.

Using a combination of lightweight stretch knits – creating the comfort of loungewear – and lace creates a sensual juxtaposition.

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craft fabrication Lace is an intricate but also intimate material which reflects a core approach in this project. The limitations towards appropriation with traditional lace relate strongly to the fragility of the craft. According to Aarts, “for lace to become a breakthrough product in performance sportswear we would have to re-think the concept of lace. That would mean looking at how lace products could add additional value comparatively to the current materials available for sportswear, what properties the material should have, and finally how it should look” [Rethinking the Concept of Lace] Cosmic Armour aims to challenge this view and create a new sensuality. This can be achieved with a chemical lace technique as shown at Making Nuno The process invented in 1883 involves stitching designs onto a silk base that is later dissolved in a lye solution. This technique affords the space for innovation in lace through digital embroidery and a dissolvable fabric.

digitising lace Working with Rhino and Grasshopper is essential to innovating lace via digital embroidery. Firstly, to build on the most commonly used pressure points, the points are interpreted onto a digital human form. This is done using MakeHuman: a free and open-source 3D computer graphics middleware designed for human prototyping. An avatar is imported into Rhino – allowing accurate scaling. Images of the points positioned are scaled onto the avatar and added individually into the program so that they exist independently. Grasshopper plug-in is essential to generating measured geometry around the points and toward an ultimate lace design.

The component combination design in Grasshopper allows for a design fo-

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cus around the points. Grasshopper creates accurately measured geometry that relates to whichever components are added to the design formula.

In this case, exploring magnetic field components are the perfect starting point for designing around the pressure points. The points are transformed into circles, divided into curves, then spun away from the centre of the circle with spin force. When this formula is added to all the points, the lines from each division collide so a boundary surface is important for a clearer definition. This boundary is created with Voronoi – a partition of a plane containing corresponding points – so that a dividing line can create geometric cells around the points.

The lace definitions are converted into Illustrator files for compatibility with digital embroidery machines. In digital embroidery there are several stitch styles to choose from. However, because the base fabric will be dissolved, the stitch type should be carefully considered as it needs to remain intact at the end of the process.

The digital lace outcomes are very positive though the stitch style is critical as previously thought. It is clear that the design definition needs to be refined so that the points are more noticeable. The dried samples are brittle after the base fabric is dissolved. To expand this process on a larger scale it maybe be recommended to treat the lace samples in a natural oil. On reflection, digital embroidery machines use thousands of stitches to create these definitions so the sustainability of the production could be improved: a thicker thread with less stitches or a recycled thread could be considered.

biomaterial experiments A deeper response from State of the Art requires a considered strategy for a functional outcome. The mechanisms of these experiments are inspired by the use of glass beads in weighted blankets and acupressure tools. These tools with tactile surfaces create direct sensation when their texture is ap-

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plied. So the thinking behind designing the beads is based on generating a similar sensation. Creating parametric geometry honours the natural formations in nature which relates to the project’s philosophy. The first bead is represented in silicone to establish is the design is correct in geometry, scale and suited for purpose.

The engineering of the beads requires design consideration for their form but also their ingredients. As bioceramics work on the principles of absorbing heat produced by the body, the following experiments use ingredients with these properties. Perlite is used as a substitute. It is a volcanic glass commonly used in building insulation, gardening for its heat retaining properties and is widely accessible. It also expands when heated which could create a natural compression if incorporated into textiles.

Hydrogels are hydrophilic polymers that remaining intact in water. They maintain their structures and are used for several applications such as biomedical and tissue engineering. In this case, they are the motivated form for imitating a new bead structure as featured in weighted blankets. The aim is to create a hydrogel with bioceramic thermal insulation properties. Hydrogels would be place on the pressure points and pressed to feel relaxed. As part of the outcome they could be included as a package with the clothes and kept chilled for personal use. This reinforces the interaction of the piece.

perlite calcium chloride For the first recipe, Perlite is shredded and sieved into a powder form. Then it is added to Sodium Alginate and deionized water.

Perlite : 0.5g Sodium Alginate : 2g Deionized water : 100ml

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It is then blended to a smooth consistency.

Calcium Chloride : 25g Deionized water : 500ml The calcium solution calcifies and seals the perlite with a coating to create the bead. In this experiment, the Perlite solution was added to the shape of the mould. The immediate result is a rubbery gel bead however they should be soaked in water before being dried as the calcium causes the beads to shrink otherwise.

perlite alginate cellulose Water : 70ml Alginate : 2g Perlite : 4g Cellulose : 4g Glycerine : 3ml This was a valuable recipe development because the beads held shape more. Their overall form however is less like a hydrogel. The experiment was tried again with a different measurement of ingredients.

Water : 40ml Alginate : 2g Pertlite : 1g Cellulose : 1g Glycerine : 7ml The outcome of this recipe improved with added glycerine however it still does not sustain a gel-like consistency.

On reflection these experiments have been an essential starting point to creating bioceramic composites – or that of similar properties. The engi-

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neering of the beads requires much more research into sustaining shapes with the correct measurement of ingredients.

A 3D printing workshop with biocomposites shed some light on the potential to produce the lace structure directly with an extruder. Hydroceramic’s project aimed to redefine buildings as merely shelter structures just as Cosmic Armour wishes to shift the purpose of clothing. The project embedded hydroceramics to transform the building’s function to respond to the changing temperatures. Hydrogels and ceramics were integrated to support each component. This reference is an important supporting example for Cosmic Armour.

In addition, research incorporating Perlite with Chitosan to retain thermal properties. “Chitosan/perlite nanocomposite was generally more thermally stable compared to pure chitosan polymer.” And that perlite, chitosan and nanocomposites are biocompatible materials. This information will also support future developments.

knit response Knitwear was vital in Kuusk’s Vibe-ing and Studies in Material Thinking for its flexible and inflatable properties. In this project, knitted pockets are a potential solution for carrying beads in the design – whether that is as a separate garment pressing the beads in place when worn, or a combined textile solution.

Some manufactured knit samples were produced at Eurecat – a textile innovation centre. The circular shapes have the most potential for design development because the beads would be held

prototype ii The second prototype is a mixed textile representation of the potential out-

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come. It mixes rib and crochet knit with crochet lace and trims. Gloves are an important part of the final outcome for two reasons. The first is that there are several pressure points in arms and hands which relieve symptoms of stress when pressed. Secondly, gloves offer a shared interaction of the piece.

Once the beads are set in place the second person can create the pressure as is done in treatment therapy. In this prototype the pockets are represented in the position of hand pressure points.

additional considerations An alternative approach for this project is the inclusion of an inflatable mechanism so that pressure can be applied by another person or self-applied. AiraWear revealed an inflatable jacket with pipes that are blown into by the wearer to inflate the piece. Inflatable knitwear has also been explored in architecture by Yuliya Baranovskaya. These references constitute for motivation in this direction so the idea of inflating beads containing the bioceramic composite was explored.

Some challenges occurred however, due to difficulty sealing the composites inside a plastic based film without damaging the structure. But these samples were made with a 3D printing pen This field has a potential for more expansion however it was decided to continue in a different direction due to the timescale of the project.

3d printing To experience the parametric design with clearer vision it is 3D printed. The form contains all the back pressure points that align vertically. The template is the first large tangible piece of parametric geometry. The form of this artefact is representative of the ethos of the project, promoting curiosity and in tune with what is found in the body when we examine it in more detail.

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This template is a fantastic way to highlight the back of the body as an artefact for Cosmic Armour. It could be used as a promotion tool due to it’s bold and rigid structure. The aim of the project is to promote a fluidity towards engagement with care. More points will be added to emphasise the visual and psychedelic effects of the piece.

troubleshooting Adding more points to the definition affects the 3D printing quality in relation to the thickness of the filament. Also, if more points are added closer to each other the divisions of each point does not have space to spread out between the next cell division so the legs will likely merge when closer together.

The final Grasshopper parameters: • • •

Radius - 6.0 Charge - 3.00 Decay - 5

• Count - 26 • Steps - 220 • Accuracy - 0.5 • Thickness spiders - 0.600 • Thickness cells - 0.600 • Finalising the elements of the definition is quite complex because all the components need to be considered in accordance with the others for the definition to work. For example, changing the field charge disrupts the whole definition so it cannot be baked and worked on further.

The key components in this definition:

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• •

Field line Point charge (create the void or hole in the spiders)

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BB offset (bowerbird) thickens the offsets on either side and creates the cell divisions Boundary surface (uses the patterns of the garment to shape the definition within) Voronoi process (using a square shape to divide the space into calculated points with measured distance ie. generates geometry around the points)

• •

Front and back designs are divided further into stylised segments for two reasons. Firstly, the bed of the 3D printer measures 4000 x 600mm so the files need to fit these measurements. Also, divisions are important for the final construction and the flexibility of the clothing. There are 4 separate prints in total: two for the back and two for the front.

All parts of the design also need to be prepared for 3D printing compatibility. For example, geometry doesn’t always stretch far enough, so the leg divisions need to be extended manually in Rhino.

In some cases lines should be converted from a surface to a planar surface.

The lines need to be rebuilt to be made a closed curve for the design to work. This means the points in the close shapes can be put to a fixed number of points – highlighting where the legs cross over or back on each other.

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final construction Now that the files are ready, the final assembling can begin. The designs will be printed onto tulle fabric so a pattern needs to be created for the final construction. Choosing a model and taking their measurements is the first step. A simple fitted vest shape is draped on a mannequin, then a pattern is made from the drape and input into a Rhino file to create digitally. The pieces are laser cut on a polyester material and sewn together. Another fitting on the model finalises any excess material. These alterations are noted and incorporated into the previous Rhino file. It is important to do so because the Grasshopper definition boundary surface needs to fit the final shape of the garment patterns. Alterations are measured from the fitting, calculated and shared between front and back pieces for accuracy. Then the final 3D print can begin.

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It was decided that including gloves for the final outcome is essential for the interaction within the final piece. Gloves can be worn by a second person to create an exchange in acupressure care – with the other person wearing the garment. In the beginning the project was very focused on how one can generate pressure embedded within the mechanisms of the garment, whether it needed more components and how to formulate a self activating therapy piece. With gloves, the piece promotes share interaction.

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c o n c l u s i o n In conclusion Cosmic Armour is a successful outcome because it is a twopart wearable highlighting acupressure points, encouraging connection and promoting care. Expressing these strong values hold great potential for grounding a variety of future projects. In addition, the research and experiments set a new standard for fashion designers to challenge and respond to a cause. Problem solving through experimentation and communicating with professionals, potential customers but also peers and wider public is fundamental to being a responsible creative.

The project has honoured and learned from the examples in State of the Art, by implementing and manipulating technical details to reform its projection. Reinterpreting and blending glass bead references with bioceramic qualities through experimentation represent the pursuit of evolving design for the benefit of the wider world. Consistent research into stress hormones – oxytocin in particular – has guided the narrative of interaction to its final outcome by reaffirming the importance of bonding. The inclusion of a glove in this piece was therefore crucial to sealing the project’s capabilities. This created a strong narrative for sharing an experience – without which is less likely considered for integrating into people’s lives.

Through lateral thinking, Cosmic Armour has reinterpreted the function of clothes – contributing to a new realm of wearable code, a hybrid of sportswear, intimacy and protection. Digital lace embroidery is an effective fabrication for the aesthetic of this project and its potential reproduction. 3D printing holds great potential for developing more with biomaterials. The current final outcome is an external view of the internal nervous system.

Some future developments to consider readdressing is the biomaterial complex. Looking at bioceramic qualities in the form of a second skin –

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potentially a wearable cosmetic form or new spa treatment– is an area to explore. 3D printing with biomaterials would aid this direction so that the digital definition could be recreated in a new biomaterial. The curiosity of this project highlighted Cryotherapy – cold water exposure – so the next development could include cooling properties.

When wellness is marketed, “there will always be people for whom selfcare is an unaffordable luxury”[dazed]. If this project is marketed via business and products it will stongly consider this statement. Cosmic Armour’s intention is to promote therapies and interactions thus learning workshops and pop-up exhibitions would be considered.

As volunteering has been shown to predict mental health benefits. Cosmic Armour strives to spread positivity through care, awareness and physical connection.

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Page 9-10 Luke Jerram Page 18 Still from A Cloud Never Dies (see Bibliography) Page 21-22 Rory Pilgrim Radio Ballads (see Bibliography) Page 25 Weighted Gravity blankets Page 27 Laura Deschl (see Bibliography) Under Armour RECOVERY (see Bibliography) Page 29 Palpatine Daniel Sanchez (see Bibliography) Page 35 Acupuncture app screenshot sourced by Jo Curle Page 40 Results from survey put together on SuperSurvey.com

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Page 42 Ohotos of first prototype Page 43-44 Chemical Lace Making Nuno exhibition (see Bibliography) Embroidery lace samples Page 46 Screenshot of importing pressure points into Rhino Page 49 3D printed molds for beads Page 51 Perlite Alginate Cellulose samples Page 53 Prototype II Knit pocket samples Page 55 3D printed template Page 58 Screenshots from troubleshooting Page 59 Screenshot of isolated centre back piece Page 61-62

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3D printed front Hand construction of front pieces Page 64 Parametric definition for gloves Page 69-76 Photographs from final shoot Photographer: Benjamin Scott Models: Maud & Bettina

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