Masculine references (a six-pack and accentuated shoulders), pleats, vents and perforations, and a loose form are the main features of the outer layer. The first mockup, shown in figure 161, had to be adjusted quite a bit to resemble the sketch. The cooling packs were placed on the outer shell (the coverall) of this first mockup. This, however, would not optimize the effect of the PCM packs which should be placed as close as possible to the body and should be protected from ambient heat by the outer layer of the clothing system. This was adjusted by placing the cooling packs on the inner T-shirt layer as previously shown in figures 151 and 153. The outer coverall, however, still retained the six-pack inspired pockets that the worker is free to use as he wishes.
The first mockup had many faults: it was too bulky around the waist and hips (figure 155), the back flap was too big (figure 160), and the crotch was too high (figure 161). The back flap was supposed to be lined with perforated fabric, but the fabric was unavailable at the time.
Figure 154.
The original sketch placed next to the mockup before any adjustments. Figure 155. Back view of mockup while adjustments were being made.
Figures 156 -157. Front view of mockup pre-adjustments. Figure 158. Front flap added by tailor. This was supposed to be a chest pocket to hold PCM packs. Sleeve was supposed to be a raglan cut. Figures 159-160. The back flap. Mesh lining should be placed under the flap to facilitate convective cooling. Figure 161 (opposite page). The mockup after adjustments. The crotch was made too high.
M oc ku ps , m or e sk et ch in g a nd a p ro to ty pe 154 155 156
Figure 163 (left). Circular thermochromic insert at the center of the chest to indicate workers’ thermal load.
Figure 164 (right). Rectangular thermochromic patches on the side.
Certain features, such as thermochromic patches that would indicate the workers’ level of thermal load and water bottles to accentuate the masculine silhouette and encourage workers to drink more water, were explored in this prototyping phase. A sample of thermochromic fabric is found in the Appendix.
Pleats around the waist and also at the elbows and knees are a staple feature of the concept suit. The pleats in all three locations are to facilitate motion but the pleats at the elbows and knees also have an added function. These pleats are lined with perforated fabric (figure 123) that encourage convective cooling because of the pleats’ proximity to the body’s pulse points located behind the knees and on the inner elbow region. Figure 162 shows how I made the elbow and knee pleats’ pattern. A sample of the perforated fabric (stretch polyester mesh) is found in the Appendix.
Figure 163 and 164 show two different versions of a suit with a
thermochromic patch. The intention was to have the patch indicate the worker’s thermal level, but the question was, how do you indicate only the worker’s temperature and not that of his surroundings?
Figure 162. Pattern for pleats located in elbow and knee areas. M oc ku ps , m or e sk et ch in g a nd a p ro to ty pe
Figure 171.
Placement options for the water bottles.
Dehydration is a main contributor to heat stress. Having a special compartment to hold a water bottle in the suit would prompt workers to drink more because they would be constantly aware of the bottle. As they worked they would hear the water move and sense its weight and cool temperature.
Figure 171 shows a series of sketches that play with the placement of the water bottle. The mockups in figures 172-174 (following page) continue this exploration.
Obviously, there are issues of practicality when it comes to placing a bottle on the shoulders or tied around the arms or even on the back, but these are all conceptual and metaphoric ideas, meant to highlight the importance of the water bottle to the workers’ health and well being. The water bottles are the workers’ ammunition, and the placement of the bottle accentuates the masculine, superhero gestalt. Figures 165-170 show some
experimentation with sealants: Nansulate® Translucent clear thermal and mold resistant coating by Industrial Nanotech, Inc. (figure 166) and Liquid Glass resin by Aristocrat (figure 167). The idea was to seal the surface of the thermochromic patch, leaving the inner surface of the patch unsealed and exposed, to react to the worker’s thermal changes.
The Nansulate® had no effect and cracked when applied too heavily. The Liquid Glass worked briefly, but the thermochromic fabric started changing color as it was exposed to heat for a longer time and also heat started to seep in from around the borders of the sealed area (figures 169 and 170).
A thermochromic patch would be a good monitoring tool for indicating the worker’s thermal state and warning him and those around him when he is overheated; however, it needs further development.
Figure 165 (top left). Thermochromic fabric. Figure 166 (center left). Nansulate® Translucent clear thermal and mold resistant coating applied to thermochromic fabric. When it dries it becomes more translucent. Figure 167 (bottom left). Liquid Glass resin. Figures 168 (top right), 169 (center right) and 170 (bottom right). Testing the sealed thermochromic fabric by exposing it to hot water.
Figure 172 (opposite page- left). Placement of pockets in mockup number two. Figure 173 (opposite page- right). Front view of mockup number two.
Figure 174. Three views of the third mockup.
M oc ku ps , m or e sk et ch in g a nd a p ro to ty pe
The prototype made by the tailor was based on the fourth and final mockup. The final mockup was made of the twill fabric (shown in the Appendix) chosen for the prototype and has the same orange top stitching (figure 175). Twill was chosen to make the coverall outer layer because of its durability and its relative light weight.
The color scheme of blue and orange was chosen for a number of reasons: both are bright complementary colors that are consistent with a superhero palette; they symbolize contradiction (hot and cold, worth and worthlessness, power and weakness), and the colors were inspired by the research and the workers’ environment (blue indicates cold and is inspired from the Tuareg’s indigo and the “blue-collar” concept, while orange indicates hot and is used on site as a bright warning color in vests and orange traffic cones).
Impressed with how the egyptian galabiya was cut with zero fabric waste (page 15), I tried to minimize the amount of fabric waste as I placed the patterns to cut the final mockup (figure 176). Designing patterns that leave zero-waste, however, is a whole new thesis topic and a future direction I would be interested to explore.