Knitwear can protect you from a winter chill, but what if it could keep you safe from the prying eyes of Big Brother as well? [Ottilia Westerlund] decided to put her knitting skills to the test for this anti-surveillance sweater.
[Westerlund] explains that “yarn is a programable material” containing FOR loops and other similar programming concepts transmitted as knitting patterns. In the video (after the break) she also explores the history of knitting in espionage using steganography embedded in socks and other knitwear to pass intelligence in unobtrusive ways. This lead to the restriction of shipping handmade knit goods in WWII by the UK government.
Back in the modern day, [Westerlund] took the Hyperface pattern developed by the Adam Harvey and turned it into a knitting pattern. Designed to circumvent detection by Viola-Jones based facial detection systems, the pattern presents a computer vision system with a number of “faces” to distract it from covered human faces in an image. While the knitted jumper (sweater for us Americans) can confuse certain face detection systems, [Westerlund] crushes our hope of a fuzzy revolution by saying that it is unsuccessful against the increasingly prevalent neural network-based facial detection systems creeping on our day-to-day activities.
We’re impressed to see the continued flow of new and interesting ways to utilize 3D printing despite its years in the hacker limelight. At the 2020 Hackaday Remoticon [Billie Ruben] came to us from across the sea to demonstrate how to use 3D printing and fabric, or other flexible materials, to fabricate new and interesting creations. Check out her workshop below, and read on for more detail about what you’ll find.
The workshop is divided into two parts, a hands-on portion where participants execute a fabric print at home on their own printer, and a lecture while the printers whirr away describing ways this technique can be used to produce strong, flexible structures.
The technique described in the hands on portion can be clumsily summarized as “print a few layers, add the flexible material, then resume the printing process”. Of course the actual explanation and discussion of how to know when to insert the material, configure your slicer, and select material is significantly more complex! For the entire process make sure to follow along with [Billie]’s clear instructions in the video.
The lecture portion of the workshop was a whirlwind tour of the ways which embedded materials can be used to enhance your prints. The most glamourous examples might be printing scales, spikes, and other accoutrement for cosplay, but beyond that it has a variety of other uses both practical and fashionable. Embedded fabric can add composite strength to large structural elements, durable flexibility to a living hinge, or a substrate for new kinds of jewelry. [Billie] has deep experience in this realm and she brings it to bear in a comprehensive exposition of the possibilities. We’re looking forward to seeing a flurry of new composite prints!
Fabrics with electrical functionality have been around for several years, but are very rarely used in mainstream clothing. The fabrics are very expensive and the supply can be unreliable. Frustrated by this, [Counter Chemists] developed PolySense, simple open-source technology to make any fibrous material into a conductive material that can be used to sense pressure, stretch, capacitive touch, humidity, or temperature.
PolySense uses a process called in-situ polymerization, effectively dying a fabric to become piezoelectric. This is done by first soaking the fabric in a mixture of water and the organic compound pyrrole, and then adding iron chloride to trigger a reaction. The polymerization process that takes place wraps the individual fibers of the fabric in conductive polymer chains.
Instead of just uniformly coating a fabric, various masking techniques can be used to dye patterns onto the fabric for various use cases. The video after the break shows a range of these applications, including using polymerized gloves and leggings for motion capture, a zipper that acts like a linear potentiometer, and touch-sensitive fabric. The project page lists sources for the required chemicals in both Europe and the US, and we look forward to seeing what other applications the community can come up with.
The project starts with [Kitty] sewing an elegant bodice and shorts out of a silky silver material. This fabric tends to fray when cut, so fabric glue and iron-on tape was used to protect the edges. This also makes sure the garment doesn’t fall to pieces when washed or worn often. Ribbons, pockets, and other features were designed into the garments to integrate them with hardware to enable the garments to act as a portable charging solution. 3D-printed brackets are affixed to the shoulders, holding a solar panel in an upward-facing angle to catch a good amount of sun. The panel chosen integrates circuitry to output a nice, clean 5V output for charging devices over USB.
If there is a field which has promise verging on a true breakout, it is that of wearable electronics. We regularly see 3D printing, retrocomputing, robotics, lasers, and electric vehicle projects whose advances are immediately obvious. These are all exciting fields in which the Hackaday community continually push the boundaries, and from which come the astounding pieces of work you read on these pages daily. Of course the projects that merge textiles and electronics are pushing boundaries in the same way, except for that it’s often not obvious at first glance. Why is that?
Wearables are a field in which hard work and ingenuity abound, but pulling off the projects that stand out and go beyond mere ordinary garments adorned with a few twinkly LEDs or EL wire is hard. Wearables have a sense of either still seeking its killer application or its technological enabler, and it was this topic that physicist, textilist, and artist Kitty Yeung touched upon in her talk at the recent Hackaday Superconference.
Look around yourself right now and chances are pretty good that you’ll quickly lay eyes on a zipper. Zippers are incredibly commonplace artifacts, a commodity item produced by the mile that we rarely give a second thought to until they break or get stuck. But zippers are a fairly modern convenience, and the story of their invention is one that shows even the best ideas can be delayed by overly complicated designs and lack of a practical method for manufacturing.
Try and Try Again
Ideas for fasteners to replace buttons and laces have been kicking around since the mid-19th century. The first patent for a zipper-like fastener was issued to Elias Howe, inventor of the sewing machine. Though he was no slouch at engineering intricate mechanisms, Howe was never able to make his “Automatic, Continuous Clothing Closure” a workable product, and Howe shifted his inventive energies to other projects.
The world would wait another forty years for further development of a hookless fastener, when a Chicago-born inventor of little prior success named Whitcomb Judson began work on a “Clasp Locker or Unlocker.” Intended for the shoe and boot market, Judson’s device has all the recognizable parts of a modern zipper — rows of interlocking teeth with a slide mechanism to mesh and unmesh the two sides. The device was debuted at the Chicago World’s Fair in 1893 and was met with almost no commercial interest.
Judson went through several iterations of designs for his clasp locker, looking for the right combination of ideas that would result in a workable fastener that was easy enough to manufacture profitably. He lined up backers, formed a company, and marketed various versions of his improved products. But everything he tried seemed to have one or more serious drawbacks. When his fasteners were used in shoes, unexpected failure was a mere inconvenience. If a fastener on a lady’s dress opened unexpectedly, it could have been a social catastrophe. Coupled with a price tag that was exorbitantly high to cover the manual labor needed to assemble them, almost every version of Judson’s invention flopped.
It would take another decade, a change of company name, a cross-country move, and the hiring of a bright young engineer before the world would have what we would recognize as the first modern zipper. Judson hired Gideon Sundback in 1901, and by 1913 he was head designer at the Fastener Manufacturing and Machine Company, newly relocated to Meadville, Pennsylvania after a stop in Hoboken, New Jersey. Sundback’s design called for rows of identical teeth with cups on the underside and nibs on the upper, set on fabric tapes. A slide with a Y-shaped channel bent the tapes to open the gap between teeth, allowing the cups to nest on the nibs and mesh the teeth together strongly.
Sundback’s design had significant advantages over any of Judson’s attempts. First, it worked, and it was reliable enough to start quickly making inroads into fashionable apparel beyond its initial marketing toward more utilitarian products like tobacco pouches. Secondly, and perhaps more importantly, Sundback invented machinery that could make hundreds of feet of the fasteners in a day. This gave the invention an economy of scale that none of Judson’s fasteners could ever have achieved.
Putting Some Teeth into It
The machinery that Sundback invented to make his “Separable Fastener” has been much improved since the early 1900s, but the current process still looks similar, at least for metal zippers. Stringers, which are the fabric tapes with teeth attached, are formed in a continuous process by a multi-step punching and crimping machine. For metal stringers, a coil of flat metal is fed into a punch and die to form hollow scoops. The strip is then punched again to form a Y-shape around the scoop and cut it free from the web. The legs of the Y straddle the edge of the fabric tape, and a set of dies then crimps the legs to the tape. A modern zipper machine can make stringers at a rate of 2000 teeth per minute.
Plastic zippers are common these days, too, and manufacturing methods vary by zipper style. One method has the fabric tapes squeezed between the halves of a die while teeth are injection molded around the tape to form two parallel stringers. A sprue connected the stringers by the teeth breaks free after molding, and the completed stringers are assembled later.
Zippers have come a long way since Sundback’s first successful design, with manufacturing improvements that have eliminated many of the manual operations once required. Specialized zippers have made it from the depths of the oceans to the surface of the Moon, and chances are pretty good that if we ever get to Mars, one way or another, zippers will go with us.
Anouk Wipprecht‘s hackerly interests are hard to summarize, so bear with us. She works primarily on technological dresses, making fashion with themes inspired by nature, but making it interactive. If that sounds a little bit vague, consider that she’s made over 40 pieces of clothing, from a spider dress that attacks when someone enters your personal space too quickly to a suit with plasma balls that lets her get hit by Arc Attack’s giant musical Tesla coils in style. She gave an inspiring talk at the 2017 Hackaday Superconference, embedded below, that you should really go watch.
Anouk has some neat insights about how the world of fashion and technology interact. Technology, and her series of spider dresses in particular, tends to evolve over related versions, while fashion tends to seek the brand-new and the now. Managing these two impulses can’t be easy.
For instance, her first spider was made with servos and laser-cut acrylic, in a construction that probably seems familiar to most Hackaday readers. But hard edges, brittle plastic, and screws that work themselves slowly loose are no match for human-borne designs. Her most recent version is stunningly beautiful, made of 3D printed nylon for flexibility, and really nails the “bones of a human-spider hybrid” aesthetic that she’s going for.
The multiple iterations of her drink-dispensing “cocktail dress” (get it?!) show the same progression. We appreciate the simple, press-button-get-drink version that she designed for a fancy restaurant in Ibiza, but we really love the idea of being a human ice-breaker at parties that another version brings to the mix: to get a drink, you have to play “truth or dare” with questions randomly chosen and displayed on a screen on the wearer’s arm.
Playfulness runs through nearly everything that Anouk creates. She starts out with a “what if?” and runs with it. But she’s not just playing around. She’s also a very dedicated documenter of her projects, because she believes in paying the inspiration forward to the next generation. And her latest project does something really brilliant: merging fashion, technology, and medical diagnostics.
It’s a stripped-down EEG that kids with ADHD can wear around in their daily lives that triggers a camera when their brains get stimulated in particular ways. Instead of a full EEG that requires a child to have 30 gel electrodes installed, and which can only be run in a medical lab, stripping down the system allows the child to go about their normal life. This approach may collect limited data in comparison to the full setup, but since it’s collected under less intimidating circumstances, the little data that it does collect may be more “real”. This project is currently in progress, so we’ll just have to wait and see what comes out. We’re excited.
There’s so much more going on in Anouk’s presentation, but don’t take our word for it. Go watch Anouk’s talk right now and you’ll find she inspires you to adds a little bit more of the human element into your projects. Be playful, awkward, or experimental. But above all, be awesome!