How the twenty-one-layer Apollo spacesuit, made by Playtex, was a triumph of intimacy over engineering. When Neil Armstrong and Buzz Aldrin stepped onto the lunar surface in July of 1969, they wore spacesuits made by Playtex: twenty-one layers of fabric, each with a distinct yet interrelated function, custom-sewn for them by seamstresses whose usual work was fashioning bras and girdles. This book is the story of that spacesuit. It is a story of the triumph over the military-industrial complex by the International Latex Corporation, best known by its consumer brand of "Playtex"—a victory of elegant softness over engineered hardness, of adaptation over cybernetics. Playtex's spacesuit went up against hard armor-like spacesuits designed by military contractors and favored by NASA's engineers. It was only when those attempts failed—when traditional engineering firms could not integrate the body into mission requirements—that Playtex, with its intimate expertise, got the job. In Spacesuit, Nicholas de Monchaux tells the story of the twenty-one-layer spacesuit in twenty-one chapters addressing twenty-one topics relevant to the suit, the body, and the technology of the twentieth century. He touches, among other things, on eighteenth-century androids, Christian Dior's New Look, Atlas missiles, cybernetics and cyborgs, latex, JFK's carefully cultivated image, the CBS lunar broadcast soundstage, NASA's Mission Control, and the applications of Apollo-style engineering to city planning. The twenty-one-layer spacesuit, de Monchaux argues, offers an object lesson. It tells us about redundancy and interdependence and about the distinctions between natural and man-made complexity; it teaches us to know the virtues of adaptation and to see the future as a set of possibilities rather than a scripted scenario.

The goal of landing a man on the Moon and returning him safely to Earth required the development of three things: spacecraft, launch vehicles, and protective clothing. Spacesuits: Within the Collections of the Smithsonian National Air and Space Museum takes the reader through the development of the last category, the spacesuits used during this venture. Highlighting the pressure suits created during the years leading up to the lunar missions and beyond, this book features dramatic photographs of the Smithsonian's collection, as well as never-before-published historical images of spacesuit development and testing-range-of-motion studies, for example, in which researchers wore spacesuits while playing baseball and football. The book also includes a group of advanced spacesuits, which, though never used on a mission, are in many respects the most exciting suits ever created. One suit glove has steel fingernails and sharkskin pads, in an attempt to harness the abilities of the human hand. Spacesuits are surprisingly fragile; they are made for a short lifespan in the most extreme of conditions, and long-term survival is not part of their design process. The final chapter touches briefly on the current conditions of historic suits, how they have held up over time, the reasons for their deterioration, and the rewards and difficulties associated with caring for and preserving these very complex and iconic artifacts. From the first spacesuit designs of the 1930s through those worn on the landmark Apollo-Soyuz program of 1975, Spacesuits provides a behind-the-scenes look at the history of these remarkable creations, including some that have never before been publicly displayed.

* the most accurate and comprehensive work on U.S. spacesuits ever published. *A unique insight into the development of US spacesuits through to the present day. * Presents in context the authors’ unique collection of 172 black and white photographs. * Explains why spacesuits are a last refuge for astronauts for survival. * Details many technically and historically interesting developments, but which never achieved fruition.

There is a competition to make the spacesuit for the first moon landing Ellie, an ordinary woman, is asked to lead a team of other talented seamstresses. No one believes they can win, but they are determined to try. Based on the incredible true story behind the spacesuit that astronauts wore on the first moon walk and the team of women who sewed it together.

This is the very first ‘inside story’ of a key part of the Soviet manned space programme, detailing the development of Soviet/Russian spacesuits. The authors, as participants in the programme, provide details of events, previously unknown in the West, including their technical development. These space suits were an important part of the many Soviet firsts in the space race – Yuri Gagarin’s flight, Valentina Tereskova, the first woman in space, the first space walk by Alexei Leonov, and the first transfer on orbit from one spacecraft to another. All previous books on Soviet manned space flights focus on the spacecraft and cosmonaut teams. This book provides a total overview of the successful Soviet/Russian development of space suits and subsequent space walks from Vostok to MIR and ISS.

Spirituality has oft been reduced to just religion, religion further reduced to mere morality, and morality ultimately reduced to sexuality. This book is not about how to be "good," nor even "religious" but about being "mystical" - the only reason for the experiment that is life on planet Earth.

A high school senior wins a space suit in a soap jingle contest, takes a last walk wearing "Oscar" before cashing him in for college tuition, and suddenly finds himself on a space odyssey.

"Since its earliest days, flight has been about pushing the limits of technology and, in many cases, pushing the limits of human endurance. The human body can be the limiting factor in the design of aircraft and spacecraft. Humans cannot survive unaided at high altitudes. There have been a number of books written on the subject of spacesuits, but the literature on the high-altitude pressure suits is lacking. This volume provides a high-level summary of the technological development and operational use of partial- and full-pressure suits, from the earliest models to the current high altitude, full-pressure suits used for modern aviation, as well as those that were used for launch and entry on the Space Shuttle. The goal of this work is to provide a resource on the technology for suits designed to keep humans alive at the edge of space."--NTRS Web site.

The design processes behind a giant leap for mankind Neil Armstrong in a space suit on the moon remains an iconic representation of America's technological ingenuity. Few know that the Model A-7L pressure suit worn by the Apollo 11 astronauts, and the Model A-7LB that replaced it in 1971, originated at ILC Industries (now ILC Dover, LP), an obscure Delaware industrial firm. Longtime ILC space suit test engineer Bill Ayrey draws on original files and photographs to tell the dramatic story of the company's role in the Apollo Program. Though respected for its early designs, ILC failed to win NASA's faith. When the government called for new suit concepts in 1965, ILC had to plead for consideration before NASA gave it a mere six weeks to come up with a radically different design. ILC not only met the deadline but won the contract. That underdog success led to its greatest challenge: winning a race against time to create a suit that would determine the success or failure of the Apollo missions--and life or death for the astronauts. A fascinating behind-the-scenes history of a vital component of the space program, Lunar Outfitters goes inside the suit that made it possible for human beings to set foot on the Moon.

Filmmakers employ various images to suggest the strangeness of outer space, but protective spacesuits most powerfully communicate its dangers and the frailty of humans beyond the cradle of Earth. (Many films set in space, however, forgo spacesuits altogether, reluctant to hide famous faces behind bulky helmets and ill-fitting jumpsuits.) This critical history comprehensively examines science fiction films that portray space travel realistically (and sometimes not quite so) by having characters wear spacesuits. Beginning [A] with the pioneering Himmelskibet (1918) and Woman on the Moon (1929), it discusses [B] other classics in this tradition, including Destination Moon (1950), Riders to the Stars (1954), and 2001: A Space Odyssey (1968); [C] films that gesture toward realism but betray that goal with melodramatic villains, low comedy, or improbable monsters; [D] the distinctive spacesuit films of Western Europe, Russia and Japan; and [E] America's spectacular real-life spacesuit film, the televised Apollo 11 moon landing (1969).