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BTEC Edexcel Level 5 BTEC Higher Nationals in Fashion and Textiles

April 2005

Guidance and units

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Edexcel Limited is one of the leading examining and awarding bodies in the UK and throughout the world. It incorporates all the qualifications previously awarded under the Edexcel and BTEC brands. We provide a wide range of qualifications including general (academic), vocational, occupational and specific programmes for employers.

Through a network of UK and overseas offices, our centres receive the support they need to help them deliver their education and training programmes to learners.

For further information please call Customer Services on 0870 240 9800, or visit our website at www.edexcel.org.uk

References to third-party material made in this specification are made in good faith. Edexcel does not endorse, approve or accept responsibility for the content of materials, which may be subject to change, or any opinions expressed therein. (Material may include textbooks, journals, magazines and other publications and websites.)

Authorised by Jim Dobson Prepared by John Davies

Publications Code BH015805

All the material in this publication is copyright © Edexcel Limited 2005

EDEXCEL LEVEL 5 BTEC HIGHER NATIONALS IN FASHION AND TEXTILES

BTEC Higher National Certificate in Fashion and Textiles

BTEC Higher National Diploma in Fashion and Textiles

The Qualifications Curriculum Authority (QCA) has introduced changes to the National Qualifications Framework (NQF) in the way it sets out the levels at which qualifications are recognised. Its revised levels broadly compare with the Framework for Higher Education Qualifications (FHEQ). The academic level of BTEC Higher National Certificates and Diplomas has not changed and they will remain as Intermediate level qualifications on the FHEQ. However, the QCA changes will allow the NQF to recognise more precisely the true academic level of BTEC Higher Nationals and they will now be designated as at the revised NQF Level 5. As the academic level has not changed, progression to BTEC Higher Nationals will still be from Level 3 qualifications and progression from BTEC Higher Nationals will be to qualifications at the revised Level 6. Learners’ progression routes do not necessarily involve qualifications at every level.

Specifications for all new accreditations after September 2004 will show both the original and revised NQF levels and the QCA Openquals database (www.qca.org.uk/openquals) will show both the original level and the revised level for each of these qualifications. Certification will be at the original levels up until December 2005. All certifications after that date will be at the revised levels.

Further information on these changes can be obtained from QCA at www.qca.org.uk/qualifications/types/7918.html

BTEC Higher Nationals within the National Qualifications Framework (NQF)

NQF

Original levels Revised levels #

Framework for Higher Education Qualifications (FHEQ)

8 No current BTEC qualifications

D (doctoral) doctorates

5 Level 5 BTEC Advanced Professional Diplomas, Certificates and Awards

7 Level 7 BTEC Advanced Professional Diplomas, Certificates and Awards

M (masters) masters degrees, postgraduate certificates and diplomas

6 No current BTEC qualifications

H (honours) bachelors degrees, graduate certificates and diplomas

5 Level 5 BTEC Higher National Diplomas and Certificates Level 5 BTEC Professional Diplomas, Certificates and Awards

I (intermediate) diplomas of higher education and further education, foundation degrees, higher national diplomas

4 Level 4 BTEC Higher National Diplomas and Certificates Level 4 BTEC Professional Diplomas, Certificates and Awards

4 Level 4 BTEC Professional Diplomas, Certificates and Awards

C (certificate) certificates of higher education

3 There is no change to Level 3 in the revised NQF

Level 3 BTEC National Diplomas, Certificates and Awards

Level 3 BTEC Diplomas, Certificates and Awards

Advanced GCE 2

There is no change to Level 2 in the revised NQF

Level 2 BTEC First Diplomas and Certificates


GCSEs grades A*–C 1

There is no change to Level 1 in the revised NQF

Level 1 BTEC Introductory Diplomas and Certificates


GCSEs grades D–G Entry

There is no change to Entry Level in the revised NQF

Entry Level BTEC Certificates in Skills for Working Life and Life Skills

# The revised NQF applies from 1 September 2004 and will be fully implemented from 1 January 2006. The revision is designed to recognise more precisely the academic levels at the higher levels of the framework: the actual content and other attributes of the respective qualifications are not altered or diminished. The revision also provides better alignment with the FHEQ used in universities and higher education institutions.

Contents

Qualification titles covered by this specification 1

Introduction 2

Structure of the qualification 2

BTEC Higher National Certificate 2

BTEC Higher National Diploma 2

Key features 9

Professional body recognition 10

National Occupational Standards 10

Qualification Requirement 10

Higher-level skills 10

BTEC Higher National Certificate 11

BTEC Higher National Diploma 11

Teaching, learning and assessment 12

Unit format 12

Learning and assessment 13

Grading Higher National units 14

Grade descriptors 15

Accreditation of Prior Learning (APL) 17

Quality assurance of BTEC Higher Nationals 17

Centre and programme approval 17

Monitoring centres’ internal quality systems 18

Independent assessment: the role of the external examiner 18

Programme design and delivery 19

Mode of delivery 19

Resources 20

Delivery approach 20

Meeting local needs 20

Locally-devised specialist units 21

Limitations on variations from standard specifications 21

Access and recruitment 21

Restrictions on learner entry 22

Access arrangements and special considerations 22

The wider curriculum 22

Spiritual, moral, ethical, social and cultural issues 22

Environmental issues 22

European developments 23

Health and safety issues 23

Equal opportunities issues 23

Useful publications 23

Professional body contact details 23

How to obtain National Occupational Standards 24

Professional development and training 24

Further information 24

Core units 25

Unit 1: Drawing Techniques and Approaches 27

Unit 2: Visual Communication 33

Unit 3: Professional Studies 39

Unit 4: Historical and Contextual Referencing 43

Unit 5: Professional Practice and Development 47

Unit 6: Critical Study 53

Unit 7: Fashion and Textile Materials Understanding 59

Specialist units 65

Unit 8: CAD/CAM for Fashion and Textiles 67

Unit 9: Cultural Understanding in Fashion 73

Unit 10: Design Exploration in Textiles 77

Unit 11: Design Application in Textiles 83

Unit 12: Techniques and Processes in Textiles 89

Unit 13: Design Research in Textiles 95

Unit 14: Realising a Textile Collection 101

Unit 15: Textile Manufacture Production Operations 107

Unit 16: Textiles Specialist Techniques and Processes 113

Unit 17: Experimental Constructed Textiles 119

Unit 18: Experimental Printed Textiles 125

Unit 19: Experimental Embroidered Textiles 131

Unit 20: Design Exploration in Fashion 137

Unit 21: Design Application in Fashion 141

Unit 22: Techniques and Processes in Fashion 147

Unit 23: Production Techniques 153

Unit 24: Pattern Drafting 157

Unit 25: Fashion Environment 163

Unit 26: Research and Development for Fashion Design 169

Unit 27: Realising a Fashion Collection 173

Unit 28: Pattern Construction 177

Unit 29: Garment Manufacture 183

Unit 30: Clothing Manufacture Production Operations 189

Unit 31: Fashion Promotion 195

Unit 32: Costume Design Concept 201

Unit 33: Costume Realisation 207

Unit 34: Costume Production 213

Unit 35: Millinery and Headdresses 217

Annex A 223

QCA codes 223

Annex B 225

Mapping against NVQ in Design — Level 3 225

Annex C 229

Wider curriculum mapping 229

Annex D 231

BTEC Higher Nationals in Fashion and Textiles 231

BH015805 – Guidance and units – Edexcel Level 5 BTEC Higher Nationals in Fashion and Textiles – Issue 1 – April 2005

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Qualification titles covered by this specification

Edexcel Level 5 BTEC Higher National Certificate in Fashion and Textiles

Edexcel Level 5 BTEC Higher National Diploma in Fashion and Textiles

These qualifications have been accredited to the National Qualifications Framework (NQF). The Qualification Accreditation Numbers (QANs) for these qualifications are listed in Annex A.

These qualification titles are as they will appear on the learner’s certificate. Learners need to be made aware of this when they are recruited by the centre and registered with Edexcel. Providing this happens, centres are able to describe the programme of study leading to the award of the qualification in different ways to suit the medium and the target audience.


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Introduction

This document contains the units and associated guidance for the National Qualifications Framework (NQF) Edexcel Level 5 BTEC Higher Nationals in Fashion and Textiles. Each unit sets out the required outcomes and content and includes advice regarding appropriate delivery and assessment strategies. The guidance contains further details of the teaching, learning, assessment and quality assurance of these qualifications. It includes advice about Edexcel’s policy regarding access to its qualifications, the design of programmes of study and delivery modes.

Structure of the qualification

BTEC Higher National Certificate

The BTEC Higher National Certificate in Fashion and Textiles is a 10-unit qualification of which seven are core units.

The BTEC Higher National Certificate programme must contain a minimum of five units designated at H2 level.

BTEC Higher National Diploma

The BTEC Higher National Diploma in Fashion and Textiles is a 16-unit qualification of which seven are core units.

The BTEC Higher National Diploma programme must contain a minimum of eight units designated at H2 level.


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Structure of Edexcel Level 5 BTEC Higher National Certificate in Fashion and Textiles

Unit no Core units — all seven units must be taken Unit levelH1 or H2

1 Drawing Techniques and Approaches H1

2 Visual Communication H1

3 Professional Studies H2

4 Historical and Contextual Referencing H1

5 Professional Practice and Development H2

6 Critical Study H2

7 Fashion and Textile Materials Understanding H1

Specialist units — choose three units

8 CAD/CAM for Fashion and Textiles H1

9 Cultural Understanding in Fashion H2

10 Design Exploration in Textiles H1

11 Design Application in Textiles H1

12 Techniques and Processes in Textiles H1

13 Design Research in Textiles H2

14 Realising a Textile Collection H2

15 Textile Manufacture Production Operations H2

16 Textiles Specialist Techniques and Processes H2

17 Experimental Constructed Textiles H2

18 Experimental Printed Textiles H2

19 Experimental Embroidered Textiles H2

20 Design Exploration in Fashion H1

21 Design Application in Fashion H1

22 Techniques and Processes in Fashion H1

23 Production Techniques H1

24 Pattern Drafting H1

25 Fashion Environment H1

26 Research and Development for Fashion Design H2

27 Realising a Fashion Collection H2

28 Pattern Construction H2

29 Garment Manufacture H2

30 Clothing Manufacture Production Operations H2

31 Fashion Promotion H2


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Specialist units — choose three units (continued)

32 Costume Design Concept H1

33 Costume Realisation H1

34 Costume Production H2

35 Millinery and Headdresses H1

The BTEC Higher National Certificate programme must contain a minimum of five units designated at H2 level.


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Structure of Edexcel Level 5 BTEC Higher National Diploma in Fashion and Textiles

Unit no Core units — all seven units must be taken Unit levelH1 or H2

1 Drawing Techniques and Approaches H1

2 Visual Communication H1

3 Professional Studies H2

4 Historical and Contextual Referencing H1

5 Professional Practice and Development H2

6 Critical Study H2

7 Fashion and Textile Materials Understanding H1

Specialist units — choose nine units


























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Specialist units — choose nine units (continued)





The BTEC Higher National Diploma programme must contain a minimum of eight units designated at H2 level.


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Specialist pathways for Higher National Diplomas only

The specialist units have been developed with pathways in mind. The specialist units that relate to each pathway are listed below. There is no requirement for a centre to follow the specialist pathways; they are recommendations only.

Fashion

Unit number Unit title Unit level H1 or H2



















In order to satisfy specification requirements, centres following this route must select at least five of the H2 units listed above.

Textiles









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Textiles (continued)












In order to satisfy specification requirements, centres following this route must select at least five of the H2 units listed above.


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Key features

BTEC Higher Nationals are designed to provide a specialist vocational programme, linked to professional body requirements and National Occupational Standards where appropriate, with a strong work related emphasis. The qualifications provide a thorough grounding in the key concepts and practical skills required in their sector and their national recognition by employers allows progression direct into employment. BTEC Higher Nationals offer a strong emphasis on practical skills development alongside the development of requisite knowledge and understanding in their sector. Learners are attracted to this strong vocational programme of study that meets their individual progression needs whether this is into employment or to further study on degree or professional courses.

A key progression path for BTEC Higher National Certificate and Diploma learners is to the second or third year of a degree or honours degree programme, depending on the match of the BTEC Higher National units to the degree programme in question.

BTEC Higher Nationals in Fashion and Textiles have been developed to focus on:

• providing education and training for a range of careers in fashion and textiles

• providing opportunities for fashion and textiles practitioners to achieve a nationally recognised Level 5 vocationally-specific qualification

• providing opportunities for full-time learners to gain a nationally-recognised vocationally-specific qualification to enter employment in fashion and textiles or progress to higher education vocational qualifications such as a full-time degree in fashion and textiles or related area

• developing the knowledge, understanding and skills of learners in the field of fashion and textiles

• providing opportunities for learners to focus on the development of higher-level skills in a fashion and textiles context

• providing opportunities for learners to develop a range of skills and techniques and attributes essential for successful performance in working life

• developing learners’ ability to manage themselves

• developing learners’ critical awareness and their ability to research and synthesise complex information

• developing learners’ skills in communication and presentation

• developing learners’ ability to handle information.

This qualification meets the needs of the above rationale by:

• equipping individuals with knowledge, understanding and skills for success in employment in the fashion and textiles area

• enabling progression to an undergraduate degree or further professional qualification in fashion and textiles or related area

• providing opportunities for specialist study relevant to individual vocations and contexts

• supporting individuals employed or entering employment in the fashion and textiles area

• developing the individual’s ability in the fashion and textiles area through effective use and combination of the knowledge and skills gained in different parts of the programme


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• developing a range of skills and techniques, personal qualities and attributes essential for successful performance in working life and thereby enabling learners to make an immediate contribution to fashion and textiles

• providing flexibility, knowledge, skills and motivation as a basis for future studies and career development in the fashion and textiles area.

Professional body recognition

The BTEC Higher Nationals in Fashion and Textiles have been developed with career progression and recognition by professional bodies in mind. It is essential that learners gain the maximum benefit from their programme of study.

National Occupational Standards

BTEC Higher Nationals in Fashion and Textiles are designed to relate to the National Occupational Standards in the fashion sector at Level 5, which in turn form the basis of the fashion National Vocational Qualifications (NVQs). BTEC Higher Nationals do not purport to deliver occupational competence in the sector, which should be demonstrated in a work context. However, the qualifications provide underpinning knowledge for the National Occupational Standards, as well as developing practical skills in preparation for work and possible achievement of NVQs in due course.

Links to National Occupational Standards are indicated in each of the units.

Through the study of core and relevant specialist units learners will cover much of the underpinning knowledge, skills and understanding for Design NVQ Level 3. Mapping against the Design NVQ Level 3 is given in Annex B.

Qualification Requirement

Edexcel has published Qualification Requirements as part of the revision of BTEC Higher Nationals. Qualification Requirements set out the aims and rationale of the qualifications and provide the framework of curriculum content. They also identify the higher-level skills associated with the qualifications and any recognition by relevant professional bodies. The Qualification Requirement for BTEC Higher Nationals in Fashion and Textiles is given in Annex D.

Edexcel standard specifications titles are developed from the Qualification Requirements. Licensed centres comply with Qualification Requirements when developing BTEC Higher Nationals under these standard titles.

Qualification Requirements provide consistent standards within the same vocational area and clearly identify the skills and knowledge that can be expected of any holder of an identical BTEC Higher National. This will allow higher education institutions, employers and professional bodies to confidently provide progression opportunities to successful learners.

Higher-level skills

Learners studying for BTEC Higher Nationals in Fashion and Textiles will be expected to develop the following skills during the programme of study:

• synthesis of a range of concepts, knowledge and skills relating to fashion and textiles

• application of complex theories to practical realistic work situations in the fashion and textiles sector

• independence of approach to study and the generation of fashion and textiles evidence


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• ability to engage with complex and/or unpredictable situations in fashion and textiles contexts

• ability to take responsibility to manage and direct their own and others’ activities

• insight and judgement in relation to the margins and consequences of error

• research and investigative skills

• responsiveness to change and ability to multi-task

• ability to innovate and work in a creative way.

BTEC Higher National Certificate

The 10-unit BTEC Higher National Certificate in Fashion and Textiles provides a specialist work-related programme of study that covers the key knowledge, understanding and practical skills required in the fashion and textiles sector and also offers particular specialist emphasis through the choice of specialist units.

BTEC Higher National Certificates provide a nationally recognised qualification offering career progression and professional development for those already in employment and opportunities to progress into higher education. The qualifications are mode free but they are primarily undertaken by part-time learners studying over two years. In some sectors there are opportunities for those wishing to complete an intensive programme of study in a shorter period of time.

This specification provides centres with a framework to develop engaging programmes for higher-education learners who are clear about the area of employment that they wish to enter.

The BTEC Higher National Certificate in Fashion and Textiles mainly offers a progression route for learners who are employed in the fashion and textiles sector.

Learners studying on the BTEC Higher National Certificate will be able to either gain employment in the fashion and textiles sector or continue their studies at BA or MA levels.

BTEC Higher National Diploma

The 16-unit BTEC Higher National Diploma provides greater breadth and specialisation than the BTEC Higher National Certificate. Higher National Diplomas are mode free but are followed predominately by full-time learners. They allow progression into or within employment in the fashion and textiles sector, either directly on achievement of the award or following further study to degree level.

The BTEC Higher National Diploma in Fashion and Textiles provides opportunities for learners to apply their knowledge and practical skills in the workplace. Full-time learners have the opportunity to do this through formal work placements or their part-time employment experience.

The qualification prepares learners for employment in the fashion and textiles sector and will be suitable for learners who have already decided that they wish to enter this area of work. Some adult learners may wish to make the commitment required by this qualification in order to enter a specialist area of employment in fashion and textiles or progress into higher education. Other learners may want to extend the specialism that they followed on the BTEC Higher National Certificate programme. Progression from this qualification may well be into or within employment in the fashion and textiles sector.

The BTEC Higher National Diploma in Fashion and Textiles mainly offers a progression route for learners who are studying on an Art and Design Diploma in Foundation Studies course, a National Diploma in Design or a National Diploma in Art and Design.


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Learners studying for the BTEC Higher National Diploma will be able to either gain employment in the fashion and textiles sector or continue their studies at BA or MA levels.

Teaching, learning and assessment

Learners must pass all 10 units on their programme of learning to be awarded a BTEC Higher National Certificate and all 16 units to be awarded a BTEC Higher National Diploma.

The assessment of BTEC Higher National qualifications is criterion-referenced and centres are required to assess learners’ evidence against published learning outcomes and assessment criteria. All units will be individually graded as ‘pass’, ‘merit’ or ‘distinction’. To achieve a pass grade for the unit learners must meet the assessment criteria set out in the specifications. This gives transparency to the assessment process and provides for the establishment of national standards for each qualification.

The units in BTEC Higher National qualifications all have a standard format which is designed to provide clear guidance on the requirements of the qualification for learners, assessors and those responsible for monitoring national standards.

Unit format

Each unit is set out in the following way.

Unit title, learning hours and NQF level

The unit title is accredited by QCA and this form of words will appear on the learner’s Notification of Performance. In BTEC Higher National qualifications each unit consists of 60 guided learning hours.

Each unit is assigned a notional level indicator of H1 or H2, indicating the relative intellectual demand, complexity and depth of study, and learner autonomy.

At H1 level the emphasis is on the application of knowledge, skills and understanding, use of conventions in the field of study, use of analytical skills and selection and organisation of information.

At H2 level the emphasis is on application and evaluation of contrasting ideas, principles, theories and practices, greater specialisation in the field of study, and an increasing independence in systematic enquiry and analysis.

Description of unit

A brief description of the overall purpose of the unit is given, together with the key areas of study associated with the unit.

Summary of learning outcomes

The outcomes of the unit identify what each learner must do in order to pass it. Learners must achieve all the outcomes in order to pass the unit.

Content

This section picks up highlighted words from the outcomes and amplifies the content coverage required when addressing the outcomes. The content section will often provide lists of topics. Please note all aspects of the listed topics should be covered, except those that begin with ‘eg’, where items listed are merely indicative.


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Outcomes and assessment criteria

Each unit contains statements of the evidence that each learner should produce in order to receive a pass.

Guidance

This section is not prescriptive but provides additional guidance and amplification related to the unit to support teachers/deliverers and assessors. Its subsections are given below. Only those subsections which apply to the unit will appear.

• Delivery — offers guidance about possible approaches to delivery. The guidance is based on the more usual delivery modes and is not intended to rule out alternative approaches.

• Assessment — provides advice about the nature and type of evidence that learners are likely to need to produce. This subsection should be read in conjunction with the assessment criteria and the generic grade descriptors.

• Links — sets out the links between units. Provides opportunities for integration of learning, delivery and assessment. Any links to the National Occupational Standards will be highlighted here.

• Resources — identifies the specialist resources likely to be needed to allow learners to generate the evidence required by each unit. The centre will be asked to ensure that this resource requirement is in place when it seeks approval from Edexcel to offer the qualification.

• Support materials — identifies, where appropriate, textbooks, videos, magazines, journals, publications and websites that may support the delivery of the unit.

Learning and assessment

The purpose of assessment is to ensure that effective learning of the content of each unit has taken place. Evidence of this learning, or the application of the learning etc, is required for each unit. The assessment of the evidence relates directly to the assessment criteria for each unit, supported by the generic grade descriptors.

The process of assessment can aid effective learning by seeking and interpreting evidence to decide the stage that learners have reached in their learning, what further learning needs to take place and how best to do this. Therefore, the process of assessment should be part of the effective planning of teaching and learning by providing opportunities for both the learner and assessor to obtain information about progress towards learning goals. The assessor and learner must be actively engaged in promoting a common understanding of the assessment criteria and the grade descriptors (what it is they are trying to achieve and how well they achieve it) for further learning to take place. Therefore, learners need constructive feedback and guidance about how to improve, capitalising on strengths, with clear and constructive comments about weaknesses and how these might be addressed.

Assessment instruments are constructed by centres. Assessment instruments should collectively ensure coverage of all assessment criteria within each unit and should provide opportunities for the evidencing of all the grade descriptors. It is advised that assessment criteria and contextualised grade descriptors are clearly indicated on each assessment instrument to provide a focus for learners (for transparency and to ensure that feedback is specific to the criteria) and to assist with internal standardisation processes. Tasks/activities should enable learners to produce evidence that relates directly to the assessment criteria and grade descriptors.


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When centres are designing assessment instruments, they need to ensure that the instruments are valid, reliable and fit for purpose, building on the application of the assessment criteria. Centres are encouraged to place emphasis on practical application of the assessment criteria, providing a realistic scenario for learners to adopt, making maximum use of work-related practical experience and reflecting typical practice in the sector concerned. The creation of assessment instruments that are fit for purpose is vital to achievement and their importance cannot be over-emphasised.

Grading Higher National units

The assessment of BTEC Higher National qualifications will be at unit level and there will be no overall grade for either the Certificate or the Diploma. This means that learners are able to access the qualification through a unitised approach.

Each unit will be graded as a pass, merit or distinction. A pass is awarded for the achievement of all outcomes against the specified assessment criteria. Merit and distinction grades are awarded for higher-level achievement.

The generic merit and distinction grade descriptors listed on pages 15–16 are for grading the total evidence produced for each unit and describe the learner’s performance over and above that for a pass grade.

Summary of grades

In order to achieve a pass • all outcomes and associated assessment criteria have been met

In order to achieve a merit • pass requirements achieved

• all merit grade descriptors achieved

In order to achieve a distinction • pass and merit requirements achieved

• all distinction grade descriptors achieved

The merit and distinction grade descriptors can be achieved in a flexible way, eg in a sequential or holistic mode, to reflect the nature of the sector concerned.

Each of the generic merit and distinction grade descriptors can be amplified by use of indicative characteristics. These give a guide to the expected learner performance, and support the generic grade descriptors. The indicative characteristics should reflect the nature of a unit and the context of the sector programme.

The indicative characteristics shown in the table for each of the generic grade descriptors are not exhaustive. Consequently, centres should select from the list or may construct other appropriate indicative characteristics for their sector programme which may be drawn from the appropriate higher-level skills. It is important to note that each assessment activity does not need to incorporate all the merit and/or distinction grade descriptors.

Contextualising the generic grade descriptors

The generic merit and distinction grade descriptors need to be viewed as a qualitative extension of the assessment criteria for pass within each individual unit. The relevant generic grade descriptors must be identified and specified within an assignment and the relevant indicative characteristics should be used to place the required evidence in context.


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Grade descriptors

Pass grade

A pass grade is achieved by meeting all the requirements defined in the assessment criteria for pass for each unit.

Merit grade

Merit descriptors Indicative characteristics

In order to achieve a merit the learner must:

The learner’s evidence shows:

• identify and apply strategies to find appropriate solutions

• effective judgements have been made

• complex problems with more than one variable have been explored

• an effective approach to study and research has been applied

• select/design and apply appropriate methods/ techniques

• relevant theories and techniques have been applied

• a range of methods and techniques have been applied

• a range of sources of information has been used

• the selection of methods and techniques/sources has been justified

• the design of methods/techniques has been justified

• complex information/data has been synthesised and processed

• appropriate learning methods/techniques have been applied

• present and communicate appropriate findings

• the appropriate structure and approach has been used

• coherent, logical development of principles/concepts for the intended audience

• a range of methods of presentation have been used and technical language has been accurately used

• communication has taken place in familiar and unfamiliar contexts

• the communication is appropriate for familiar and unfamiliar audiences and appropriate media have been used


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Distinction grade

Distinction descriptors Indicative characteristics

In order to achieve a distinction the learner must:

The learner’s evidence shows:

• use critical reflection to evaluate own work and justify valid conclusions

• conclusions have been arrived at through synthesis of ideas and have been justified

• the validity of results has been evaluated using defined criteria

• self-criticism of approach has taken place

• realistic improvements have been proposed against defined characteristics for success

• take responsibility for managing and organising activities

• autonomy/independence has been demonstrated

• substantial activities, projects or investigations have been planned, managed and organised

• activities have been managed

• the unforeseen has been accommodated

• the importance of interdependence has been recognised and achieved

• demonstrate convergent/lateral/ creative thinking

• ideas have been generated and decisions taken

• self-evaluation has taken place

• convergent and lateral thinking have been applied

• problems have been solved

• innovation and creative thought have been applied

• receptiveness to new ideas is evident

• effective thinking has taken place in unfamiliar contexts


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Accreditation of Prior Learning (APL)

Edexcel encourages centres to recognise learners’ previous achievements and experience through APL. Learners may have evidence that has been generated during previous study, in their previous or current employment or whilst undertaking voluntary work that relates to one or more of the units in the qualification. Assessors should assess this evidence against the Higher National standards in the specifications in the normal way. As with all evidence, assessors should be satisfied about the authenticity and currency of the material when considering whether or not the outcomes of the unit have been met.

Full guidance about Edexcel’s policy on APL is provided on our website (www.edexcel.org.uk).

Quality assurance of BTEC Higher Nationals

The quality assurance system for BTEC Higher National qualifications, as higher-level vocational qualifications at Level 5 on the NQF, will comprise three main components.

• Approval process — a control measure to confirm that individual centres (and programme teams) are appropriately resourced and competent to deliver a BTEC Level 5 programme of study.

• Monitoring of centres — a method of monitoring centres’ internal quality systems to ensure ongoing fulfilment of initial requirements and, where appropriate, enhancement of those requirements to accommodate new qualifications.

• Independent assessment — a measure that provides independence within the assessment process, so that the certificated outcomes for each learner are not reliant on determinations by individuals or groups with a vested interest in the outcome. This measure should be consistent and reliable over time, and should not create unnecessary barriers.

Centre and programme approval

Approval to offer BTEC Higher National qualifications will vary depending on the status of the centre. Centres that have a recent history of delivering BTEC Higher National qualifications and have an acceptable quality profile in relation to their delivery will be able to gain approval through an accelerated process. Centres that are new to the delivery of BTEC Higher National qualifications will be required to submit evidence to demonstrate that they:

• have the human and physical resources required for effective delivery and assessment

• understand the implications for independent assessment and agree to abide by these

• have a robust internal assessment system supported by ‘fit for purpose’ assessment documentation

• have a system to internally verify assessment decisions to ensure standardised assessment decisions are made across all assessors and sites.

Such applications have to be supported by the head of the centre (principal, chief executive, etc).

We communicate all approvals in writing to the head of centre in the form of a qualification approval letter. The approval letter will also contain a programme definition for each qualification approved. The programme definition clearly states to the centre all units that comprise the qualification for which the centre is approved.


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Monitoring centres’ internal quality systems

Centres will be expected to demonstrate ongoing fulfilment of approval criteria across all programme areas. This should include the consistent application of policies affecting learner registrations and appeals, together with the effectiveness of internal examination and standardisation processes.

Centres may opt for a review of their provision under the quality verifier/quality reviewer arrangements, which already apply to all further education centres. Alternatively, centres may present evidence of their operation within a recognised code of practice, such as that of the Quality Assurance Agency for Higher Education. Edexcel reserves the right to confirm independently that these arrangements are operating to our satisfaction.

Independent assessment: the role of the external examiner

Supporting consistency and appropriateness of centre assessor decisions

For all BTEC Higher Nationals accredited at Level 5 on the NQF, Edexcel will appoint appropriately qualified subject-specific external examiners to the programme in each centre. Edexcel will define the selection, appointment and training process, together with the roles and responsibilities of the external examiners and will communicate the details to centres in a centre handbook.

The function of the external examiner will be to review and evaluate objectively the assessment process and standards of learner attainment by independently reviewing, in the first year of the programme, a sample of learner work (including the centre-designed assignments on which the samples are based) selected by the external examiner, from across the programme.

When they visit centres, external examiners must be afforded reasonable access to the assessed parts of the programme, including evidence of learner performance on placement. They are required to:

• verify that standards are appropriate for the qualification and its elements

• assist institutions in the comparison of academic standards across similar awards nationally.

Should any disparity occur between the judgement of centre assessors and that of the external examiner, this will be reported to the centre and to Edexcel by the external examiner. The centre will be required to agree appropriate corrective action as a result of this report.

Independence in confirmation of certificated outcomes

In the final year of the programme, the external examiner will revisit the centre in order to independently assess learner work and to evaluate centre assessor decisions on final outcomes. This process of evaluation may focus upon work in units, selected by the external examiner, that present the most appropriate evidence for this exercise. The work of all learners not already sampled in the first year of the programme will be reviewed.

Resolution of assessments will normally be handled at the centre’s final programme review board. The external examiner will be expected to endorse the outcomes of assessment before certification can be authorised. Should the external examiner be unable to provide such endorsement, certification will be withheld until appropriate corrective action has taken place. (The senior subject examiner may become involved in such instances).

The external examiner will be required to prepare a written report after each visit. The report will include comments from the external examiner on:

• academic standards and programme specification

• academic standards and learner performance

• academic standards and assessment


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• the assessment process

• assessment meetings

• physical resources

• comments of learners

• meetings with staff

• external examiner practice

• issues arising from previous reports

• details of sampling

• general points, areas of good practice and major issues

• action points.

The external examiner report provides the mechanism by which the external examiner independently verifies learner ability, endorses the validity of the assessment process and releases certification for a cohort.

The report is a confidential document between Edexcel, the appointed external examiner, and the centre to use for internal/external quality assurance processes. It provides the centre with feedback on the external examining process and on the judgements that determine the external examiner’s decisions on endorsement, or otherwise, of learner outcomes.

Programme design and delivery

The qualifications consist of core units (which are mandatory) and specialist units. These specialist units will be mostly optional and are designed to provide a specific focus to the qualification. Required combinations of specialist units are clearly set out in relation to each qualification in the defined qualification structures provided in this document.

In BTEC Higher National qualifications each unit consists of 60 guided learning hours. The definition of guided learning hours is ‘a notional measure of the substance of a qualification’. It includes an estimate of time that might be allocated to direct teaching, instruction and assessment, together with other structured learning time such as directed assignments or supported individual study. It excludes learner-initiated private study. Centres are advised to consider this definition when planning the programme of study associated with this specification.

Mode of delivery

Edexcel does not define the mode of study for BTEC Higher National qualifications. Centres are free to offer the qualifications using any mode of delivery that meets the needs of their learners. This may be through traditional classroom teaching, open learning, distance learning or a combination of these. Whatever mode of delivery is used, centres must ensure that learners have appropriate access to the resources identified in the specifications and to the subject specialists delivering the units. This is particularly important for learners studying for the qualification through open or distance learning.

Full guidance on Edexcel’s policies on ‘distance assessment’ and ‘electronic assessment’ are provided on our website.


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Learners studying for the qualification on a part-time basis bring with them a wealth of experience that should be utilised to maximum effect by tutors and assessors. Assessment instruments based on learners’ work environments should be encouraged. Those planning the programme should aim to enhance the vocational nature of the BTEC Higher National qualification by:

• liaising with employers to ensure that the course is relevant to the specific needs of the learners

• accessing and using non-confidential data and documents from learners’ workplaces

• including sponsoring employers in the delivery of the programme and, where appropriate, in the assessment

• linking with company-based/workplace training programmes

• making full use of the variety of experiences of work and life that learners bring to the programme.

Resources

BTEC Higher National qualifications are designed to prepare learners for employment in specific sectors. Physical resources need to support the delivery of the programme and the proper assessment of the outcomes and, therefore, should normally be of industry standard. Staff delivering programmes and conducting the assessments should be fully familiar with current practice and standards in the sector concerned. Centres will need to meet any specialist resource requirements when they seek approval from Edexcel.

Please refer to the resource section in individual units for specialist resource requirements.

Delivery approach

It is important that centres develop an approach to teaching and learning that supports the specialist vocational nature of the BTEC Higher National qualifications. The specifications contain a balance of practical skill development and knowledge requirements, some of which can be theoretical in nature. Tutors and assessors need to ensure that appropriate links are made between theory and practice and that the knowledge base is applied to the sector. This will require the development of relevant and up-to-date teaching materials that allow learners to apply their learning to actual events and activity within the sector. Maximum use should be made of the learner’s experience.

Meeting local needs

Centres should note the qualifications set out in these specifications have been developed in consultation with centres, employers and the Creative and Cultural Industries Sector Skills Council, the professional body for the fashion sector, together with support from the Sector Skills Council or NTO for the fashion sector. The units are designed to meet the skill needs of the sector and the specialist units allow coverage of the full range of employment. Centres should make maximum use of the choice available to them within the specialist units in these specifications to meet the needs of their learners, as well as the local skills and training needs identified by organisations such as Regional Development Agencies and Local Learning and Skills Councils.

Centres may not always be able to meet local needs using the units in this specification. In this situation, centres may seek approval from Edexcel to make use of units from other standard NQF BTEC Higher National specifications. Centres will need to justify the need for importing units from other specifications and Edexcel will ensure that the vocational focus of the qualification has not been diluted.


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Locally-devised specialist units

There may be exceptional circumstances where even the flexibility of importing units from other specifications does not meet a particular local need. In this case, centres can seek permission from Edexcel to develop a unit with us to meet this need. The cases where this will be allowable will be very limited. Edexcel will ensure that the integrity of the qualification is not reduced and that there is a minimum of overlap and duplication of content of existing units. Centres will need strong evidence of the local need and the reasons why the existing standard units are inappropriate. Edexcel will need to validate these units.

Limitations on variations from standard specifications

The flexibility to import standard units from other BTEC Higher National specifications and/or to develop unique locally-devised specialist units is limited to a maximum of four units in a BTEC Higher National Diploma qualification and a maximum of two units only in any BTEC Higher National Certificate qualification. The use of these units cannot be at the expense of the core units in any qualification.

Access and recruitment

Edexcel’s policy regarding access to its qualifications is that:

• the qualifications should be available to everyone who is capable of reaching the required standards

• the qualifications should be free from any barriers that restrict access and progression

• there should be equal opportunities for all wishing to access the qualifications.

Centres are required to recruit learners to BTEC qualifications with integrity. This will include ensuring that applicants have appropriate information and advice about the qualifications and that the qualification will meet their needs. Centres should take appropriate steps to assess each applicant’s potential and make a professional judgement about their ability to successfully complete the programme of study and achieve the qualification. This assessment will need to take account of the support available to the learner within the centre during their programme of study and any specific support that might be necessary to allow the learner to access the assessment for the qualification. Centres should also show regard for Edexcel’s policy on learners with particular requirements.

Centres will need to review the profile of qualifications and/or experience held by applicants, considering whether this profile shows an ability to progress to a Level 5 qualification. For learners who have recently been in education, the entry profile is likely to include one of the following:

• a BTEC National Certificate or Diploma in Design or Art and Design

• an AVCE/Advanced GNVQ in an appropriate vocational area

• a GCE Advanced level profile which demonstrates strong performance in a relevant subject or an adequate performance in more than one GCE subject. This profile is likely to be supported by GCSE grades at A* to C

• other related Level 3 qualifications

• an Access to Higher Education Certificate awarded by an approved further education institution

• related work experience.


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Mature learners may present a more varied profile of achievement that is likely to include extensive work experience (paid and/or unpaid) and/or achievement of a range of professional qualifications in their work sector.

Restrictions on learner entry

The majority of BTEC Higher National qualifications are accredited on the NQF for learners aged 16 years and over. Learners aged 15 and under cannot be registered for a BTEC Higher National qualification.

Access arrangements and special considerations

Edexcel’s policy on access arrangements and special considerations for BTEC and Edexcel NVQ qualifications aims to enhance access to the qualifications for learners with disabilities and other difficulties (as defined by the Disability Discrimination Act 1995 and the amendments to the Act) without compromising the assessment of skills, knowledge, understanding or competence.

Further details are given in the policy Access Arrangements and Special Considerations for BTEC and Edexcel NVQ Qualifications, which is on the Edexcel website (www.edexcel.org.uk). This policy replaces the previous Edexcel policy (Assessment of Vocationally Related Qualification: Regulations and Guidance Relating to Learners with Special Requirements, 2002) concerning learners with particular requirements.

The wider curriculum

The study of the BTEC Higher Nationals in Fashion and Textiles provides opportunities for learners to develop an understanding of spiritual, moral, ethical, social and cultural issues and an awareness of environmental issues, health and safety considerations, and European developments. These wider curriculum opportunities are indicated in the units as appropriate. Mapping of wider curriculum opportunities issues is provided in Annex C.

Spiritual, moral, ethical, social and cultural issues

The specification contributes to an understanding of:

• spiritual issues through an appreciation of the spiritual dimension to fashion and textiles, particularly when fashion and textiles is seen in an historical context, for example in Units 4 and 9

• moral and ethical issues are encountered throughout the BTEC Higher Nationals in Fashion and Textiles as dealing with people will always involve the learner engaging in moral and ethical issues. A more detailed analysis is given in certain units such as Unit 25 and Unit 31

• social and cultural issues are encountered throughout the BTEC Higher Nationals in Fashion and Textiles.

Environmental issues

Learners are led to believe the importance of environmental issues as they engage in fashion and textiles study as well as through experience of the fashion and textiles industry in Unit 7, Unit 15 and Unit 30.


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European developments

Much of the content of the BTEC Higher Nationals in Fashion and Textile, because of its global nature, is applicable throughout Europe, even though the context of the delivery is within the UK. The European dimensions of fashion and textiles are specifically addressed in Unit 25.

Health and safety issues

The BTEC Higher Nationals in Fashion and Textiles are practically based and so health and safety issues are encountered throughout the courses. Learners will develop awareness of the safety of others as well as themselves in all practical activities. Learners will also explore health and safety issues across the fashion and textiles industry, particularly in Unit 29.

Equal opportunities issues

Equal opportunities issues are implicit throughout the BTEC Higher Nationals in Fashion and Textiles.

Useful publications

Further copies of this document and related publications can be obtained from:

Edexcel Publications Adamsway Mansfield Nottinghamshire NG18 4FN

Telephone: 01623 467 467 Fax: 01623 450 481 Email: [email protected]

Related publications include:

• the current Edexcel publications catalogue and update catalogue

• Edexcel publications concerning the quality assurance system and the internal and external verification of vocationally-related programmes may be found on the Edexcel website and in the Edexcel publications catalogue.

NB: Most of our publications are priced. There is also a charge for postage and packing. Please check the cost when you order.

Professional body contact details

Creative and Cultural Skills 11 Southwark Street London SE1 1RQ

Website: www.ccskills.org.uk Fax: 0113 244 8577 Email: [email protected]


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How to obtain National Occupational Standards

Creative and Cultural Skills 11 Southwark Street London SE1 1RQ

Website: www.ccskills.org.uk Fax: 0113 244 8577 Email: [email protected]

Professional development and training

Edexcel supports UK and international customers with training related to BTEC qualifications. This support is available through a choice of training options offered in our published training directory or through customised training at your centre.

The support we offer focuses on a range of issues including:

• planning for the delivery of a new programme

• planning for assessment and grading

• developing effective assignments

• building your team and teamwork skills

• developing student-centred learning and teaching approaches

• building key skills into your programme

• building in effective and efficient quality assurance systems.

The national programme of training we offer can be viewed on the Edexcel website (www.edexcel.org.uk). You can request customised training through the website or by contacting one of our advisers in the Professional Development and Training Team on telephone number 0870 240 9800 to discuss your training needs.

The training we provide:

• is active — ideas are developed and applied

• is designed to be supportive and thought provoking

• builds on best practice.

Our training will also underpin many areas of the Higher Education Staff Development Agency (HESDA)/FENTO standards for teachers and lecturers working towards them.

Further information

For further information please call Customer Services on 0870 240 9800, or visit our website at www.edexcel.org.uk.


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Core

units


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27

Unit 1: Drawing Techniques and Approaches

Learning hours: 60

NQF Level 5: BTEC Higher National — H1

Description of unit

In this unit learners will be encouraged to develop visual thinking and creativity as fundamental to all design work. This unit will enable learners to experiment with drawing approaches and techniques in order to broaden their experience and understanding of visual language. Learners will need to use materials and media which are specific to design, as well as unusual materials and media which will extend their visual language and creativity.


To achieve this unit a learner must:

1 Analyse and evaluate the nature and qualities of drawing media and materials

2 Demonstrate creative use of drawing techniques and processes

3 Develop and extend understanding of visual language

4 Evaluate and adapt work for further development.


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Content

1 Drawing media and materials

Drawing medium: eg pencil, compressed/willow charcoal, marker pens, chalk, oil, pastels, graphite, dry pigment, silver point, inks, dyes, various paints

Technological media: eg computers, lens-based media

Specific nature and qualities of drawing medium: eg mark-making techniques using a range of wet and dry media, use of media in traditional and non-traditional ways, own and others’ work

2 Drawing techniques and processes

Application of materials and techniques: eg traditional, non-traditional technologies, 2D, 3D and 4D

Contrasting concepts: eg hot/cold, dry/wet, soft/hard, alive/dead, dark/light

Alternative contexts: eg life drawing, perspective drawing, analytical studies, environmental drawing

3 Visual language

Visual language: own and others’ work, eg semiotics, semantics, symbolism, icons and concepts

Formal elements: eg colour, line, pattern, texture, form and tone, structure, weight, composition, mass, space, volume, proportion, scale, balance, movement

Personal and/or emotional response: eg layout and composition, stability, energy, movement, harmony, discord, balance, disparity or distortion

4 Development

Evaluate and analyse: eg de-construction of outcomes, identify strengths, weaknesses, successes or failures, application of criteria for the analysis and evaluation of creativity

Adaptation: eg combination, modification and re-construction of outcomes


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Outcomes Assessment criteria for pass

To achieve each outcome a learner must demonstrate the ability to:

1 Analyse and evaluate the nature and qualities of drawing media and materials

• research and record specific qualities of various media in own and others’ work

• develop an effective understanding of a range of drawing media and materials

2 Demonstrate creative use of drawing techniques and processes

• produce a range of competent work showing imaginative use of drawing techniques and processes

• show originality and innovation

3 Develop and extend understanding of visual language

• produce an imaginative range of work

• demonstrate a creative and effective use of visual language, formal elements and techniques and devices

4 Evaluate and adapt work for further development

• analyse and evaluate own work in terms of creativity through discussion

• develop new ideas and approaches as a result of analysis, evaluation and discussion


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Guidance

Delivery

Delivery of this unit should be practical and motivating. An experimental approach is required to encourage learners to broaden their visual language and creativity. Learners should be exposed to as wide a range of good quality examples as possible. In particular the study of visual language in relation to different cultural contexts should be wide ranging, with a particular focus on mark-making techniques, formal elements, responses, moods and emotions evoked. Learners should be encouraged to look at contemporary youth culture as well as historic sources for reference.

Learners should be encouraged to experiment in their own work, and evaluate their own use of visual language. Unusual materials and media which may extend visual thinking and creativity, as well as materials and media which are specific to art, craft and design, should be used.

Learners should demonstrate their knowledge and understanding in a range of ways, through discussion, presentation, criticism with tutors, professional practitioners and the peer group.

Formal elements and visual dynamics are essential parts of the vocabulary for all artists, craftspeople and designers. These technical terms should be used in discussion with learners about fashion and textiles work.

Assessment

Evidence for this unit can be generated through exploratory work using the formal elements of 2D visual language and mark-making techniques. Work produced should communicate a theme effectively and evoke responses from the viewer.

Learners can present their analysis and evaluation of their own and others’ work in written assignments or to peer groups and/or tutors for discussion. Learners should be able to articulate their own thinking using appropriate language, through discussion and evaluation, demonstrating a broader understanding of visual thinking and creativity in their work.

Links

This unit will link to other units as a developmental unit. Drawing is of central importance to this qualification and learners must be able to think visually. Specific links could be made to Unit 2: Visual Communication. Links could be made to all the practical units through a vocationally-focused assignment.

This unit also links with the following units in the National Occupational Standards (NOS):

• Unit 32: Element 3

• Unit 33: Elements 2 and 3

• Unit 34: Element 1.


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Resources

For practical work, basic studio resources will be required.

Resources for research may include the library, the internet, websites, CD-Rom, databases, specialist publications, galleries, exhibitions, questionnaires and interviews with practitioners.

Research is a basic skill that is developed in this unit to broaden visual thinking and creativity in design. Learners will need to be encouraged to research others’ work and critically analyse their use of materials and media, techniques and processes to improve the quality of their own work.

Support materials

Books

Berger J — Ways of Seeing (Penguin, 1990)

Berger J — About Looking (Vintage Books, 1992)

De Bono E — Serious Creativity: Using the Power of Lateral Thinking to Create New Ideas (HarperCollins, 1995)

Gombridge E H — Art and Illusion: A Study in the Psychology of Pictorial Representation (Phaidon Press, 2002)

Hoffman D — Visual Intelligence — How We Create What We See (W W Norton, 2000)


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Unit 2: Visual Communication

Learning hours: 60


Description of unit

The aim of this unit is to explore the meanings, messages and information that are communicated in fashion and textiles work. Learners will explore professionals’ work to develop understanding of how they use visual language to communicate with an intended audience, purchaser or user. Learners will apply their skill and understanding of visual language to create effective and imaginative work.



1 Research and evaluate the differences between implicit and explicit meanings, messages and information in others’ work

2 Analyse the communication methods used in fashion and textiles to convey meaning, messages and information

3 Use experimental visual language to communicate meanings, messages and information to specified audience, purchaser or user effectively and imaginatively

4 Evaluate use of experimental visual language.


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Content

1 Meanings, messages and information

Meaning, messages and information: semiotics, codes, symbols, signs, forms, environmental arrangements, textual, visual, implicit, explicit

Others’ work: the forms and content of historical, modern, contemporary specialist work

2 Communication methods

Techniques: use of composition, experimentation with visual and/or material characteristics

Approaches: 2D, 3D, 4D in the style of historical and contemporary movements

Conventions and systems: technical drawing, illustrative, use of perspective

3 Experimental visual language

Visual language: choice of technologies and processes, methods of selection, construction and manipulation of materials, alternative approaches, conventions and systems

Audience, purchaser, user characteristics: in relation to gender, status, function, role, ceremony

4 Evaluate

Effective communication: communication of messages, audience

Experimentation: wide range of media, preconceived ideas


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1 Research and evaluate the differences between implicit and explicit meanings, messages and information in others’ work

• collect and present examples of static and/or moving images which effectively communicate implicit and explicit meaning in others’ work

• understand the features of work which support the communication of implicit and explicit meanings, messages and information

2 Analyse the communication methods used in fashion and textiles to convey meaning, messages and information

• collect, present and experiment with the visual characteristics of historical/contemporary movements used to communicate

• explain methods used in selected examples of others’ work

3 Use experimental visual language to communicate meanings, messages and information to specified audience, purchaser or user effectively and imaginatively

• produce a portfolio of experimental work showing diverse and creative use of visual language

• produce 2D images or 3D artefacts which effectively communicate implicit and explicit meanings

4 Evaluate use of experimental visual language

• evaluate own use of experimental visual imagery to communicate meanings and messages

• evaluate impact of experimental visual imagery on intended audience, purchaser or user


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Guidance

Delivery

Tutor-led discussion of others’ use of visual language and analysis of the meanings and methods will be needed to encourage learners to develop and apply analytical skills at a suitable level.

Critiques of work and peer review can also provide a forum for considering the application of principles to practical work.

Experimental visual language can take any form suitable to the learner’s chosen area of specialism or interest. Learners should be encouraged to identify the purpose of their communication – ie the meaning, message or information they wish to convey and the characteristics of their target audience, purchaser and user.

Assessment

There are two strands to the evidence for this unit:

• analytical work

• practical work.

Projects should, where possible, combine the analysis of others’ use of visual language with practical and experimental work.

For outcomes 1 and 2 supporting information will be needed, either in the form of separate notes or as annotations to collected examples. Presentations could provide a means of evidencing the results of analysis.

Links

In a general sense, this unit links with all other units which involve the application of visual languages, for example Unit 20: Design Exploration in Fashion. This unit provides essential underpinning knowledge which will be developed by further specialisation.

This unit also links with the following unit in the National Occupational Standards (NOS):


• Unit W: Elements 1 and 2.

Resources

Specialist resources will be necessary to complete this unit and learners will need access to a broad range within their specialism.


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Support materials

Books

Arnheim R — Art and Visual Perception (University of California Press, 1983)

Berger J — Ways of Seeing (Penguin, 1990)

Dormer P — Design Since 1945 (Thames & Hudson, 1993)

Forty A — Objects of Desire: Design and Society 1750-1980 (Thames & Hudson, 1986)

Godfrey T — Drawing Today (Phaidon, 1990)

Gombridge E H — Art and Illusion: A Study in the Psychology of Pictorial Representation (Phaidon Press, 2002)

Pipes A — Production for Graphic Designers (Laurence King, 2001)

Poyner R — Typography Now: The Next Wave (Booth Clibborn Editions, 2000)

Scharf A — Art and Photography (Pelican, 1974)

Sontag S — On Photography (Penguin, 1978)


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Unit 3: Professional Studies

Learning hours: 60


Description of unit

This unit is intended to help learners relate practical studies in fashion and textiles to a professional context. The unit deals with legislation affecting artists, craftspeople and designers and develops understanding of professional ethics and responsibilities. The unit requires learners to examine business organisations and to compare job roles of artists, craftspeople and designers working in different kinds of organisations. Learners are also expected to investigate the ethics and responsibilities of artists, craftspeople and designers in relation to society and the environment.



1 Investigate and understand legislation affecting fashion and textile designers

2 Investigate and understand the professional ethics and responsibilities of fashion and textile designers

3 Investigate and understand environmental ethics and social responsibilities of fashion and textile designers

4 Investigate and understand business organisations and the job roles of fashion and textile designers.


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Content

1 Legislation

Regulations and legislation: eg copyright, designs and patents legislation, consumer protection legislation, equal opportunities legislation, Control of Substances Hazardous to Health (COSHH) regulations, electricity at work regulations (Portable Appliance Testing), Health and Safety (display screen equipment) regulations, Health and Safety at Work Act (1974)

Complications: eg concept of intellectual property, implications of new technologies with respect to copyright legislation

2 Professional ethics and responsibilities

Codes of ethics: personal, eg punctuality, honesty, integrity, conscientiousness, respect for others; corporate, eg professional bodies’ codes of practice, company policies and charters

Professional responsibilities: of fashion and textile designers to their agents, sponsors, clients or employers, eg meeting deadlines, confidentiality, settling bills; to consumers and the general public, eg protection of consumers, avoidance of the public display or sale of discriminatory or offensive products, images or messages, supply of quality work

3 Environmental ethics and social responsibilities

The consumer society: use of style, image, durability and efficiency of products, culture, lifestyle, globalisation

The secular society: politics, economics, science, technology, socio-economic groups

Moral issues: religion, ethnic groups, poverty, gender, sexuality

The environment: ‘green’ issues, recycling, use of natural resources, sustainability

4 Business organisations and job roles

Businesses and organisations in which fashion and textile designers work: types and purpose, structures of different types

Modes of employment: job roles of fashion and textile designers working at different levels in different types of businesses and organisations


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1 Investigate and understand legislation affecting fashion and textile designers

• research and explain the main areas of legislation and give examples of the effects of legislation on the work of fashion and textile designers

2 Investigate and understand the professional ethics and responsibilities of fashion and textile designers

• analyse and give examples of codes of ethics developed by companies and professional bodies

• develop and show a personal code of ethics

3 Investigate and understand environmental ethics and social responsibilities of fashion and textile designers

• investigate and give examples of some of the main aspects of society and the environment which impact on the work of fashion and textile designers

• show understanding of the main aspects of society and the environment which impact on the work of fashion and textile designers

4 Investigate and understand business organisations and the job roles of fashion and textile designers

• research, evaluate and understand types and purposes of businesses and organisations in which fashion and textile designers work

• describe the structures of different types of businesses and organisations in which fashion and textile designers work


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Guidance

Delivery

In order to ensure that theory can be put into practice effectively, parts of this unit may usefully be integrated with assignments which incorporate a practical dimension. Other aspects can be delivered through lectures, seminars, classroom teaching and directed independent study. The use of paper-based and electronic learning materials can effectively supplement more traditional forms of delivery.

Assessment

Most of the evidence for this unit can be presented as a file of notes, collated printed material, summarised case studies and personal commentary written by the learner. The file should be organised and indexed by outcomes and topics. The file should be presented to a professional standard using word-processing or desktop publishing software for the origination of material.

Links

It is important that this unit is set firmly in the context of fashion and textile practice. The outcomes and content should be interpreted by reference to the particular discipline(s) the learner is pursuing through other units, so that the relevance to specific practice is clearly understood.

This unit could be linked to some of the more practical units, for example Unit 14: Realising a Textile Collection and Unit 27: Realising a Fashion Collection.


• Unit W: Elements 1, 2 and 3.

Resources

Sufficient library resources should be available to enable learners to achieve this unit and learners should be able to access email and the internet.

Printed material relating to aspects of outcome 1 can be obtained from the Patent Office.

For other outcomes, an eclectic range of texts should be available so that learners are exposed to as many different views and opinions as possible. This is particularly important for outcome 3.

Support materials

Books

Charter M — Greener Marketing (Greenleaf Publishing, 1992)

Evans D W — People and Communication: Communication in Organisations (Copp Clark Professional, 1983)


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Unit 4: Historical and Contextual Referencing

Learning hours: 60


Description of unit

This unit introduces learners to the cultural history which informs current thought and debate in design. Emphasis is on research and study skills and learners acquiring source material and knowledge. Presentation skills will also be applied in a practical context.



1 Undertake in-depth research using electronic sources and paper-based materials

2 Demonstrate an understanding of creative influences through the effective interpretation and analysis of information

3 Assess, interpret and evaluate information effectively and develop a personal view

4 Present conclusions effectively.


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Content

1 Research

Electronics sources: eg retrieval of computer-based data, internet, CD-Rom, local and distant films, videos

Paper-based materials: eg use of library, learning resource centre, lectures, group presentations, study skills, local and distant

Other sources: eg visits to collections, museums, original sources, local and distant

2 Influences

Historical and cultural histories: eg major historical movements, modern practitioners, relationship between modern practice and historical sources, current attitudes towards the arts, current cultural context, historical concepts and principles versus modern notions of moral and ethical practice

Making judgements: questioning, comparing, measuring, observing, evaluating

3 Information

Sources: personal research, primary, secondary

Synthesis: ideas, influences, observation, personal view

4 Conclusions

Presentation forms: eg oral presentation, illustrated written communication


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1 Undertake in-depth research using electronic sources and paper-based materials

• research a variety of appropriate areas of study using paper-based materials effectively

• research a variety of appropriate areas of study using electronic sources effectively

2 Demonstrate an understanding of creative influences through the effective interpretation and analysis of information

• research the major historical movements and cultural attitudes that have influenced modern practitioners

• interpret and analyse information effectively

• demonstrate an understanding of creative influences

3 Assess, interpret and evaluate information effectively and develop a personal view

• assess and interpret primary and secondary sources of information

• evaluate information and develop a personal view

4 Present conclusions effectively

• select and use appropriate presentation techniques to communicate research information


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Guidance

Delivery

The unit should be underpinned by an introduction to study skills and research techniques needed by learners. Emphasis should be placed upon the techniques themselves rather than the information, so that the skills can be acquired. With these, learners may undertake research which is of practical use.

It may be appropriate to introduce learners to case studies of research programmes that have culminated in culturally influential outcomes.

Assessment

For this unit learners will need to be familiar with a broad sweep of the historical and cultural developments which inform current thought and debate on design.

Presentation will be an important element in demonstrating learners’ studies. Notebooks and scrapbooks should indicate that learners understand and have developed information received in the lecture programme.

Learners could make an oral presentation followed by an illustrated assignment, with words suitably amended from the feedback received in the oral presentation. This essay should form part of the learner’s practical work, and could be linked with practical units.

Links

Research undertaken for this unit can be linked to practical work in another unit, for example Unit 9: Cultural Understanding in Fashion and Unit 13: Design Research in Textiles. The units could be covered by an integrated assignment that encompasses both units.



• Unit 3D: Elements 1, 2 and 3.

Resources

The learning resource centre includes books, CD-Roms, newspapers, magazines, bibliographical material available through the inter-library loan system and the internet. Specific texts relating to the delivery of this unit should be specified by the centre.

Support materials

Books

Aynsley J — A Century of Graphic Design (Barron’s Educational Series, 2001)

Hollis R — Graphic Design: A Concise History (Thames & Hudson, 2001)

Pevsner N — Pioneers of Modern Design (Penguin Books, 1991)


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Unit 5: Professional Practice and Development

Learning hours: 60


Description of unit

This unit serves to draw together the various aspects of learners’ work to provide evidence of a coherent and presentable portfolio of work which is of a standard acceptable to a commercial employer. Learners are expected to demonstrate a full understanding of their intended job role and its career potential.



1 Plan, monitor and evaluate a series of projects effectively

2 Understand and display professional competence consistently

3 Present an imaginative portfolio of work of a professional standard

4 Produce direct evidence of an intended career path in fashion and textile design.


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Content

1 Series of projects

Live project: marketing information/research, collecting and collating data, costing, presentation format, client employing company (its market, product range, design and marketing strategies, product/job costing, influential factors)

2 Professional competence

Operational: time management, planning, evaluation and monitoring, commercial awareness

Professional standards: ethical considerations, environmental impact, legal restrictions/parameters, quality assurance systems, procedures, monitoring mechanisms

Design development and realisation: will vary according to the project but may include negotiation, design development, presentation drawings, working drawings

3 Portfolio of work

Organised: structure, clarity, prototyping

Supporting information: project focus and intentions, producing a final product, research findings, decision making, evaluation, future potential

Personal presentation skills: attitude, dress, manner, personal marketing, adjusting portfolio/personal presentation strategy to specific job interview requirements

4 Career path

Planning: action plans, decision trees, SWOT analysis

Career direction: educational course(s), employment opportunities, business start-up


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1 Plan, monitor and evaluate a series of projects effectively

• liaise with a client in order to plan projects effectively

• monitor the progress of projects during their life and evaluate them when complete

2 Understand and display professional competence consistently

• analyse and understand the importance of operational skills and professional standards which demonstrate professional competence

• apply operational skills and professional standards when developing and working on a live project

3 Present an imaginative portfolio of work of a professional standard

• apply professional standards in arranging, integrating and presenting work and supporting information

• identify and apply personal presentation skills which contribute to success in pursuing progression aims

4 Produce direct evidence of an intended career path in fashion and textile design

• produce evidence for realistic short- and long-term plans for own career direction

• produce CV for a specific job role progression opportunity


50

Guidance

Delivery

Learners will need support and advice in structuring and desktop publishing their report. This work can be linked to key skills support.

Work for this unit should be developed through two routes:

• practical work undertaken as a project set in a professional context

• research into professional working practices and the learner’s future career aspirations.

Practical work should be presented in a suitable format and may vary depending on the specialism of the learner. Sketchbooks should be included in the portfolio and these should demonstrate an understanding of the area in which the learner is working.

Learners should gain enough professional experience to give them a good understanding of their intended specialist job area. Ideally this should be a live project monitored by an external agency to set standards for presentation format, timing and coverage. Professional experience should ideally equate to a minimum of six weeks full-time study.

Assessment

The main focus of the unit is a live project which staff are likely to have to organise. However, where possible the project can be undertaken as part of a work experience or through an opportunity that the learner identifies.

For aspects of outcomes 1 and 3 a report of no less than 2,500 words should be written and desktop published. However the content of the report rather than the presentation should be the main focus of assessment. The structure and content of the report should address the requirements of the outcomes and identify the approaches the learner has taken to actively pursuing potential progression routes. Learners should not be penalised for identifying routes that are unconventional or beyond the scope of the programme.

Links

This unit links to Unit 3: Professional Studies which explores the professional context and specialism.

This unit can also be integrated with specialist design units where understanding of professional practice will support the work, for example Unit 14: Realising a Textile Collection and Unit 27: Realising a Fashion Collection.


• Unit 3M: Elements 1, 2, 3 and 4.


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Resources

Learners will need access to a range of studio facilities and equipment suitable for a chosen specialism. They will need access to professional practitioners and expertise to enable them to research professional working practices and undertake live projects. Careers advice will be needed to complete aspects of outcome 3.

Learners will need access to desktop publishing to produce the report.

Support materials

Book

Evans D W — People and Communication: Communication in Organisations (Copp Clark Professional, 1983)


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53

Unit 6: Critical Study

Learning hours: 60


Description of unit

This unit provides the learner with knowledge, understanding and skills to define and research a historical context and relate it to the present. The unit also provides an opportunity for learners to evaluate these references within the context of their chosen specialism.

The aim of the unit is for the learner to have developed an independent view of one area of design context that relates closely to their own work.



1 Analyse in depth and interpret the historical evolution and visual characteristics of the work of designers

2 Analyse in depth and interpret specialist work through applying appropriate methods of research and information retrieval

3 Analyse in depth how historical, contextual and contemporary practice influences learners’ specialist pathway

4 Draw independent and insightful conclusions from others’ writings and critiques about a range of design work and present a personal view.


54

Content

1 Historical evolution and visual characteristics

Definitions: key movement, styles, influences, eg constructivism, futurism, De Stijl, Bauhaus

Chronology: sequence of key movements, styles, influences

Comparisons: between key artists, designers and/or craftspeople in chosen pathway

Influences: visual language, period style, eg ornament and decoration

Techniques, processes and interpretation: explored in developmental work, selected for final outcome

2 Methods of research and information retrieval

Sources: eg library research, reference systems and abstracting, electronic sources, museums, galleries, exhibitions, workshops, interviews and questionnaires

Methods: survey of relevant contemporary topics, ‘first-hand’ research

Extracting information: topic description, ‘first-hand’ research from practising professionals, related visual language and techniques, creative and cultural contexts, eg linked to movements, schools, style, ethnic influences

3 Historical, contextual and contemporary practice

Influences: on others’ work, social, economic, political events

Styles: of contemporary practice, eg ‘avant garde’, ‘cutting edge’

4 Writings and critiques

Drawing conclusions: eg comparative study, critical analysis, interpretations, quotations, conclusion, appraisal of findings

Personal view: opinions, arguments, style


55




1 Analyse in depth and interpret the historical evolution and visual characteristics of the work of designers

• analyse in depth a range of techniques, processes and visual language from examples of work produced in the context of their chosen specialism

• interpret and make effective comments on the historic evolution and visual characteristics of the work of designers

2 Analyse in depth and interpret specialist work through applying appropriate methods of research and information retrieval

• identify and develop effective methods of research and information retrieval from paper sources and electronically

• compile a wide-ranging personal record of contemporary criticism, illustration and references from journals, magazines and first-hand research

3 Analyse in depth how historical, contextual and contemporary practice influences learners’ specialist pathway

• analyse the creative, cultural, social, political and economic contexts which influence selected specialist work

• make the connection between the analysis of contextual influences and the learner’s own work

4 Draw independent and insightful conclusions from others’ writings and critiques about a range of design work and present a personal view

• compare historical and/or contemporary influences on the visual language used by the practitioners

• explore a range of creative, cultural, social, political and economic contexts and draw independent conclusions

• critically analyse and review findings


56

Guidance

Delivery

Learners will need to show a high level of personal initiative and an inquisitive mind to achieve the outcomes. Study should complement the learner’s chosen vocational routes and lead to self-awareness from a historical perspective.

Formal delivery should concentrate on research and presentation skills followed by systematic seminar and tutorial sessions on a group or individual basis.

Assessment

Work should be presented as an extended written study which should integrate all historical and contextual referencing. This should be no less than 3500 words with appropriate supporting visual information.

A file or appendix which contains evidence of study skills and research methods should accompany an extended written study to provide evidence for outcome 2.

Links

This unit is linked with Unit 4: Historical and Contextual Referencing which provides essential skills and understanding of research processes. However, the emphasis is on developing and applying analytical skills to a topic related to the learner’s chosen area of specialism/interest. This serves two purposes. Firstly the research provides useful source material relevant to design projects and secondly it develops the learner’s academic skills, knowledge and understanding which will equip them for progression to further higher education study or employment.

This unit can be linked to some of the more practical units, for example Unit 9: Cultural Understanding in Fashion or Unit 13: Design Research in Textiles. The units can be covered by an integrated assignment that encompasses both units.


• Unit 3D: Element 1.

Resources

The learning resource centre should provide not only books and periodicals but also CD-Roms and access to the internet.

Learners will need access to primary sources, such as local and national galleries, exhibitions, artists’ and designers’ studios/workshops. They will also need access to word processors, laser copiers and computer scanners to help them prepare and present their study.


57

Support materials

Books

Hollis R — Graphic Design, A Concise History (Thames & Hudson, 2001)

Strinati D — An Introduction to the Theories of Popular Culture (Routledge, 2004)

Wildbur P and Burke M — Information Graphics: Innovative Solutions in Contemporary Design (Thames & Hudson, 1999)


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59

Unit 7: Fashion and Textile Materials Understanding

Learning hours: 60


Description of unit

In this unit learners will research, record and analyse the properties and characteristics of fibres and fabrics, and their suitability for different uses. Learners should also develop a visual and tactile understanding of textile raw materials and fabrics. This will enable them to evaluate performance characteristics in fibres and fabrics in relation to commodity and processing costs. Learners should examine methods of producing materials and business practice as they relate to costing.



1 Analyse and interpret the main properties of both natural and man-made fibres and sheet materials

2 Describe different systems of fabric manufacture and explain how these affect fabric properties and characteristics

3 Investigate and understand how simple testing methods can be used to assess textile performance in textile and garment production

4 Make connections between fibre and fabric properties, processing methods, garment construction and cost.


60

Content

1 Properties

Visual properties: colour, cross section, lustre

Practical properties: fibre diameter, fibre length, bulk/crimp, softness (handle), absorption, strength, heat resistance, insulation, ability to absorb dye, elasticity, resistance to damage by light and chemicals, flammability

Economic properties: cost, environmental sustainability, pollution, waste disposal

Natural fibres: wool, cotton, linen, silk, mohair, speciality hairs

Man-made fibres: regenerated cellulosics, polyamides, polyesters, polyurethanes, polypropylenes, acrylics, elastomerics

Naturally occurring sheet material: skins, furs

Man-made sheet material: rubbers, plastics, paper

2 Fabric manufacture

Systems: weaving, knitting, non-woven, lace, trims, braids, ribbons, threads, in small quantity, in bulk

Fabric properties: weight, structure, appearance, drape, strength, elasticity, stability, aesthetic appeal

Characteristics: visual appearance, eg loop structure, warp and weft; tactile character, eg fibre content, spinning system, finishing treatment

3 Performance

Testing methods: fibre identification, abrasion, pilling, seam slippage, dye fastness, colour matching, tear strength

Performance: durability, washability, colour fastness, appearance retention, comfort

4 Cost

Raw material costs: availability, transport, trade agreements, minimum order sizes, lead times

Processing methods: machinery/equipment used for flow production, large/small-batch production, one-off production

Processing costs: rates, power, labour, transport, warehousing, machine capability, production run, piece lengths, processing shrinkage, waste

Garment construction: fabric waste, complexity of construction, seam type, fastenings, stiffenings, trimmings

Costing methods: direct, indirect, apportioned


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1 Analyse and interpret the main properties of both natural and man-made fibres and sheet materials

• identify and record specific information about the properties and characteristics of a variety of textiles

• analyse and evaluate the positive and negative characteristics of the major fibre types

2 Describe different systems of fabric manufacture and explain how these affect fabric properties and characteristics

• summarise main methods of fabric manufacture and analyse the similarities and differences between them

• describe how methods of fabric manufacture affect fabric properties and characteristics

3 Investigate and understand how simple testing methods can be used to assess textile performance in textile and garment production

• research, record and interpret testing methods

• select test methods most suitable for a range of design outcomes and then use as a design tool

4 Make connections between fibre and fabric properties, processing methods, garment construction and cost

• identify and record costing methods used by businesses

• analyse and evaluate the connections between properties, processes, construction and cost


62

Guidance

Delivery

Developing tactile and visual awareness of materials is the main focus of this unit and a broad range of learner-centred activities will make the unit lively and varied. The content requires a combination of lectures/seminars with guidance to learners to undertake their own research in sourcing of samples from a variety of fibre processes, manufacturers, wholesalers and retailers. They may wish to research the work of practitioners in a particular field. Tutors should highlight first-hand evidence as good practice and this could include surveys, recorded visits, interviews and letters. The research element of the unit could provide a useful focus for team activities or group work and learners should be able to articulate their learning using appropriate language and terminology.

Assessment

There are three strands to this unit: fabric and fibres, manufacturing processes and costing. Learners should be encouraged to research suppliers and manufacturing outlets. Where possible, learners should visit outlets to compare commercial-scale processes with those they can replicate themselves. Case studies may be needed to help learners understand costing. Where possible, data should be linked to local manufacturing outlets.

Research findings may be presented as written assignments, oral presentations or fact sheets, together with files of annotated samples.

Links

This unit provides valuable grounding in materials and processes which is relevant to the designer, craftsperson or fine artist. Linking work from this unit with Unit 12: Techniques and Processes in Textiles would enable learners to apply their knowledge practically. This can allow for an experimental approach and also marry learners’ skills and interests with the different aspects of fabric production. Linking with Unit 15: Textile Manufacture Production Operations at the next level would give the work a more technical bias, suitable for marketing, buying or technology specialists.


• Unit 32: Elements 1 and 2.

Resources

It is important that learners are able to handle a range of man-made and natural fibres both in their raw state and at various stages of processing. Although it is not essential to use commercial production equipment, it is desirable that learners visit processing and production establishments to gain an insight into what they do. The fundamental principles of fibre processing and fabric production can be taught using hand techniques and domestic equipment. However, learners wishing to specialise in design may need access to some commercial equipment, especially CAD. CD-Roms, the internet, audio-visual equipment and IT will enhance research and enrich the curriculum.


63

Support materials

Books

Emery I — The Primary Structures of Fabrics: An Illustrated Classification (Thames & Hudson, 1994)

Holland S K — All About Fabrics: Introduction to Needlecraft (Oxford University Press, 1987)

Joseph M — Essentials of Textiles (Thomson Learning, 1984)

Miller E — Textiles: Properties and Behaviour (B.T. Batsford, 1992)


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65

Specialist

units


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67

Unit 8: CAD/CAM for Fashion and Textiles

Learning hours: 60


Description of unit

This unit explores the application of computer technology in the design and manufacture of clothing and textiles. It provides learners with an opportunity to develop an understanding of specialist computer applications and to apply this to their own design and development.



1 Apply computer aided design techniques to design and visualise fashion and textiles

2 Apply computerised systems to aid the design development of garment construction and/or fabric design

3 Investigate and understand the use of computer technology to aid the commercial production of fashion and textiles

4 Research and evaluate technological developments and their potential application within the fashion/textile industry.


68

Content

1 Design and visualise

Computer design and illustration: CAD, vector drawing and bitmap packages, 2D/3D scanning

Computer presentation skills: research, storyboards, designs, DTP software, visualisation of fashion and textiles, image and text manipulation, digital photography

2 Garment construction and/or fabric design

Construction techniques: pattern manipulation, grading, sizing, costings, fabric utilisation, lay planning

Fabric techniques: knitted, woven, printed, embellished structures, repeats, colourways

3 Commercial production

Garment making: industrial CAM processes for lay planning, cutting, sewing, pressing

Textile production: CAM for textile production

Management systems: quick response systems, production planning

4 Technological developments

IT systems: internet, digital networks, data storage/retrieval, communication systems

Developments: current, future, 2D/3D/4D visualising, 2D/3D scanning technology, sizing

Uses: research, design, visualisation, production, buying, selling


69




1 Compile and assimilate research data as reference for contemporary fashion trends

• use a variety of software packages to produce fashion or textile illustrations

• use CAD and DTP design skills to present research and design ideas, identifying current and future applications of 3D and 4D methods to visualise fashion or textiles

2 Evaluate and analyse the effects of cultural influences on the work of fashion designers

• construct, adapt and grade garment patterns to aid garment and fabric costings, using suitable software

• use CAD skills to realise fashion or textile designs

3 Analyse and evaluate the role of the fashion designer within the fashion industry

• use, explore and evaluate computer technology used in the commercial production and management processes of fashion or textiles

• explain the role of computer networks/systems to store, retrieve and distribute data

4 Demonstrate an independent and professional approach to presentation of research

• evaluate recent developments in the use, impact and potential of the internet and websites for the fashion or textile industry

• explore and suggest uses for technological developments in the industry


70

Guidance

Delivery

Formal delivery and workshop demonstrations of hardware and software applications will cover much of this unit. Learners will need to produce written research following company visits, exhibitions and surveys of manufacturers and suppliers.

The integration of specialist CAD/CAM skills into a variety of units is encouraged.

Assessment

The purpose of this unit is to develop learners’ theoretical and practical understanding of fashion and textile CAD/CAM to help gain entry into relevant employment.

CAD work can be presented in a portfolio, file or on disc, eg writeable CD-Rom, Zipdrive, floppy disc. Written reports based on visits to computer exhibitions, fashion/textile companies and computer bureaux should be included.

Individual learners should be encouraged to develop their experience for this unit through company links and work experience opportunities.

Links

Skills and knowledge from a variety of units should be integrated into this unit, for example Unit 16: Textiles Specialist Techniques and Processes and Unit 19: Experimental Embroidered Textiles.



• Unit 3D: Elements 1 and 3.

Resources

Resources should include a computer resource for formal teaching, demonstrating and learner drop-in. This should have up-to-date hardware and software covering DTP applications, vector drawing and bitmap painting, and the following specialist fashion and textile CAD software:

• DTP/Illustration Software: Adobe PageMaker, Quark Xpress, Adobe Illustrator, Adobe Photoshop, Adobe Freehand, Corel Draw, Micrografix Designer, Painter

• Specialist fashion software: Gerber, Lectra, Investronica, Ormus Fashion/Concept Design Studio.

Suggested input devices should include digitisers, a colour scanner and digital camera. Output devices should include a plotter and colour printer.

The facilities should allow for the use of CD-Roms and internet access and offer access to specialist books and magazines.

Learners would benefit from industrial visits and visits to trade shows.


71

Support materials

Books

Aldrich W — CAD in Clothing and Textile (Blackwell Science, 1994)

Gray S — The Benefits of Computer-aided Design and Manufacture — Clothing and Textiles (Design Council, 1992)

Taylor P — Computers in the Fashion Industry (Butterworth-Heinemann, 1990)


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Unit 9: Cultural Understanding in Fashion

Learning hours: 60


Description of unit

This unit aims to familiarise learners with fashion culture by further investigating design influences. It will enable learners to effectively broaden their experience and understanding of professional fashion design.

Learners will explore the effects of culture, sub-culture groups and lifestyle trends on the social, aesthetic and cultural aspects of fashion.






4 Demonstrate an independent and professional approach to presentation of research.


74

Content

1 Research data

Sources: internet, libraries, data information services, eg BIDS; primary sources

Evaluate and organise data: collating, compiling, assimilating and interpreting information, validity and reliability, qualitative methods, critical appraisal

2 Cultural influences

Art and society: museums, galleries, exhibitions, media coverage, multicultural diversity, popular culture

Lifestyle trends influenced by: music, theatre and film, subculture groups, eg Teddyboys, Mods, Rockers, Hippies, Punk, New Romantics

Fashion industry: couture, mass market, high street, designer label, the roles of the photographers, models, stylists, writers, craft skills, magazines

3 Fashion designer

Role: working methods, their motivations/influences, philosophies, techniques, style

Lifestyles: personalities, influence on society, friends and associates

4 Presentation of research

Visual methods: posters, storyboards, image selection, layout, typeface choice, composition

Audio-visual methods: slides, charts, diagrams, video, PowerPoint, CD-Rom etc, individual and team presentation


75





• research, evaluate and analyse data for contemporary fashion trends

• organise and communicate knowledge and understanding of contemporary fashion trends from a range of sources


• research and identify lifestyle trends in fashion and investigate the relationship between art, society and fashion

• evaluate their research in terms of the influence of lifestyle trends on current and past fashion design


• explain the work, lifestyle and role of past and contemporary designers and their personal contribution to the fashion industry

• compare the lifestyles of fashion designers in the past and present and evaluate their impact on the fashion industry

4 Demonstrate an independent and professional approach to presentation of research

• identify key issues from personal research, making a coherent and informed presentation

• analyse current designer collections, identifying key look and communicate findings in a confident and professional manner


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Guidance

Delivery

This should be a lecture- and seminar-based programme of study with learners working on individual and group projects. This will enable learners to gain experience in preparing and presenting work to others in a variety of ways. Group and individual critiques and presentations should form part of the delivery.

Aspects of fashion culture will be explored to broaden learners’ experience and understanding. Learners will need to be encouraged to research and record, collate and present the work of designers by preparing presentations on how the work of designers inspires and influences fashion culture.

Assessment

Research conclusions should be delivered through a presentation, backed up by essay(s) and reports. Involvement in discussion and question and answer sessions is an essential element of the course. Learners should record sources carefully and accurately, citing authors, titles of books, articles, journals and publications, and the date/place/country of publication.

Links

This unit will combine well with Unit 26: Research and Development for Fashion Design, Unit 27: Realising a Fashion Collection and Unit 31: Fashion Promotion.



Resources

Suggested resources for research may include libraries, art galleries, exhibitions, fashion magazines, websites and CD-Rom databases.

Support materials

Books

Breward C — The Culture of Fashion (Manchester University Press, 1995)

Costantino M — Designers: Fashion File (B.T. Batsford, 1997)

Polhemus T — Streetstyle: From Sidewalk to Catwalk (Thames & Hudson, 1994)


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Unit 10: Design Exploration in Textiles

Learning hours: 60


Description of unit

This unit introduces learners to the wide range of research techniques and creative exploration that underpins successful textile design. It develops a critical and analytical approach to sourcing ideas and encourages an awareness of the broader contexts in which the textile designer operates.



1 Investigate and understand colour and texture through the experimental manipulation of materials and media

2 Research and evaluate appropriate primary and secondary sources for creative textile design

3 Apply formal design elements in the design development process

4 Investigate and understand the principles of colour and trend prediction in textiles.


78

Content

1 Colour and texture

Materials and media: pigments, pastels, inks, dyes, papers, fabrics, non-woven materials, pencils, threads

Experimental manipulation/techniques: papermaking, collage, frottage, resist methods, stitching, felting, drawing, markmaking

Investigate: using a range of techniques to explore colour, decoration and tactile surfaces and design concepts

2 Primary and secondary sources

Primary and secondary sources: observational drawing, sketching ‘on site’, still life, sourcing from library references, collected material, work of other artists/designers to include: decorative/non-decorative, organic, natural/synthetic, multicultural, historical, contemporary, popular culture

Identifying and researching: identification of relevant sources within the parameters of a set brief, researching and recording visual information in a variety of ways (eg annotated sketchbooks, ideas sheets, photography, collated information)

3 Formal design elements

Formal design elements: colour theory, texture, scale, proportion, composition, repeat patterns, movement, colour psychology

Application: employing formal elements intentionally to create movement, space, discord, subtlety, energy, balance/imbalance, impact

4 Colour and trend prediction

Colour and trend prediction: colour trends, fibre and fabric trends, seasonal changes, short-, medium- and long-term trends

Understanding principles: investigation and evaluation of seasonal trends for a specific brief, sourcing information through secondary sources, eg magazines, journals


79




1 Investigate and understand colour and texture through the experimental manipulation of materials and media

• experiment with and manipulate a range of materials and media

• research and record the exploration of colour and tactile surface using a range of media

• produce an individual and creative response using colour and texture

2 Research and evaluate appropriate primary and secondary sources for creative textile design

• produce accurate information from primary and secondary sources and present it in a visually stimulating manner

• evaluate and communicate the relevance of source material to intended outcomes through a body of work

• communicate a clear understanding and knowledge of sources in a presentation to others

3 Apply formal design elements in the design development process

• analyse and evaluate formal design elements in own and others’ work to achieve and demonstrate an understanding of intentional effects

• present work demonstrating the exploration of formal elements in design to generate innovative, imaginative and creative effects

4 Investigate and understand the principles of colour and trend prediction in textiles

• source, assimilate and record textile trend information from secondary sources

• present a body of work illustrating the relationship of seasonal colours and trends to own textile work


80

Guidance

Delivery

An integrative assignment will offer a framework for encouraging learners to be experimental and investigative. This should be supported by tutor-led formal demonstrations, presentations and critiques.

A regular system of tutorials should be established to provide guidance and feedback to learners.

Learners should be encouraged to research a range of sources to get an understanding of the broader contexts in which they work. This will include the analysis and evaluation of their ideas and those of others through annotating their own work. Through exploration of usual and unusual materials and media, learners will develop an understanding of broader visual language.

Assessment

Evidence for this unit should mainly be developed through an integrative assignment approach. Work will normally be presented to tutors and peers, in the form of sketchbooks, ideas books, drawing and development sheets and moodboards. Learners will communicate and evaluate their ideas through group discussion and critique.

Links

The work generated in this unit will link Unit 2: Visual Communication and Unit 4: Historical and Contextual Referencing.

Learners wishing to follow a specialist textile design pathway can further develop work from this unit through specialist units Unit 11: Design Application in Textiles and Unit 12: Techniques and Processes in Textiles.

Combining the unit with Unit 20: Design Exploration in Fashion will provide a broader-based textile/fashion pathway.




Resources

Suggested sources for research may include libraries, museums, local and national galleries, exhibitions, retail and craft outlets, CD-Rom databases and the internet.

Learners will need access to specialist publications, periodicals and journals.


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Support materials

Books

Beaney J and Littlejohn J — A Complete Guide to Creative Embroidery (B.T. Batsford, 1997)

Flemmin E R — Encyclopaedia of Textiles (Zwemmer, 1958)

Geijer A — A History of Textile Art (Sotheby’s Publications, 1979)

Harris J — 5000 Years of Textiles (British Museum Press, 2004)

Meller S and Elfers J — Textile Designs (Harry N Abrams, 2002)

Further reading

Colleziona

Elle Decoration

Interiors

International Textiles

Textile View

View on Colour

Vogue


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Unit 11: Design Application in Textiles

Learning hours: 60


Description of unit

This unit aims to harness the creative potential of textiles to develop viable products. It will enable learners to research, analyse and evaluate a variety of possibilities based on their understanding of textile techniques and processes.



1 Research and synthesise a broad range of creative source material for a specific theme or product

2 Select and develop ideas produced from research work to show an understanding of textile materials, techniques and processes

3 Evaluate a range of possible solutions and plan a way to realise the design

4 Design and make a final product, or range of products, to a set deadline.


84

Content

1 Research and synthesise

Creative source material: books, periodicals, observational drawing, other textiles, photography, electronic media

Trends: colour, styles, design, formal elements, price points

2 Select and develop

Visual studies: drawing, sketch books, maquettes, collage and other media to record and develop from primary and secondary sources

Experimentation with materials and techniques: technical tests, paper manipulation, textile-related techniques such as felt, handmade papers, traditional and non-traditional application, samples

Experimentation with design principles: scale, proportion, colour, repeat, texture

Textile materials, techniques and processes: fibre types, means of colouration, system of manufacture

3 Plan

Target market: age range, spending capacity, spending patterns/methods of payment, outlet types, payment terms, presentation

Time management: forward planning, checking/monitoring/revising actions, allowing for mistakes/technical problems, using previous experience to determine complexity

Resource availability: space, materials, equipment

Final outcome: the outcome will vary according to the project, but may include design samples, fabric lengths, 3D models, individual fine art pieces, croquis, garment/s

4 Make a final product

Use of equipment/techniques: such as sewing/embroidery machines, weaving, knitting, printing, macrame, machine and hand techniques, hand tools

Dexterity: manual skills, level of finish, neatness, familiarity with process

Presentation techniques: mounting, finishing, displaying, oral and written skills


85




1 Research and synthesise a broad range of creative source material for a specific theme or product

• research and evaluate relevant data on trends, information and/or images from a wide range of source material

• present their research to others effectively

2 Select and develop ideas produced from research work to show an understanding of textile materials, techniques and processes

• use research to develop realistic ideas through textile materials within the constraints of techniques and processes

• select a range of possible ideas and effectively communicate them to others

3 Evaluate a range of possible solutions and plan a way to realise the design

• determine a workable, realistic, creative solution through evaluation and discussion

• plan a logical sequence for realising, presenting and marketing the design, taking account of available time and resources

4 Design and make a final product, or range of products, to a set deadline

• demonstrate skills and dexterity with materials, equipment, techniques and processes

• complete the product to a set deadline and present it effectively to others


86

Guidance

Delivery

This unit should link the creative elements of Unit 10: Design Exploration in Textiles and assimilate knowledge of textile techniques and processes. The work requires a logical, ordered approach which does not destroy the pleasure in the creative process. Errors or accidents can often be harnessed to extend ideas and produce more appropriate or original solutions.

Assessment

Evidence for this unit should mainly be developed through an assignment which is integrated with other units such as Unit 10: Design Exploration in Textiles and Unit 12: Techniques and Processes in Textiles.

Learners should present their work in a format which suits the form and nature of the product. Samples need to be mounted professionally or lengths appropriately displayed. The complexity of the technique should not be the main focus of assessment but rather how effectively simple structures can be manipulated to demonstrate design flair and understanding.

Assignments for this unit will normally be set, but the four outcomes do not necessarily have to be met within the framework of just one assignment. Smaller projects that focus on individual outcomes may be linked to cover the unit.

Links

It is envisaged that this unit will be delivered in conjunction with Unit 10: Design Exploration in Textiles. Unit 7: Fashion and Textile Materials Understanding will provide useful supporting knowledge and could also be integrated through assignments.


• Unit 31: Elements 1, 2 and 3


• Unit 3P: Elements 1 and 2.

Resources

Access to a range of textile materials such as fibres, dyes, yarns, threads, fabrics and pigments is essential. Equipment should be appropriate to the specialist textile discipline and a minimum requirement should include:

• dyeing: dye baths, boilers, steamers, hydro extractor

• weaving: hand looms, warping frames, reed hooks, shuttles

• knitting: domestic flat bed machines with a range of gauges, including single and double bed; machines with jacquard capability

• surface pattern: print tables, silk screens, squeegees, backing cloths, dye-mixing facilities


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• embellishment: domestic sewing machines, felt-making equipment, paper-making equipment, beads, threads, ribbons

• fashion: domestic sewing machines, overlocking machines, cutting tables, pressing equipment, mannequins.

Equipment should be provided with discrete studio spaces nearby.

There should also be research facilities including books, periodicals, journals, catalogues, video, CD-Rom and internet, with particular reference to contemporary fashion and textile publications. Links with local galleries and museums could also extend the resources.

Support materials

Books Bawden J — The Art and Craft of Fabric Decoration (Mitchell Brezley, 1994)

Beaney J — The Art of the Needle (Bracken Books, 1993)

Flemming E — Encyclopaedia of Textiles (Zwemmer, 1958)


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Unit 12: Techniques and Processes in Textiles

Learning hours: 60


Description of unit

This unit introduces learners to the operation of basic textile equipment. It develops technical skills and a practical appreciation of the techniques required to produce sample fabrics in printed, knitted, woven, embroidered (embellished) or multimedia textiles.



1 Use textile equipment effectively for sample production

2 Develop and expand understanding of preparatory processes

3 Demonstrate a theoretical and practical knowledge of textile techniques.


90

Content

1 Textile equipment

Print: printing screens, mesh gauges, printing blocks, use of squeegee and registration stops, heat transfer beds, steaming and fixing equipment

Weave: 4- and 8-shaft table looms, component parts of the loom — warp let-off mechanisms, weft insertion methods, warp lifting mechanisms, shafts, healds, pirn winding, design programming

Knit: domestic knitting machines, component parts of the machine – yarn feeding and tensioning mechanisms, stitch programming, knit, miss, tuck cam systems and their operation, needle action and loop formation, take-down mechanisms, programming designs

Sewing machines: domestic sewing machines, component parts of the machine — yarn threading and tensioning mechanisms, stitch formation and cloth feeding systems, range of needles and presser feet and their uses, stitch width and length controls

Yarn winders: hank to cone, cone to hank, simple hank dyeing equipment, pressing and steaming equipment

Health and safety: operation of equipment within health and safety guidelines

2 Preparatory processes

Printed textiles: design repeats (straight match, half drop, brick), repeat matching and design ‘cut through’ for print, colour separation and film (kodatrace) preparation, screen exposure, fabric dyeing

Woven textiles: yarn dyeing, yarn folding, plying and winding, sizing, warping, drafting and warp ‘drawing in’, pirn winding

Knitted textiles: yarn dyeing, yarn folding, plying and twisting, waxing

Embroidery (embellished) textiles: fabric preparation, printing, painting, dyeing, felting

Context: relevance within the design process

3 Textile techniques

Print: simple two/three-colour repeats, pigment printing, reactive dyes, stencilling, placement prints

Weave: single cloth structures (plain, twill, matt satin/sateen), simple drafts, peg plans, yarn counts and cloth calculations

Knit: single and double bed structures (plain, rib, tuck), simple two-colour patterning (jacquard), lace stitch, open work

Embroidery: felting, free-hand embroidery techniques, appliqué, mixed media work

Interrelationships: between theory and practice, encouraging awareness of parameters


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1 Use textile equipment effectively for sample production

• operate textile machinery and equipment safely and competently

• understand the specific nature of textile equipment and how it works, and demonstrate this in their own work

• analyse and evaluate the technical and creative potential of different technologies and processes

2 Develop and expand understanding of preparatory processes

• produce experimental samples on the basis of researching a range of preparatory processes

• adapt and revise work for final outcomes

3 Demonstrate a theoretical and practical knowledge of textile techniques

• record technical and theoretical information in the appropriate format

• apply theory and understanding to the production of textile samples


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Guidance

Delivery

This unit can provide opportunities for the learner to develop practical skills and understanding and develop ideas through linked units.

Learners will need to be encouraged to practise techniques and processes introduced in this unit to develop their technical skills and understanding. Through experimenting learners, will be able to apply acquired knowledge and achieve the desired outcomes in their work. This unit will enable learners to evaluate the technical and creative potential of different technologies and processes.

Learners must accurately record techniques and processes so that they have an adequate basic resource from which to develop further skills. Learners will be expected to take an increasingly experimental approach, developing work from other linked units.

Tutor-led lectures and demonstrations will be supported by practical workshop activities and individual/group tutorials.

Assessment

This unit covers print, weave, knit and embroidery. Learners will generate evidence for assessment through their specialisation, particularly by applying their skills and understanding from this unit to design ideas developed in other linked units.

Work for this unit will need to be presented in the form of technical notebooks and sample books. Further evidence (for outcome 2) will be generated in assignment and project work linked with Unit 11: Design Application in Textiles.

Links

This unit combines well with the specialist Unit 11: Design Application in Textiles and learners can further develop their study through Unit 22: Techniques and Processes in Fashion.



Resources

Centres will need to provide adequate access to the range of equipment and machinery identified in the content.


93

Support materials

Books

Giles C H — Laboratory Course in Dyeing (Society of Dyers and Colourists, 1989)

Goerner D — Woven Structure and Design (British Textiles Technology Group, 1989)

Harker G — Creative Machine Embroidery: A Practical Sourcebook (B.T. Batsford, 2003)

Nabney J — Illustrated Handbook of Machine Knitting (B.T. Batsford, 1992)

Spencer D J — Knitting Technology (Woodhead Publishing, 2001)

Yates M — Textiles: A Handbook for Designers (W.W. Norton, 1996)


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95

Unit 13: Design Research in Textiles

Learning hours: 60


Description of unit

This unit develops advanced research skills and a wide range of exploratory processes and materials. It encourages the synthesis of ideas from both direct and conceptual sources to produce outcomes to satisfy a set design brief.



1 Research and evaluate the role of the client and understand markets to inform textile solutions

2 Develop and apply knowledge and understanding of colour and trend prediction

3 Synthesise and evaluate information from a range of self-identified sources

4 Develop a critical personal style in creative visual communication.


96

Content

1 Understand markets

Markets: market levels, age groups, gender, lifestyles, price brackets, environment, home/export markets, competition

Role of client: influence on design brief, effect on design parameters, eg fibre content, cloth construction, colour, repeat size, finishing treatments, costs, product evaluation criteria

2 Colour and trend prediction

Primary sourcing: textile trade fairs, practising designers, crafts people, fibre/fabric manufacturers

Secondary information from: magazines, journals, promotional material from fibre producers, professional bodies — including cultural influences, global lifestyles, historical influences, environmental issues

Application: evaluating information relevant to identified sector, assimilating prediction information accurately

Knowledge: develop a strong awareness and responsiveness to lifestyle trends

3 Synthesise and evaluate

Techniques: synthesis of material from diverse and eclectic sources

Self-initiated sources: to support learners’ identified outcomes within their specialism and field of interest, to include both direct and conceptual starting points

Evaluate: individual ideas for creative development in terms of personal response, external factors

4 Visual communication

Visual communication: use of colour, drawing and mixed media, use of wide range of traditional and non-traditional materials

Forms of communication: 2D and 3D formats including moodboards, working drawings, photography, development sheets, samples, mobiles, maquettes

Personal style: considered choice in appropriate format, presentation of ideas, professional standard of visual communication to meet client requirements


97




1 Research and evaluate the role of the client and understand markets to inform textile solutions

• research and analyse markets, identifying specific market sectors in a written and visual format

• relate own work to identified design requirements of relevant client market sector’s demands

• communicate through discussion an understanding of external factors influencing textile designers

2 Expand and apply knowledge and understanding of colour and trend prediction

• research and gather information from a variety of sources and evaluate in relation to own design brief

• communicate analysis of colour, trend and lifestyle information in a confident and professional manner in own and others’ work

3 Synthesise and evaluate information from a range of self identified sources

• research and evaluate a broad range of sources for design research to support chosen specialisms

• independently synthesise and evaluate written and visual information to inform an innovative and creative direction/solution

4 Develop a critical personal style in creative visual communication

• be versatile in exploring and applying materials and media to produce innovative and creative ideas

• select and use a variety of visual communication formats to satisfy specific client requirements

• display a confident, individual style in communicating visual ideas to others


98

Guidance

Delivery

This unit should be integrated with other work and enable the learner to develop a personal style as part of a brief they initiated. The programme should incorporate a series of seminars, critiques and tutorials. Learners should engage in discussion with a broad cross-section of specialist tutors, technical support staff, practising designers, consultants and their peers for guidance.

Learners will need to be encouraged to identify a potential client for their brief. This could be achieved via competition work, external liaison, visits or through a ‘live project’.

Learners should be encouraged to work independently, identifying and researching a wide range of derivative and non-derivative sources in both written and visual formats.

Assessment

Learners will decide an appropriate way of presenting work for this unit. This may include sketchbooks, ideas books, drawings and development sheets, 3D mobiles, maquettes, photography, low relief work.

A visual analysis of market trends and client needs should be supplemented by a written report.

Links

This unit builds on specialist Unit 10: Design Exploration in Textiles and Unit 11: Design Application in Textiles.

For learners wishing to follow a specialist textile design pathway, it is envisaged that the unit will be studied along with Unit 14: Realising a Textile Collection. There is also the opportunity for links with Unit 6: Critical Study.



• Unit 3D: Element 1

• Unit 3M: Element 1.

Resources

Suggested sources for research may include libraries, museums, local and national galleries, exhibitions, retail and craft centres, CD-Rom databases, national and international trade fairs, practising designers, consultants and craftspeople.


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Support materials

Courtaulds Trends

Elle Decoration

Interiors

International Textiles

IWS Trends

Maglieria Italiana

Textile View

Trends Collezioni

View on Colour

Vogue Italia


100


101

Unit 14: Realising a Textile Collection

Learning hours: 60


Description of unit

The unit enables learners to select and use textile media and techniques to realise personal ideas and concepts as well as work with a commercial focus. The work should demonstrate clearer design ‘vision’ and a more creative application of skills. The technical ability and level of presentation should approach a professional level.


To achieve the unit a learner must:

1 Initiate, research and evaluate suitable source(s) to generate information for chosen textile specialisms

2 Independently develop ideas through the creative use of media and process

3 Design and manufacture the end product demonstrating dexterity and technical understanding, and creative and innovative use of process and materials

4 Present the solution in a professional format.


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Content

1 Textile specialisms

Creative stimuli: current affairs, contemporary culture, conceptual ideas, trends, fashion, historical reference, environmental concerns

Target market: client requirements, gallery requirements, price levels, timescale

Resources: material availability/appropriateness, cost, equipment, technical support

Research: sourcing documents, visual recording, collecting written information, collating ideas

2 Media and process

Experimentation: paper-based experiments, media development, samples, croquis, maquettes, technical testing

Development: refine ideas, analyse and edit possible solutions, constructing clear direction, develop ideas into a visual format suitable for client presentation, work plans

3 Product

End product: a single piece or collection of items suitable for textile specialism

Manufacture: hand production, craft skills, hand tools/equipment, production equipment, commercial manufacture, recording technical information in conventional format

Dexterity: manual skills, level of finish, neatness, care with process

Technical understanding: combine technical knowledge with practical application, eg more independent use of equipment/tools, cross-referencing systems and processes

Innovation: combination of techniques, unusual applications of materials, experimentation with formal elements, exploitation of unexpected outcomes, eg capitalising on chance

4 Professional format

Recording techniques: photography, technical drawing, 2D visual representation

Layout skills: composition, collation of information, visual impact, eg graphics, colouration

Display techniques: mounting, cutting, exhibiting of 2D and 3D items

Client presentation: visual aids, clear verbal structure, concise information, format appropriate for audience


103




1 Initiate, research and evaluate suitable source(s) to generate information for chosen textile specialisms

• critically analyse information and target market sources to stimulate creative direction and design decisions

• assimilate relevant personal research to inform development

2 Independently develop ideas through the creative use of media and process

• integrate knowledge and understanding to generate ideas through experimentation

• consider and judge a range of creative solutions, providing a positive rationale for the intended outcome

3 Design and manufacture the end product demonstrating dexterity and technical understanding, and creative and innovative use of process and materials

• apply technical understanding appropriately to practically manufacture a sample/finished product with a high degree of dexterity

• produce innovative and technically competent solutions to a brief identified by the learner

4 Present the solution in a professional format

• select and use a combination of recording and display techniques and layout skill to prepare a professional presentation

• display/present work in an appropriate professional manner and context

• communicate solutions confidently to client(s) and peers


104

Guidance

Delivery

This unit aims to consolidate technical and creative skills to direct and organise their output. The learner’s research should be personal, original and include an awareness of current trends in their particular field. The market research aspect of the unit could be delivered through learner-directed research, sponsored projects or interaction with current practitioners. The unit demands the application of a variety of professional skills and therefore could be linked with other units in smaller assignments.

Assessment

Learners are expected to produce an innovative final collection supported by thorough market and visual research. Opportunities for sponsorship should be encouraged through work experience and industrial links. Visual research, sheets, written reports and sample garments will need to be exhibited for assessment at a final presentation/exhibition.

Links

Learners should have recent experience of visual recording and experimentation, textile technical knowledge and its application, and the design process. It is envisaged that Unit 10: Design Exploration in Textiles and Unit 11: Design Application in Textiles will provide a useful foundation for this unit. Other units which could provide useful breadth are Unit 7: Fashion and Textile Materials Understanding and Unit 12: Techniques and Processes in Textiles. This unit could be delivered independently, but could benefit from being linked with Unit 9: Cultural Understanding in Fashion, Unit 13: Design Research in Textiles and Unit 16: Textiles Specialist Techniques and Processes. By integrating several related units larger blocks of time could be devoted to synthesising design skills.







Resources

Access to a range of textile materials such as fibres, dyes, yarns, threads, fabrics, pigments is vital. Equipment should be appropriate to the specialist textile discipline and a minimum requirement should include:

• dyeing: dye baths, boilers, steamers

• weaving: hand looms, warping frames, reed hooks, shuttles

• knitting: domestic flat bed machines with a range of gauges, including single and double bed; machines with jacquard capability


105

• surface pattern: print tables, silk screens, squeegees, backing cloths, dye-mixing facilities

• embellishment: domestic sewing machines, felt-making equipment, paper-making equipment, beads, threads, ribbons

• fashion: domestic sewing machines, overlocking machines, cutting tables, pressing equipment, mannequins.

Equipment should be supported with discrete studio spaces nearby.

The course should be supported by research facilities including books, periodicals, journals and catalogues with particular reference to contemporary craft and design publications. Links with local galleries and museums could also extend the resources.

Support materials

Books

Colchester C — The New Textiles (Thames & Hudson, 1993)


Koumis M (editor) — Art Textiles of the World: Great Britain (Telos Art Publishing, 1999)

Morrell A — Contemporary Embroidery: Exciting and Innovative Textile Art (Cassell Illustrated, 1994)


106


107

Unit 15: Textile Manufacture Production Operations

Learning hours: 60


Description of unit

This unit aims to give a broad understanding of textile production methods for small- to large-scale operations. The unit should highlight the differences between production systems, the impact these systems have on fabrics and which systems are most appropriate for varying markets.


To achieve the unit a learner must:

1 Research and demonstrate a broad understanding of the geographic, historic and economic significance of fibre production

2 Describe systems and manufacturing processes relating to natural and man-made fibre and fabric production

3 Research and evaluate the production and operating methods relevant to the learner’s emerging specialism

4 Compare different businesses and their respective production/operation strategies.


108

Content

1 Fibre production

Geographic: global distribution, raw materials, eg minerals, oil; climate, growing conditions, food sources, labour sources

Historic: trade links, eg silk route; population movements, religious persecution, slavery, impact of expanding empires

Economic: sources of wealth, developing economies, trade agreements, labour, transport, cost, fibre promotion

2 Manufacturing processes

Natural fibres: sourcing, selecting, cleaning, preparing, blending, spinning, winding/folding

Man-made fibres: sourcing, chemical preparation, extrusion, spinning, curing, texturing, winding/plying

Fabric production: warping, weaving, knitting, non-woven, lace

Processes: dyeing, finishing, inspection, quality control

3 Production and operating methods

Spinning: hand, continuous filament, woollen, worsted, cotton, conventional, open-end

Weaving: hand loom, floor loom, computer-aided loom, rapier, projectile, air jet, water jet, tappet, dobby, jacquard

Weft knitting: domestic, commercial, flat bed, circular, computer-linked

Warp knitting: raschel, beard

Non woven: felt, needle punch, bonded, fused, stitch bonding

Printing: block, stencil, screen, eg flat bed, circular; transfer, discharge, devoure, embossing, flocking

Embroidery: domestic machines, commercial machines

Quality methods: inspection, control, prevention

4 Businesses

Organisation: roles, chains of communication, flexibility, responsiveness

Plant: investment, minimum quantities, depreciation, production capacity

Types of business: sole proprietors, partnerships, private limited companies, public limited companies

Business structures: manufacturers, processors, converters, vertical, horizontal, small scale, large scale, bespoke (one off), batch production, flow production

Market focus: national, international, export, retail, wholesale, mail order, haute couture, contract


109




1 Research and demonstrate a broad understanding of the geographic, historic and economic significance of fibre production

• investigate and analyse information from a wide range of sources

• describe the production of a specific fibre or type of fabric using both historical and contemporary references

2 Describe systems and manufacturing processes relating to natural and man-made fibre and fabric production

• record and differentiate the key elements of manufacturing processes

• describe the different stages of processing and the quality control applied during production

3 Research and evaluate the production and operating methods relevant to the learner’s emerging specialism

• make an accurate and informative report of a visit to a business in the field

• analyse the methods used by a working contemporary designer/maker

4 Compare different businesses and their respective production/operation strategies

• compare and contrast the organisation and plant of different businesses, making connections between types of business, business structures and market focus

• Research and analyse the characteristics of the production and operation strategies of different business structures


110

Guidance

Delivery

Teaching and learning strategies might include lectures, videos, discussion, learner presentations, essays, visits, research projects, work placement, sponsored projects, group activities, and team work with a strong focus on learners’ ability to collect and research their own information.

Fibre promotion groups, commercial visits and specialist museums will all add diversity and enjoyment to the learning experience. Research in local outlets can also be used but clear briefing prior to market research is necessary. Advisory groups, business links and professional practitioners should be used as widely as possible.

Assessment

Although evidence could be presented in a variety of ways, it is expected that learners will submit the work in the form of an illustrated report, with a minimum of 2,500 words.

Content will vary depending on the links each individual learner has made, but all learners must visit at least one manufacturing outlet, and preferably several, to enable better comparison and evaluation of the systems in use.

Evidence could be collected in technical files or notebooks containing samples and illustrations.

Links

It is advisable that this unit is approached after some previous understanding of methods of making textiles and textile materials. Useful units at H1 could include Unit 7: Fashion and Textile Materials Understanding and Unit 12: Techniques and Processes in Textiles. Linking with Unit 16: Textiles Specialist Techniques and Processes would allow learners to specialise within the different fabric manufacture and fabric decoration processes.




Resources

It is important that learners are able to handle a range of man-made and natural fibres in both their raw state and at various stages of processing. Although it is not essential to use commercial production equipment, learners should visit processing and fabric production establishments to gain an insight into their functions. The fundamental principles of fibre processing and fabric production can be taught using hand techniques and domestic equipment. However, learners wishing to specialise in design may need access to some commercial equipment, especially CAD. Enhancing research facilities by the use of CD-Rom, internet, audio-visual equipment and IT is desirable.


111

Support materials

Books

Denton M J and Daniels P N — Textile Terms and Definitions (The Textile Institute, 2002)

Gohl E P G and Vilensky L D — Textile Science: An Explanation of Fibre Properties (Guildford Press, 1984)


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113

Unit 16: Textiles Specialist Techniques and Processes

Learning hours: 60


Description of unit

This unit aims to enable learners to develop specialist techniques and processes in textile design. It encourages learners in realising sophisticated design ideas to a professional standard in printed, knitted, woven or embroidered (embellished) textiles.



1 Research a range of textile techniques and processes and produce textile fabrics/artefacts to a professional standard through their application

2 Understand and use a range of textile machinery effectively for fabric production

3 Demonstrate a thorough understanding of theoretical principles relating to cloth production and/or textile techniques

4 Evaluate the textile techniques and processes used.


114

Content

1 Textile techniques and processes

Weave: single-cloth weaving using block drafts, warp spacing, double cloths, extra warp/weft effects, jacquards, experimental hand techniques

Knit: experimental hand techniques, cables, transfer techniques, plating, 3/4 colour jacquard, ruching, partial knitting, intarsia

Embroidery: open work, cord work, quilting, couching, ruching, experimental hand techniques

Print: four-colour screen repeat lengths, transfer printing, discharge, devore, overprinting, flocking, specialist pigment printing

Finishing treatments: steaming, brushing/raising, felting, shrinking techniques, laminating

2 Textile machinery

Machinery: 16 — 24 shaft floor looms, power looms, industrial hand flat knitting machines, electronic industrial and domestic machines, industrial sewing machines, specialist embroidery machines, transfer printing equipment

CAD/CAM: linking computer-aided design into cloth manufacture through computer-linked looms, knitting machines, packages which aid design and/or production of textile designs/artefacts

3 Theoretical principles

Fabric theory: knit racking, cabling, hand transfer techniques, blister effects, 3/4 colour jacquard design, ruching techniques, partial knitting and shaping, intarsia

Weave: double-cloth construction, extra warp and weft, jacquard design, compound/block drafts, advanced colour and weave effects, cloth analysis

Print: specialist chemicals and recipes for discharge, devore, flocking, technical notation for fabric production

Embroidery: sculpturing, layering, bubble work, cut work, ruching, machine lace

4 Evaluate

Functional: interior fabrics, upholstery (drapes, cushions, fashion), garments, accessories, millinery

Non-functional: decorative/fine art textile pieces

Critical analysis: analyse, refine solutions, discuss outcomes, successes and/or failure of media, materials, techniques, technologies and processes, and compare intentions with final outcome


115




1 Research a range of textile techniques and processes and produce textile fabrics/artefacts to a professional standard through their application

• research a wide range of textile techniques and processes

• evaluate the use of a wide range of textile techniques and processes for own work

• extend individual skills in textile techniques, experimentation and processes to achieve professional results in their own work

• select appropriate technologies to achieve final outcomes

2 Understand and use a range of textile machinery effectively for fabric production

• recognise the potential of CAD and CAM within their chosen specialisms

• operate textile machinery and equipment safely and competently

• challenge the limitations of machinery and equipment to produce innovative textiles

3 Demonstrate a thorough understanding of theoretical principles relating to cloth production and/or textile techniques

• confidently interpret and extend theoretical information into practical outcomes in their specialist area, to a professional standard

• research and analyse fabrics to determine cloth construction and evaluate textile processes involved in production

• record technical information for fabric production in the appropriate format

4 Evaluate the textile techniques and processes used

• evaluate the textile techniques used in terms of the final outcome produced

• evaluate the textile processes used in terms of the final outcome produced


116

Guidance

Delivery

An experimental approach will encourage learners to apply their technical skills and knowledge to achieve innovative design solutions. It is envisaged that learners will extend work from Unit 13: Design Research in Textiles and Unit 14: Realising a Textile Collection to produce professional outcomes.

Theoretical elements of the unit will be delivered through tutor-led lectures and demonstrations supported by practical application through projects or assignments.

Learners will study specialist techniques and processes appropriate to their own interests and design ideas, alongside an understanding of relevant equipment, machinery and technological developments. A sound theoretical understanding should be encouraged, enabling learners to apply techniques and processes creatively to achieve innovative design solutions.

Assessment

This unit covers print, weave, knit and embroidery. However, evidence for assessment will normally be limited to a chosen specialism.

Evidence for this unit should comprise a body of work generated in response to design ideas, briefs and personal interests, which may be related to development work in linked units.

Learners should also present technical files including accurate and detailed information on processes, techniques, technical details for fabric production and fabric samples.

Links

This unit builds on Unit 12: Techniques and Processes in Textiles which provides essential underpinning skills and knowledge.

It is envisaged that learners will use this unit to support and further develop work from option units Unit 13: Design Research in Textiles and Unit 14: Realising a Textile Collection.

This unit is appropriate for learners wishing to follow a specialist textile design route.

The CAD and CAM element of the unit is specific to the production of fabric, but would combine well with Unit 8: CAD/CAM for Fashion and Textiles for learners requiring a strong technical/IT pathway.




Resources

Learners will need access to adequate facilities for the production of woven, knitted, printed or embellished textiles to a professional standard (see Content). Facilities offered by the centre can be supported by developing active links with industrial manufacturers and partners.


117

Support materials

Books

Goerner D — Woven Structure and Design (British Textile Technology Group, 1989)

Harker G — Creative Machine Embroidery: A Practical Sourcebook (BT Batsford, 2003)

O’Shea M — Interior Furnishings (Textile Institute, 1981)

Spencer D J — Knitting Technology (Woodhead Publishing, 2001)

Watson W — Advanced Textile Design (Ariel Books, 1996)

Yates M — Textiles: A Handbook for Designers (WW Norton, 1996)


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119

Unit 17: Experimental Constructed Textiles

Learning hours: 60


Description of unit

In this unit learners will create innovative constructed textile samples for fashion, interior and fine art scenarios. Learners will be encouraged to investigate traditional and non-traditional media and materials, experiment and combine techniques, technologies and processes. They will be expected to combine, distort and manipulate constructed surfaces and experiment with yarn and thread qualities to produce a personal collection of constructed textile samples.



1 Research and evaluate a range of constructed textile materials, techniques and processes

2 Identify and collect source materials and carry out preparatory processes

3 Experiment and combine media, materials, techniques, technologies and processes in own work

4 Analyse, evaluate and refine approaches in own work


120

Content

1 Materials, techniques and processes

Properties and characteristics: transparent, opaque, weight, texture, strength, elasticity, shiny, matt

Traditional: natural and synthetic fabrics, yarns and threads, machine, embroidered, metallic, tapestry, piping, cord

Non-traditional: plastic, paper, chicken wire, fake fur, found materials, organic, twigs, pebbles, grasses etc

Non-organic: electricity wires, tubing, polythene foam etc

Weave: various shaft handlooms, card looms, yarn cone and hank winding machines, knots, wrapped elements, looping, tufts, plain weave, discontinuous weft, distorted weft, corduroy, leno, manipulation of yarns, gauze weave

Knit: domestic knitting machines, single and double bed structures, plain, rib, tuck, knots, wrapped elements, looping, tufts, plaited, tassels

Tapestry: high loom, flat tapestry, shaped tapestry, tension differential, slit tapestry, reconstructed after weaving, looping, tassels, knots, wrapped elements, add extra wraps to create 3D structures

2 Preparatory processes

Source materials: drawings, paintings, prints, lens-based imagery, computer-generated imagery, textures, paper structures and appropriate colour reference

Weave: wind warp on warping mill, beaming onto loom, threading, reeding, tying on

Tapestry: wind warp onto frame to desired set

Knit: thread, cast on and set knitting machines

3 Experiment

Materials: different combinations, colours, styles, distressed, conventional

Techniques: traditional and non-traditional

4 Evaluate

Functional: interior fabrics, upholstery (drapes, cushions, fashion), garments, accessories, millinery


Critical analysis: analyse, refine solutions, discuss outcomes, successes and/or failure of media, materials, techniques, technologies and processes, and compare intentions with final outcome


121




1 Research and evaluate a range of constructed textile materials, techniques and processes

• research a wide range of constructed textile materials, techniques and processes

• select appropriate constructed textile materials, techniques and processes for use in own work

2 Identify and collect source materials and carry out preparatory processes

• identify and select a wide variety of stimulating visual material

• gather a variety of traditional and non-traditional, synthetic and natural fabrics/paper/yarns/threads to select and perform suitable preparatory processes

3 Experiment and combine media, materials, techniques, technologies and processes in own work

• produce innovative samples exploring the working characteristics and properties of traditional and non-traditional media and materials

• produce innovative samples which combine media and materials and exploit a variety of woven and/or knitted and/or tapestry techniques, technologies and processes and demonstrate a personal, versatile and selective approach in their application


• document and comprehensively record how samples have been produced for future reference

• discuss and record the strengths, weaknesses and opportunities for improvement of the end product

• develop end product based on evaluation


122

Guidance

Delivery

Experimental constructed textiles will be explored through this unit to enable learners to broaden their knowledge, skill and understanding of this area. By selecting, combining and using a range of media, materials, techniques, technologies and processes, learners are able to consolidate their learning.

Learners will be expected to produce constructed textile samples that put ideas and techniques into practice. The samples should indicate the projected finished appearance of the textile. It is proposed that learners have an awareness of the functionality or the non-functionality of the samples.

Learners will need to be encouraged to document and record technical information for future reference. It is expected that all aspects relating to health and safety in the workplace will be a pre-requisite outcome of H1 and H2 unit learning activity.

When evaluating work, learners should be encouraged to discuss and comment on success and/or failure of media, materials, techniques, technologies and processes to enhance the quality of outcomes.

Assessment

Work for this unit will be mainly based on learner projects, supported by technical advice and critiques. It is imperative before starting this unit that learners have researched, gathered and produced visual source material to work from, in order to achieve an innovative collection of samples. Learners do not necessarily have to produce work for all the constructed textiles areas — woven, knitted and tapestry. If a learner has a particular interest within one field they should be encouraged to experiment in greater depth in that area. Learners who are unsure about which area they wish to specialise in should be encouraged to sample all fields. Exploration may arise from the needs of a given situation but may also be stimulated by curiosity, extending personal vocabulary or style, and may result in unexpected, unusual and innovative outcomes.

Links

Unit 6: Critical Study will underpin, broaden and expand the learner’s knowledge of constructed textiles.


• Unit 32: Elements 1, 2 and 3.


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Resources

Physical resources needed are as follows:

• weave: various shaft handlooms, hank winding machines

• knit: domestic knitting machines

• tapestry: high looms.

Suggested resources for research may include art galleries and museums, exhibitions, craft/textile magazines, trends and forecasting information.

Support materials

Books




Hillier B — The Style of the Century 1900–1980 (Herbert Press, 1990)


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125

Unit 18: Experimental Printed Textiles

Learning hours: 60


Description of unit

In this unit, learners will create innovative functional and non-functional textile samples for fashion, interior and fine art scenarios. Learners will be encouraged to experiment with both traditional and non-traditional printed textile media, materials, techniques, technologies and processes. They will be expected to juxtapose and combine colour, images and texture to produce a personal collection of samples on fabric and paper.



1 Research and evaluate a wide range of printed materials

2 Collect and prepare appropriate source materials

3 Experiment and combine traditional and non-traditional materials, techniques and processes in own work

4 Analyse, evaluate and refine approaches in own work.


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Content

1 Printed materials

Traditional: fabrics, transparent, opaque, various weights and textures

Papers: hand-made, commercially made, various weights and textures

Non-traditional: plastic, metal, wood

Synthetic: acrylic, acetate, viscose, PVC

Natural: cotton, wool, silk

2 Source materials

Visual: drawings, paintings, prints, lens-based imagery, computer-generated imagery and appropriate colour reference

Preparatory processes: kodatrace/acetates (positive images), dyeing, preparing dyestuff, photographically expose screen


Drawing and painting: graphite, pastel, chalk, conte, pencil, coloured pencil, gouache, inks, acrylic pigments

Dyes/dyestuffs: acid, procian, disperse and direct dyes, chemicals associated with printed textiles

Techniques and processes: screen printing, hand painting, devore, discharge, mono, procian, acid, disperse, direct printing

Printing equipment: photo-sensitive emulsion, silk screens, UVA exposure bed

4 Evaluate

Functional: interior fabrics, upholstery (drapes, cushion, fashion), garments, accessories, millinery


Critically analyse: analyse, refine solutions, discuss outcomes, success and/or failure of media, materials, techniques, technologies and processes, and compare intentions with final outcome


127




1 Research and evaluate a wide range of printed materials

• research into the characteristics of a wide range of printed materials

• evaluate the use of a wide range of printed materials in own work

2 Collect and prepare appropriate source materials


• prepare and use a variety of synthetic and natural materials combining different prepared surfaces and processes

3 Experiment and combine traditional and non-traditional materials, techniques and processes in own work

• produce innovative samples showing experimentation, combining traditional and non-traditional printed textile media, materials techniques, technologies and processes

• record technical information and select and use recipes for printing and dyeing fabrics

• select and use appropriate methods for fixing and finishing samples



• discuss and record the strengths, weaknesses and opportunities for improving the end product

• develop the end product


128

Guidance

Delivery

Experimental constructed textiles will be explored through this unit to enable learners to broaden their knowledge, skill and understanding of this area. By selecting, combining and using a range of media, materials, techniques, technologies and processes learners are able to consolidate their learning. Learners will need to be encouraged to document and comprehensively record technical information about printing and dyeing for future reference. Learners must be made aware of correct printing recipes and dye methods including the appropriate methods for fixing and finishing fabrics. It is expected that all aspects relating to health and safety in the workplace will be a pre-requisite outcome of H1 and H2 unit learning activity.


Assessment

Work for this unit will be mainly based on learner projects, supported by technical advice and critiques.

It is important that before starting this unit learners have researched, gathered and produced visual source material to work from, in order to achieve an innovative collection of paper and fabric samples. Exploration may arise from the needs of a given situation but may also be stimulated by curiosity, extending personal vocabulary or style, and may result in unexpected, unusual and innovative outcomes.

Links

In addition Unit 6: Critical Study will broaden and expand learners’ knowledge and understanding of printed textiles.




Resources

Physical resources should include an exposure bed, screen printing screens, print bed, and a dye area.



129

Support materials

Books

Colchester C — The New Textiles: Trends and Traditions (Thames & Hudson, 1993)




Robinson S — A History of Dyed Textiles (Studio Vista, 1969)

Robinson S — A History of Printed Textiles (Studio Vista, 1966)

Rothstein N — Silk Designs of the 18th Century (Thames & Hudson, 1990)

Slesin S — Spanish Style (Random House Value Publications, 1995)


130


131

Unit 19: Experimental Embroidered Textiles

Learning hours: 60


Description of unit

In this unit, learners will create innovative functional and non-functional embroidered samples for fashion, interior and fine art scenarios. Learners will be encouraged to investigate traditional and non-traditional media and materials, experiment and combine techniques, technologies and processes. Learners will be expected to manipulate and combine qualities of fabric, yarns and threads to produce a personal collection of embroidered samples.



1 Research and evaluate a wide range of embroidered textiles

2 Identify, collect and prepare appropriate source materials

3 Experiment and combine materials, techniques and processes in own work

4 Analyse, evaluate and refine approaches in own work.


132

Content

1 Embroidered textiles

Machine embroidered: eg free hand, fraying, experimenting with bobbin tension, pin tucking, piping, rouleau loops, darts, pleats, button holes, patchwork, appliqué

Hand embroidered: eg hand embroidery, straight stitch, blanket stitch, gathering, smocking

2 Source materials

Visual: eg drawings, paintings, prints, lens-based imagery, computer-generated imagery and colour swatches, textures, paper structures

Preparatory processes: eg stretch fabric over embroidery frame, thread up and set tension on sewing machine, select appropriate machine feet, set tension on bobbin


Traditional: eg fabrics natural and synthetic, aquafilm, dissolve-away fabric, bonderweb

Non-traditional: eg plastic, paper, chicken wire, fake fur, found materials

Organic: eg twigs, pebbles, grasses etc

Non-organic: eg electricity tubing, polythene foam etc

Yarns and threads: eg machine, embroidered, metallic, tapestry, piping, cord, ribbon

Properties and characteristics: eg transparent, opaque, weight, texture, strength, elasticity, shiny, matt

4 Evaluate

Interior fabrics: eg upholstery, drapes, cushions

Fashion: eg garments, accessories, millinery

Non-functional: decorative and fine art textile pieces

Critically analyse: analyse, refine solutions, discuss outcomes, success and/or failure of media, materials, techniques, technologies and processes, and compare intentions with final outcome


133




1 Research and evaluate a wide range of embroidered textiles

• research into the characteristics of a wide range of embroidered textiles

• evaluate the use of a wide range of embroidered textiles in own work

2 Identify, collect and prepare appropriate source materials


• gather a variety of synthetic and natural fabrics/paper/yarns/threads to use

• select and perform suitable preparatory processes in order to embroider

3 Experiment and combine materials, techniques and processes in own work

• produce innovative samples which explore, combine and exploit a variety of embroidered techniques, technologies and processes using traditional and non-traditional materials

• demonstrate a versatile, innovative and selective approach in the application of media, materials, techniques, technologies and processes



• discuss and record the strengths, weaknesses and opportunities for improving the end product

• develop and present a personal end product based on evaluative data


134

Guidance

Delivery

Experimental embroidered textiles will be explored through this unit to enable learners to broaden their knowledge, skill and understanding of this area. By selecting, combining and using a range of media, materials, techniques, technologies and processes learners are able to consolidate their learning.

Learners will be expected to produce embroidered samples, putting ideas and techniques into practice. These samples should indicate the projected finished appearance of the textile. It is proposed that learners have an awareness of the functionality and non-functionality of embroidered samples. Learners will need to be encouraged to document and comprehensively record technical information and manipulation techniques for future reference. It is expected that all aspects relating to health and safety in the workplace will be a pre-requisite outcome of H1 and H2 unit learning activity.


Assessment

Work for this unit will be mainly based on learner projects supported by technical advice and critiques.

It is important that before starting this unit learners have researched, gathered and produced visual source material to work from, in order to achieve an innovative collection of embroidered samples. Exploration may arise from the needs of a given situation but may also be stimulated by curiosity, extending personal vocabulary or style, and may result in unexpected, unusual and innovative outcomes.

Links

Unit 6: Critical Study will underpin, broaden and expand the learners’ knowledge of embroidered textiles.




Resources

Physical resources should include domestic machines for embroidery (eg Berninas) and sufficient materials to support each learner’s direction.



135

Support materials

Books

Arwas V — The Liberty Style (Academy Editions, 1983)

Battersby M — The Decorative Twenties (Watson-Guptill Publications, 1988)

British Textile Confederation — Textiles in the 1980s (1981)

Colchester C — The New Textiles: Trends and Traditions (Thames & Hudson, 1993)


Garner P — Contemporary Decorative Arts from 1940 to the Present (Book Sales, 1988)




136


137

Unit 20: Design Exploration in Fashion

Learning hours: 60


Description of unit

This unit aims to encourage the investigation of materials and experimentation with a variety of media, through personal enquiry and discovery. The unit allows learners to develop research techniques through exploring and developing design ideas.



1 Explore and experiment with the formal elements of fashion design through illustration

2 Develop and expand visual awareness imaginatively and creatively

3 Analyse and interpret visual research effectively

4 Adapt ideas for creative exploration in work efficiently and imaginatively.


138

Content

1 Formal elements

Formal elements: proportion, balance, scale, rhythm, detail, texture, colour

Mark-making techniques and media: own use of various media, traditional and non- traditional approaches, investigation of artists’ work

Illustration: figure drawing, life drawing, flats, mood sketches, mark and media use, rendering fabric, technique, professional illustration, own work, others’ work

2 Visual awareness

Visual awareness: expressive representations of mood, emotion, texture, movement, market, occasion

Communication of ideas: storyboards, research notebooks, critical diary, journal, sketchbooks — composition, layout

Market awareness: occasion, gender, fabric awareness, market levels, trend prediction, colour prediction

3 Visual research

Information sources: historical, contemporary, ethnographic, fashion predictions, trend information, colour predictions, exhibitions, film, literature, art movements, fabric trends/developments

Interpretation of information: identifying, classifying, selecting and recording visual information

Application of information: modify, manipulate, discover, discriminate, visual information in own work

4 Creative exploration

Application of analysis: fashion elements, visual research, fashion awareness in own work selection, identification and relation of elements from visual research


139




1 Explore and experiment with the formal elements of fashion design through illustration

• explore, develop and experiment with the elements of fashion design using a variety of mark-making techniques, materials and media safely

• research fashion illustration styles and techniques through personal work and analysing the work of professional illustrators

2 Develop and expand visual awareness imaginatively and creatively

• communicate a variety of moods and emotions in visual work

• develop creative and personal work through the application of different media and techniques

• record evidence of visual awareness by developing sketchbooks, journals and notebooks

3 Analyse and interpret visual research effectively

• analyse and interpret records from a variety of sources and present work in an individual style

• manipulate and apply visual information gained from research to expand and develop own creative ideas

4 Adapt ideas for creative exploration in work efficiently and imaginatively

• explore unfamiliar techniques and concepts and apply in own work

• produce a body of work which explores and interprets ideas for fashion design

• combine contrasting ideas from research to explore and expand ideas into innovative fashion design development


140

Guidance

Delivery

An experiential learning approach is required to enable learners to experiment and discover for themselves visual and creative thinking. Learners will be required to develop a personal style and demonstrate illustration techniques, gathering and interpreting visual research, understanding of the formal elements of fashion design and knowledge of health and safety.

Learners will need to be encouraged to research and record the work of artists, fashion designers and illustrators by exploring their use of media and method.

Learners should be encouraged to evaluate ideas through group critiques.

Assessment

Assignments for this unit will normally be set round a theme or linked to research undertaken for other units (see Links). Learners should be encouraged to take an increasingly self-directed approach to their work.

Work for this unit will need to be presented in a format that is appropriate for the form and nature of the work. It will normally comprise sketchbooks/notebooks and other visual material conveying mood and emotion through creative use of media.

Links

This unit is linked to Unit 4: Historical and Contextual Referencing, Unit 9: Cultural Understanding in Fashion and Unit 26: Research and Development for Fashion Design. However, the emphasis is on developing experimental skills and an understanding of exploratory techniques.




Resources

Suggested resources for research may include libraries, art galleries, exhibitions, fashion magazines, trend information, websites and CD-Rom databases.

Learners should record sources carefully and accurately citing authors, titles of books, articles, journals and publications and date/place/country of publication.

Support materials

Books

Barnes C — Fashion Illustration (Little Brown, 1994)

Drake N — Fashion Illustration Today (Thames & Hudson, 1994)

Seaman J — Foundation in Fashion Illustration (BT Batsford, 2001)


141

Unit 21: Design Application in Fashion

Learning hours: 60


Description of unit

The purpose of this unit is to develop learners’ understanding and approach to fashion design. Initially learners will explore the relationship between the designer, marketing and production processes.

Learners will synthesise visual and market research, analyse the influence of fashion designers and be able to solve design problems informed by an understanding of market and production constraints.

Summary of learning outcomes:


1 Objectively analyse and evaluate the work of fashion designers

2 Demonstrate an understanding of design, marketing and production processes within the fashion industry

3 Synthesise fashion and textile trends, in visual and market research

4 Develop personal creative design skills, conceptual thinking and visual identity.


142

Content

1 Fashion designers

Design styles: movements, designers, haute couture, fashion shows

Retail sector trends: shop reports

Fashion designers: fashion houses, haute couture, contemporary

2 Design, marketing and production processes

Interaction: design, marketing and production processes

Roles/functions: designer, design team, relationships with marketing/production

Commercial environment: fashion houses, manufacturers, agents, PR companies, mail order, trend forecasters

3 Visual and market research

Fashion trend information: specialist journals, magazines, press cuttings, websites, CD-Roms, fashion shows, trade shows

Market research: target groups, retail outlets, customer profile, behaviour, price points, market intelligence

4 Conceptual thinking and visual identity

Design skills: structured/unstructured for men, women or children, sportswear, corporate, functional

Develop ideas: storyboards, sketchbooks, design sheets, methods of presentation, lens-based media imagery, cultural/historical themes and influences

Visual identity: own style, personal interpretation/image


143


Outcomes Assessment criteria


1 Objectively analyse and evaluate the work of fashion designers

• research and analyse key design trends and the work of contemporary fashion designers, fashion houses, retail sectors and haute couture designers

• evaluate the work of fashion designers in terms of style and impact

2 Demonstrate an understanding of design, marketing and production processes within the fashion industry

• recognise the role of the designer and the design team and the commercial environment within which they operate

• analyse the interaction of the design, marketing and production processes

3 Synthesise fashion and textile trends, in visual and market research

• analyse consumer behaviour, fashion trends and market intelligence and the target groups of specific retail outlets

• produce sketchbooks, storyboards and design sheets that demonstrate research from a variety of sources

• use fashion illustration, design development and design presentation skills

4 Develop personal creative design skills, conceptual thinking and visual identity

• design creatively and work within the constraints imposed by designing for different markets, customers and functions and to a variety of design briefs

• present design ideas in a professional manner


144

Guidance

Delivery

Formal input to extend learners’ knowledge should include talks by practitioners in the field, such as designers and manufacturers. Set design briefs to develop studio practice should be backed up with tutorial support and group critiques. Opportunities exist for ‘live briefs’ set in conjunction with external bodies such as regional and national competitions, sponsored projects and industrial briefs.

Assessment

Work produced in response to a range of set design briefs and written reports will provide material for assessment. Learners should be encouraged to develop teamworking skills and to use a range of oral, written and visual skills when presenting design solutions. External visits and corresponding written reports are key in developing learners’ understanding of this unit.

Links

This unit links with a variety of units, in particular Unit 7: Fashion and Textile Materials Understanding, Unit 20: Design Exploration in Fashion, Unit 22: Techniques and Processes in Fashion and Unit 25: Fashion Environment.




Resources

Suggested resources include studio space, library facilities, specialist books, journals, publications, fashion magazines, film, video, slides, photographic, CAD/IT facilities, the internet, CD-Roms, access to retail outlets, exhibitions, trade shows and fashion shows.

Support materials

Books

Baudot F — Christian Lacriox (Fashion Memoir) (Thames & Hudson, 1996)

Baudot F — Elsa Schiaparelli (Fashion Memoir) (Thames & Hudson, 1997)

Berge P — Yves Saint Laurent (Fashion Memoir) (Thames & Hudson, 1997)

Chenoune F — Jean Paul Gaultier (Fashion Memoir) (Thames & Hudson, 1996)

France Pockna M — Dior (Fashion Memoir) (Thames & Hudson, 1996)

Ireland P J — Fashion Design Drawing and Presentation (BT Batsford, 1989)

Irelan P J — Fashion Graphics (BT Batsford, 1997)


145

Ireland P J — Introduction to Fashion Design (BT Batsford, 1992)

Kamitisis L — Vionnet (Fashion Memoir) (Thames & Hudson, 1996)

Peacock J — 20th Century Fashion (Thames & Hudson, 1993)


146


147

Unit 22: Techniques and Processes in Fashion

Learning hours: 60


Description of unit

This unit provides an introduction to the technical skills required in pattern and garment production. Learners will learn the fundamental pattern construction processes required and will apply these to produce patterns for their own design work. Learners will learn about manufacturing processes and how to apply these to produce garments.



1 Apply pattern construction processes to interpret garment designs effectively

2 Apply garment manufacturing processes to interpret garment designs effectively

3 Use technologies and associated equipment correctly for pattern and garment manufacture

4 Evaluate the use of pattern construction and garment manufacturing processes.


148

Content

1 Pattern construction processes

Processes: these will vary according to the garment design, but may include manipulation (dart and seam placement, fullness and gathers, pleats and yokes), details (collars, cuffs, openings and fastenings, pockets and waistbands), sleeves (set in and raglan), pattern marking

2 Garment manufacturing processes

Techniques: these will vary according to the garment designs, but may include seams and seam finishes, gathers and fullness, openings and fastenings, collars and cuffs, hems, use of interlinings and trimmings

Range of cloth: woven, knitted, printed, embroidered, natural, man-made

Construction: lay planning, order of work for making up, use of techniques to construct whole garments

3 Technologies and associated equipment

Use of hand tools: identification and correct use of hand tools for pattern construction and garment manufacture, eg shears, notchers

Use of manufacturing machinery: lockstitch and overlock machinery, and specialist machinery where appropriate and available

Pressing equipment: suitable techniques and use of pressing equipment

Health and safety awareness: awareness of hazards, eg steam press; safe use of machinery, eg fingerguards; appropriate dress, eg no loose clothing or hair

4 Evaluate

Quality: in terms of finish, look, use of material, effectiveness of pattern

End user: meets their needs, meets creative intentions


149




1 Apply pattern construction processes to interpret garment designs effectively

• produce and select accurate patterns which interpret garment designs using suitable pattern construction processes

• apply pattern construction processes effectively

2 Apply garment manufacturing processes to interpret garment designs effectively

• produce samples of different cloths using a variety of manufacturing processes

• produce an efficient and effective plan for cutting out and making up

• select and use suitable garment manufacturing processes to create a finished garment

3 Use technologies and associated equipment correctly for pattern and garment manufacture

• select and use the correct equipment and machinery for the given task

• use accurate and safe working practices with all available machinery and hand tools

4 Evaluate the use of pattern construction and garment manufacturing processes

• evaluate the accuracy of pattern construction

• evaluate the effectiveness and quality of garment manufacture


150

Guidance

Delivery

Problem solving, lateral thinking and application of solutions to different contexts are to be encouraged, while keeping within the confines of neatness and accuracy. It is envisaged that design solutions from units Unit 20: Design Exploration in Fashion and Unit 21: Design Application in Fashion will be taken through to this unit for manufacture. Discussion with tutors will help learners to select and apply the most suitable methods for both pattern construction and garment manufacture and will enable learners to begin to assimilate whole garments from the individual methods and processes they use.

Assessment

In this unit the learner is expected to produce a collection of patterns and processes based on their individual interests and design ideas. After studying the preliminaries, learners need to be encouraged to tackle a wide range of design ideas, utilising some of the pattern and garment-making processes listed in Content. They will need to explore using a variety of fabrics, while taking into account external factors which may affect choice — eg client-based work, availability of cloth, changing fashions in both look and fabric, and new technological developments. Processes mentioned in Content but not covered by the range of garments, can be produced as samples. This unit should not generate large amounts of work in pattern cutting or manufacturing processes. For example learners will need to demonstrate skill in flat and roll collars but not necessarily provide samples in all variations.

Links

It is envisaged that this unit will link to Unit 20: Design Exploration in Fashion and Unit 21: Design Application in Fashion. It could also combine well with Unit 7: Fashion and Textile Materials Understanding.




Resources

Centres need to provide adequate facilities for garment manufacture for all learners. Minimum requirements must include lockstitch and overlock machines, a coverstitch machine and suitable industrial-standard pressing equipment. Centres also need to provide a full range of standard block patterns for learners to use.

Many excellent pattern drafting and garment manufacture textbooks are on the market, for example the Pattern Cutting books by Winifred Aldrich (Mills & Boon).


151

Support materials

Books

Armstrong H — Pattern Making for Fashion Design (Prentice Hall, 2003)

Barnes C — Fashion Illustration (Little, Brown and Company, 1994)

Campbell H — Designing Patterns: A Fresh Approach to Pattern Cutting (Nelson Thornes, 1980)


Ireland P J — Introduction to Fashion Design (BT Batsford, 1992)

Ireland P J — Fashion Design Drawing and Presentation (BT Batsford, 1989)

Ireland P J — Fashion Graphics (BT Batsford, 1997)

Peacock J — 20th Century Fashion (Thames & Hudson, 1993)



152


153

Unit 23: Production Techniques

Learning hours: 60


Description of unit

This unit will introduce learners to a range of industrial equipment used in the clothing industry and enable them to develop techniques required for garment manufacture. The unit provides essential skills and understanding of the basic principles required to produce sample garments.

Summary of outcomes


1 Apply understanding of industrial equipment to develop manufacturing skills

2 Construct an accurate calico toile for an identified garment

3 Produce a well-finished garment accurately and effectively

4 Evaluate use of industrial equipment and the finished garment.


154

Content

1 Industrial equipment

Machinery: sewing machines, lock stitch and overlock machinery, Hoffman press

Hand tools: steam iron, velvet board, pressing bucks, dress stand

Techniques: seams, seam finishes, darts, gathers and fullness, openings and fastenings, collars and cuffs, use of interlinings and trimmings

Adjustment and basic maintenance: needles, thread, stitch type and size, tension, speed

Health and safety: correct use according to manufacturer’s guidelines, relevant legislation

2 Calico toile

Factors affecting finish: seam allowance, seam and dart alignment, sleeve setting

Fitting: ease, adjusting darts and fullness, length, necklines, armholes, details

3 Garment

Manufacturing sequence: will vary according to the garment style but should take account of laying and cutting, seaming, seam finishing, under pressing, trimming and finishing, quality inspection

4 Evaluate

Quality: of manufacture, finish, fitting

Use of equipment: machinery, hand tools, techniques and health and safety


155




1 Apply understanding of industrial equipment to develop manufacturing skills

• select and use machinery, hand tools and techniques suitable for identified purposes

• adjust and maintain industrial equipment to ensure an acceptable quality of finish

• create and present a collection of samples that show the potential/limitations of the application of a range of manufacturing equipment and techniques

• contribute to a safe working environment

2 Construct an accurate calico toile for an identified garment

• cut appropriate pieces accurately following a lay plan

• identify a suitable sequence of processes to construct a toile from working design

• construct a toile

3 Produce a well-finished garment accurately and effectively

• draw up a plan based on a logical breakdown of manufacturing sequences using appropriate equipment and skills to achieve a quality finish

• produce a well-finished garment accurately and effectively

4 Evaluate use of industrial equipment and the finished garment

• evaluate how well industrial equipment is used to construct a toile and achieve a quality finish to the garment

• evaluate the finished garment


156

Guidance

Delivery

Demonstration and practice will form the basis of this unit. Learners will need to develop skills and build confidence in using a full range of industrial equipment.

This unit will give learners the opportunity to gain machine skills through practice and producing samples. Samples should be mounted and kept for future reference. Learners should be encouraged to experiment and produce toiles for various areas of design, building up a good file of reference.

Assessment

For outcome 1 work should be presented in the form of technical notes and sample files. After completing a series of set exercises to cover the basic principles, learners should be encouraged to carry out increasingly self-directed explorations of the potential of equipment and techniques.

Work for outcomes 2 and 3 may be integrated through a set brief and/or from assignment and project work on linked design units. Briefs should encourage learners to explore more sophisticated production techniques as well as styles requiring more fitting.

Links

This unit links with the related technical units Unit 22: Techniques and Processes in Fashion and Unit 24: Pattern Drafting. It also provides essential underpinning skills and understanding for Unit 29: Garment Manufacture. The emphasis in this unit is on developing specific technical skills required in making-up garments.




Resources

Industrial equipment and adequate space will be required for all learners, to meet the requirements listed in the Content section of this unit.

Support materials

Book

Stylios G — Textile Objective Measurement and Automation in Garment Manufacture (Ellis Horwood, 1991)


157

Unit 24: Pattern Drafting

Learning hours: 60


Description of unit

This unit will introduce learners to the principles of pattern drafting through block construction and pattern manipulation. Having completed this unit successfully, learners will have the basic skills required to progress to creating patterns from their own and others’ working drawings.



1 Create a set of basic blocks

2 Develop and expand understanding of dart and seam manipulation

3 Produce a full scale pattern from a working drawing

4 Evaluate the full scale pattern.


158

Content

1 Basic blocks

Basic blocks: eg bodice, skirt, trousers, set in one-piece sleeve

Tools and equipment: for cutting, eg table, shears, notchers, hole punch; for measuring, eg rule, curved rule, calculator; for marking, eg set square, scale squares, grading square, curves, tracing wheel, pens, pencils, chalk, paper, card; for holding, eg weights, pattern hooks

2 Dart and seam

Darts and seams in one quarter or one fifth scale: skirts, eg straight, panel, A-line, flared, selection of pleats, yokes; bodice, eg low-cut front, buttoned/shirt front, bust dart in vertical seams; sleeve (straight, shirt, semi-fitted, short, flared, puffed)

Details: eg collars, cuffs, openings and fastenings, waistbands, pockets

Silhouettes and fitting: eg fitted, semi-fitted, loose

3 Scale pattern

Full scale pattern: the name of each piece, centre back and front, the number of pieces to be cut, folds, balance works/notches, seam allowances, construction lines, grain lines, pattern size, cutting instructions

Lay plan: grain, economical use of fabric, matching fabric/pattern features, eg one-way naps, stripes

4 Evaluate

Quality: usability of plan and lay plan

Effectiveness: optimum use of fabric, technical, eg darts, collars, cuffs; as use for lay plan


159




1 Create a set of basic blocks

• select and use tools and equipment with due regard for safety

• apply understanding of standard sizing systems to produce an accurate set of blocks

2 Develop and expand understanding of dart and seam manipulation

• explore positions for darts to give shape for bust/shoulder blades

• investigate the potential of darts in seams and fullness for creating loose and close-fitting styles

• investigate the pattern requirements for a range of details in identified styles

• investigate openings in skirts and bodices in terms of style and function

• produce a range of one-quarter or one-fifth scale patterns showing a variety of style developments

3 Produce a full scale pattern from a working drawing

• apply understanding of the principles of pattern cutting effectively

• draft a full scale pattern and lay plan effectively

4 Evaluate the full scale pattern

• evaluate the full scale pattern and lay plan in terms of usability and use of fabric

• evaluate use of instructions in each pattern piece


160

Guidance

Delivery

This unit should be delivered by demonstration and practical application. Learners should be encouraged to explore their ideas as well as covering the basic principles. They should also be encouraged to feel that the processes are easy to apply as this is usually a new learning experience for them, but can be made exciting.

This unit should enable learners to develop the basic principles of pattern drafting and create a set of basic blocks. Each block will be produced by working from written instructions and diagrams with technical support. Learners will need to be taught the use of specialist equipment and given sufficient opportunity to develop accuracy and precision in measuring, marking out and cutting. Learners should assess the accuracy of their blocks by fitting them against a template. They should be made aware of how important a set of accurate blocks is to the creation of full scale patterns for garment manufacture.

Assessment

Work for outcomes 1 and 2 will need to be presented in the form of a set of basic blocks supported by technical notebooks and sample books recording explorations carried out to a one-quarter or one-fifth scale. The full-scale flat pattern required for outcome 3 may result from set briefs and/or from assignments and project work for linked design units. Briefs should encourage learners to explore more sophisticated manipulation and fitting principles to a range of garments derived from their set of basic blocks.

Links

This unit links with the related technical units Unit 22: Techniques and Processes in Fashion and Unit 23: Production Techniques. It also provides essential underpinning skills and understanding for Unit 28: Pattern Construction. The emphasis in this unit is on developing specific technical skills required in pattern cutting.




Resources

Pattern-cutting facilities and adequate space will be required for all learners, to meet the requirements listed in the Content section of this unit.

Many excellent pattern drafting textbooks exist on the market.


161

Support materials

Books



Sealey M R — Principles of Pattern Drafting and Design (Longman, 1983)


162


163

Unit 25: Fashion Environment

Learning hours: 60


Description of unit

This unit gives the learner an understanding of the relationship between fashion marketing and design and the importance of these two elements to business strategy and as a means to competitive advantage in an industry characterised by change. The unit will introduce fashion marketing theory and practice and their relevance to the fashion industry.



1 Analyse and interpret the basic principles of marketing in a fashion context

2 Gain awareness of the environmental factors which influence the fashion industry's marketing policies

3 Investigate, analyse and evaluate marketing strategies adopted by the industry

4 Apply the principles of fashion marketing planning.


164

Content

1 Marketing

Definitions: the role of the designer, the role of the marketeer, market research

Segmentation theory: geographic segmentation, benefit segmentation, psychographic/lifestyle segmentation, behaviour segmentation, gap analysis, positioning, the marketing mix

Targeting: mass market, selective multi-segment marketing, niche markets

Positioning: casual style, semi-casual, formal, price level, design image, product quality, marketing mix

Market research: visual/design trends, statistical data, fashion press, journals, forecasting agencies

2 Environmental factors

Macro factors: political, social, cultural, technological, ethical

Fashion market understanding: size, structure, street fashion, mass market, designer wear, haute couture, fashion forecasters, manufacturers, wholesalers/retailers, consumers, competitors, internal strengths/weaknesses, external opportunities/threats (SWOT)

3 Marketing strategies

Product life cycles: fashion fad, fashion classic, fashion diffusion process, mid-season collections

Fashion marketing objectives: strategic choice, marketing tactics, marketing strategy

Competitive forces: analysing competition, price wars, existing players, new players, product innovation, distribution strategies

4 Marketing planning

Main components: structure, timescale, fashion calendar, marketing objectives, SWOT, market research, marketing strategy, marketing mix elements, trend/sales forecasting, resourcing


165




1 Analyse and interpret the basic principles of marketing in a fashion context

• research and explain how fashion marketing relates to the design function and draw conclusions from market research data available to the fashion marketeer

• apply segmentation theory to select a target market and develop an appropriate market mix

2 Gain awareness of the environmental factors which influence the fashion industry's marketing policies

• research, evaluate and describe the size and structure of the fashion market in a given context, analysing the external and internal factors which influence the fashion environment

• research and evaluate a gap in a segment of the fashion market

3 Investigate, analyse and evaluate marketing strategies adopted by the industry

• research and evaluate the role and importance of the marketing mix elements used in the fashion industry

• apply knowledge of the product life cycles by identifying the relationship to new product development

• investigate the competitive forces and marketing objectives within selected fashion market segments

4 Apply the principles of fashion marketing planning

• analyse and evaluate the marketing planning process adopted by others

• independently produce a marketing plan for a fashion company or for oneself, identifying the critical factors for success within the industry


166

Guidance

Delivery

Tutors can introduce the theoretical concepts and strategies through lectures/seminars and practice followed by a high level of personal initiative and enquiry by learners. Formal delivery of theory and visual content will be interspersed with tutorial sessions on a group or individual basis. The use of case studies would assist group dynamics and provide a stimulating framework for role play and team work. Investigation of the size and structure of the fashion market for outcome 2 should be within a given context, eg Europe, emerging global markets.

Assessment

Learners will be required to produce reports/essays and notebooks which draw together research findings and given information. They should be encouraged to read magazines, newspapers and journals to help contextualise their learning. The use of case studies and visits could facilitate this process.

The marketing plan for outcome 4 could be a vehicle for decisions about the learner’s final collection of garments and subsequent promotional activity; alternatively it could be done for an existing company.

Links

This unit can be delivered as a stand-alone unit although an understanding of it could usefully inform work in design units, for example Unit 21: Design Application in Fashion.

The outcomes in this unit equip learners for progression to further HE study or employment.



• Unit 3D: Element 1


Resources

Appropriate research facilities should be made available to facilitate this unit.

These may include various CD-Roms, internet access, Mintel Retail Intelligence, Euromonitor, Design and Applied Arts Index, specialist publications and journals, specialist texts and case studies for applying certain theoretical aspects of this unit.


167

Support materials

Books

Easey M (editor) — Fashion Marketing (Blackwell Science, 2001)

Popcorn F — The Popcorn Report: Revolutionary Trend Predictions for Marketing in the 1990s (Arrow, 1993)

Further reading

Drapers Record

Marketing

Marketing Week


168


169

Unit 26: Research and Development for Fashion Design

Learning hours: 60


Description of unit

This unit builds on previous work in Unit 20: Design Exploration in Fashion to further develop creative and visual awareness through critical investigation, research, personal enquiry and discovery. Learners will be encouraged to show initiative and perception through personal expression and enquiry to develop creative potential and personal style.



1 Develop and extend understanding of the design process

2 Summarise and present research findings in a personal style

3 Extend and apply skills in creative analysis

4 Synthesise and evaluate research and experimentation.


170

Content

1 Design process

Research: through personal enquiry, discovery, perception, initiative, compiling and collating — from fashion prediction and trend information, magazines, the internet

Development: combining, compiling, categorising, relating, contrasting, experimenting, sampling, developing detail, manipulating formal elements

Solution: design ideas, illustrations, storyboards, mood sketches

2 Research findings

Individual approach: working from own discoveries to produce innovative design ideas, expressing own ideas confidently, individual approach, response to visual stimuli

Summarise: evaluate, discover, extract stimuli, record findings, relate found images to own mark-making, sketchbook development, prediction and trend analysis

Present: verbal and visual presentations of findings, layout and composition, sketchbooks, notebooks, story/mood/theme boards, design solutions

3 Creative analysis

Examining and recording: drawing, observing, note making, comparing, contrasting, changing media/scale/detail/materials/methods, reproducing, reconstructing, categorising, explaining, combining

Interpretation: formulating ideas, reaching conclusions, structuring criticism, generating ideas

4 Experimentation

Synthesis and evaluation: formulise new designs, make value judgements based on self-defined criteria

Adaptation and organisation: combining methods and materials to devise outcomes, visual research as an expressive tool


171


Outcomes Assessment criteria


1 Develop and extend understanding of the design process

• generate ideas for development through experimental work, demonstrating understanding of the design process

• selectively develop and exploit experimental work and design detail through to final solution

2 Summarise and present research findings in a personal style

• analyse and summarise current fashion prediction and trend information to inform work

• research, record and demonstrate a critical approach from a variety of sources, presenting work in an individual style

3 Extend and apply skills in creative analysis

• graduate and record development ideas to enhance an innovative approach to design and illustration

• manipulate visual information gained from research to expand and develop creative ideas

4 Synthesise and evaluate research and experimentation

• select, combine, explore and expand contrasting ideas from research to inform innovative fashion design development

• adopt unusual approaches to developing work which shows creative potential and personal expression


172

Guidance

Delivery

Critical investigation and experimental learning are the approaches which allow learners to develop in this unit. Developing individuality and personal style is fundamental to successfully achieving the outcomes and assessment criteria. Learners will be required to develop a personal style by exploring the design process through projects written to specific briefs which can combine with or support project briefs for Unit 27: Realising a Fashion Collection. Group and individual critiques and presentations of work should be encouraged.

Learners will need to be encouraged to research unfamiliar as well as familiar sources and to experiment.

Learners should be encouraged to work independently, analysing and evaluating their own discoveries and design solutions.

Assessment

Design development is explored in this unit and is intended to be delivered alongside Unit 27: Realising a Fashion Collection, to provide the creative input to the fashion collection produced in that unit.

Learners should present their work in an appropriate format, covering a range of communication methods. Learners should be able to discuss and evaluate their ideas with tutors and their peers using appropriate language.

Links

This unit will combine well with Unit 27: Realising a Fashion Collection.



• Unit 33: Elements 1, 2 and 3.

Resources

Suggested resources for research may include libraries, art galleries, exhibitions, fashion magazines, news media, trend information, websites, CD-Rom databases.

Learners should record sources carefully and accurately, citing authors, titles of books, articles, journals and publications and date/place/country of publication.

Support materials

Books

Barnes C — Fashion Illustration (Little, Brown and Company, 1994)




173

Unit 27: Realising a Fashion Collection

Learning hours: 60


Description of unit

In this unit, learners will have the opportunity to design and realise their own fashion collection. This gives learners an appreciation of the role of the designer and an understanding of different market sectors, production methods and their related constraints. The unit integrates a variety of complex skills and knowledge to realise innovative and complex designs.

Summary of outcomes


1 Design an innovative collection to a self-identified theme

2 Develop a range of garments using information from fashion predictions and trends to inform design solutions

3 Demonstrate synthesis of knowledge, skills and understanding to realise designs

4 Present, analyse and evaluate their own work.


174

Content

1 Collection

Requirements: individual theme, specified target market, market awareness, design identity/concept

2 Fashion predictions and trends

Research data: fashion trends, consumer behaviours, scale of production, visual research, fabric sourcing, colour trends and predictions

Sources: specialist journals, magazines and media, websites, CD-Roms, questionnaires, fashion shows, trade shows, museums, galleries, exhibitions, fabric suppliers

Fitness for purpose: market constraints, design, weavability, make

3 Realise designs

Realisation process: sample garments, prototypes, design development, sketchbooks, illustration, design sheets, presentation

Practical factors: production methods, ideas appropriate to choice of fabrics and market, garment costing, method of manufacture

4 Present

Presentation methods: critiques, displays, exhibitions, fashion show

Recording methods: design portfolio, digital, eg CD-Rom, website; photographic, audio-visual


175




1 Design an innovative collection to a self-identified theme

• create designs and design garments using an individual theme and concept to a high level of design awareness and innovation

• undertake, evaluate and use detailed visual research

2 Develop a range of garments using information from fashion predictions and trends to inform design solutions

• undertake detailed research and synthesise trend information from a wide variety of sources to inform design solutions

• select and use fabrics based on their fitness for purpose

3 Demonstrate synthesis of knowledge, skills and understanding to realise designs

• integrate a variety of complex skills and knowledge to realise innovative and complex designs

• create designs which have a clear identity and which show a high degree of initiative and independence

• realise and present designs with a clear understanding of technique, process and materials

4 Present, analyse and evaluate their own work

• research, evaluate and apply appropriate methods of presenting and recording final design solutions

• contextualise the chosen theme/collection to aid presentation

• identify the design sources and influences which contributed to the collection

• evaluate the final collection in relation to differing target markets, and identify potential for improvement


176

Guidance

Delivery

The theme of the final collection should be identified by learners within centre-devised guidelines. Learners should be supported by tutorial guidance and technical support. Design work and toiles should be presented at group critiques for discussion and evaluation at key points during the year, with an end of year/unit final exhibition/fashion show as the main focus of the unit.

Assessment

Learners are expected to realise an innovative final collection supported by thorough market and visual research. Opportunities for sponsorship of fabrics and trimmings should be encouraged through work experience and industrial links. Visual research, design sheets, written reports and sample garments will need to be exhibited for assessment at a final exhibition/fashion show.

Links

It is envisaged that the skills and understanding in one or more of the following units would be developed prior to completing this unit: Unit 20: Design Exploration in Fashion, Unit 21: Design Application in Fashion, Unit 22: Techniques and Processes in Fashion and Unit 25: Fashion Environment.




• Unit 3D: Elements 1 and 2


Resources

Suggested resources include studio space, library and research facilities, specialist books, journals, publications, fashion magazines, websites, film, video, photography, slides, CAD/IT facilities, exhibitions, trade shows, fashion shows, sewing/manufacturing facilities, textile materials and trimmings suppliers.

Support materials

Book

Jenkyn-Jones S — Fashion Design (Laurence King, 2002)


177

Unit 28: Pattern Construction

Learning hours: 60


Description of unit

This unit provides opportunities to develop the more complex understanding required to construct patterns from working drawings and design sketches. Learners will also study processes of pattern grading and apply them to a variety of styles.



1 Develop creative and fluent pattern construction skills

2 Investigate, understand and apply skills to accurately provide pattern grading solutions

3 Use pattern construction tools, equipment and technology with safety and confidence

4 Evaluate own use of pattern construction.


178

Content

1 Pattern construction

Methods: flat pattern cutting, modelling on the stand

Applications: solving design problems in womenswear, investigating children’s garments, investigating men’s garments

Design solutions: these will vary according to the application but may include sleeve adaptations (dolman, kimono, batwing), openings (button stands, fly fronts), styling (yokes, pleats, asymmetric lines), silhouettes and fitting (jersey, stretch)

2 Pattern grading

Standard pattern: grading up sizes, grading down sizes

3 Tools, equipment and technology

Techniques by hand: scissors, shears, tracing wheels, powered cutting equipment

Computer applications: lay planning, pattern grading, costing

Health and safety awareness: safe working practices, relevant legislation

4 Evaluate

Use of technique: fluency, familiarity, capability, ability to control the finished outcome, ability to use materials effectively

Pattern construction: in terms of the pattern produced, how long it took to produce, how effectively the pattern communicates the finished garment and in terms of the finished garment itself


179




1 Develop creative and fluent pattern construction skills

• diagnose and use the most suitable methods to solve identified design problems

• produce patterns for a capsule collection that show accurate interpretation of designs, relevant information and cutting instructions

2 Investigate, understand and apply skills to accurately provide pattern grading solutions

• produce a set of graded patterns for a simple garment with a set of rules explaining the process for sizing up and down and providing information needed by cutters

• ensure that notches and seam alignment for all sizes of grades are accurate

3 Use pattern construction tools, equipment and technology with safety and confidence

• produce neat, accurate patterns with smooth-cut edges

• maintain a safe working environment at all times

• construct accurate costing sheets and lay plans showing effective use of fabric and grading rules using appropriate software

4 Evaluate own use of pattern construction

• evaluate own pattern construction skills and use of pattern construction equipment

• evaluate production of graded patterns


180

Guidance

Delivery

It is envisaged that design solutions from Unit 26: Research and Development for Fashion Design and Unit 27: Realising a Fashion Collection may be taken through to this unit for manufacture. Formal delivery and workshops demonstrations may be used, as well as individual and group critiques. Discussion with tutors will enable learners to select and apply the pattern construction methods which best suit their needs.

Assessment

Assignments for this unit can be integrated with the design units, enabling learners to reach their own conclusions and develop an individual range of garments. To meet the requirements of the unit learners will produce a capsule collection and will develop an understanding of grading principles. The collection may be designed by the learner, or patterns could be part of a range for an industrial partner.

Actual processes covered will depend on the designs/patterns involved. The set of graded patterns for a simple garment for outcome 2 may form part of the collection or be undertaken as a separate assignment. Costing and lay planning evidence for outcome 3 should be presented using an industry standard format. Processes not covered through the production of the collection can be submitted in sample form, but should be of good quality and well presented.

Links

This unit can be usefully integrated with Unit 29: Garment Manufacture.

This unit is linked to Unit 22: Techniques and Processes in Fashion and Unit 24: Pattern Drafting which provide underpinning skills and understanding.



• Unit 3D: Elements 1, 2 and 3

• Unit W: Element 3.

Resources

Centres need to provide adequate facilities for pattern construction for all learners, eg space, paper, rulers, graders, set squares, dress stands etc. Learners also need access to computer software for pattern construction and grading, either on or off the premises.


181

Support materials

Books



Sealey M R — Principles of Pattern Drafting and Design (Longman, 1983)


182


183

Unit 29: Garment Manufacture

Learning hours: 60


Description of unit

This unit gives learners the opportunity to further develop greater understanding of manufacturing processes and experience in the use of industrial equipment to produce garments to sample quality.


To achieve this unit the learner must:

1 Develop garment manufacturing skills to sample quality

2 Demonstrate dexterity in the safe use of equipment and technologies

3 Create a capsule collection of sample garments

4 Evaluate capsule collection and use of garment manufacturing equipment and technologies.


184

Content

1 Garment manufacturing

Cloth: easy to handle, difficult to handle, eg stretch/elastomeric, leather and suede, pile fabrics

Techniques: straightforward, complex, eg fly fronts, collar and revere, lining, top stitching, pleats

2 Equipment and technologies

Industrial equipment: overlock machines, cover stitch machine, buttonhole, Hoffman press

Processes: lode stitch, threading, changing needle, needle up/down, backstitch, stitching, starting, stopping

Health and safety: awareness of Factories Act, COSHH (Control of Substances Hazardous to Health)

3 Capsule collection

Designs: will vary but may include childrenswear, menswear or womenswear

Planning: breakdown of processes, logical sequence, due regard for safety, replicability

4 Evaluate

Quality: techniques, processes, designs

Effectiveness: use of cloth, industrial equipment, planning


185




1 Develop garment manufacturing skills to sample quality

• select and apply suitable techniques for working with different cloth types and produce samples which are accurate and of high quality

• research, evaluate and apply the most suitable processes to solve manufacturing problems

2 Demonstrate dexterity in the safe use of equipment and technologies

• use appropriate industrial equipment and technologies safely and correctly to suit the task in hand

• apply good and safe working practice when using cutting, making and pressing equipment

3 Create a capsule collection of sample garments

• plan sample garments by working realistically from patterns and design sketches

• make sample garments effectively

4 Evaluate capsule collection and use of garment manufacturing equipment and technologies

• evaluate capsule collection in terms of effectiveness

• evaluate the effectiveness of use of manufacturing equipment and technologies


186

Guidance

Delivery

Problem solving, lateral thinking and applying solutions to different contexts are all to be encouraged. It is envisaged that design and patterns from linked units will be taken through to completion via this unit. Learners will be working individually, but group critiques can be included to illustrate useful areas for discussion. Further discussion with tutors will enable learners to select and apply the most suitable methods for garment manufacture and will enable learners to put together a collection or a range from the individual components they create.

Assessment

Assignments for this unit can be seamlessly integrated with the design units and pattern construction units, enabling learners to produce an individual capsule collection. Garments could be based on their own collection, or could be part of a range for an industrial partner.

The actual processes covered will depend on design work produced, but innovative solutions are to be encouraged. Processes mentioned in Content but not covered by the range of garments can be used to produce samples.

Actual fabrics used will also depend on the designs produced, but learners should be encouraged to tackle a range of ‘difficult’ fabrics, depending on the look they want to achieve. Selecting the best fabric for a design is of paramount importance.

It is expected that learners will be proactive in researching recent developments in manufacturing.

Links

This unit can be integrated with Unit 28: Pattern Construction.

It extends Unit 22: Techniques and Processes in Fashion and Unit 23: Production Techniques, both of which provide underpinning skills and knowledge.

This unit may also be linked to Unit 26: Research and Development for Fashion Design and Unit 27: Realising a Fashion Collection.




• Unit W: Element 3



187

Resources

Centres need to provide all learners with adequate facilities, equipment and technology for garment manufacture to cover all the needs listed under Content.

Support materials

Book

Stylios G — Textile Objective Measurement and Automation in Garment Manufacture (Ellis Horwood, 1991)


188


189

Unit 30: Clothing Manufacture Production Operations

Learning hours: 60


Description of unit

This unit enables learners to investigate the manufacturing systems and processes in current use in the clothing industry, and to investigate the systems used for quality control. The outcomes for this unit should be met through information gathering and a written report.



1 Research and understand the systems currently used in the clothing industry for both pattern and garment production

2 Research the costing and purchasing systems used in the clothing industry

3 Analyse the merits of the different systems

4 Produce a report on their findings independently and effectively.


190

Content

1 Systems

Industry: small-scale, mass production, European, non-European

Cutting: lay planning, spreading, cutting and preparation, using different fabrics

Sewing: handling and mechanical systems for assembly, line balancing, pressing, using different fabrics

Method study: work study, work measurement, time standards, recording mechanisms

Quality control: reporting on fabric, machinery, workers, materials, systematic examination, faults analysis, prevention

Pre-manufacture: stock rotation, fabric care, handling and storage equipment

Post-manufacture: bagging and boxing, distribution systems

2 Costing and purchasing systems

Costing and purchasing: first and sealed samples, suppliers and standards

3 Merits

Advantages and disadvantages: to consumer, to business, to employee/worker

Factors: costs, speed, efficiency, quality of product/service

4 Report

Report format: extended written, use of illustrations, presentation of data


191




1 Research and understand the systems currently used in the clothing industry for both pattern and garment production

• research and evaluate accurate information from both primary and secondary sources

• research and evaluate storage, warehousing and distribution systems in contrasting clothing industries

2 Research the costing and purchasing systems used in the clothing industry

• research systems used for costing and purchasing in contrasting clothing industries

• evaluate systems used for costing and purchasing used in contrasting clothing industries

3 Analyse the merits of the different systems

• compare and contrast the merits of the different systems in current use in the clothing industry

• evaluate and critically compare the use of systems in different contexts, summarising the benefits

4 Produce a report on their findings independently and effectively

• structure and suitably present the report to provide a clear, accurate and coherent account of current systems used in the clothing industry


192

Guidance

Delivery

It is expected that there will be some formal delivery at the start to give learners a grounding in the processes and activities that they will encounter on visits and in their enquiries. Tutors will need to monitor research and written skills, and give guidance on how learners should produce an extended study.

However, studies will be personalised to enable learners to research particular areas of interest, especially when this could lead to employment possibilities.

The purpose of this unit is to give learners an in-depth understanding of the clothing manufacturing industry. It is not a practical, hands-on unit, but learners should be encouraged to make links with a variety of companies to visit and gain first-hand knowledge of working practices. If learners can’t make visits they will need to get their information from textbooks and trade literature.

Assessment

Although evidence could be presented in a variety of ways, it is expected that learners will submit the work in the form of an illustrated written report, with a minimum of 2,500 words.

Content will vary depending on the links each individual learner has made with other units, but all learners must visit at least one manufacturing outlet, and preferably several, to enable better comparison and evaluation of the systems for cutting and sewing (assembly).

Links

There are no pre-requisites to this unit.

Although the unit can be studied in isolation, links can be made to other units, for example Unit 8: CAD/CAM for Fashion and Textiles.



• Unit 3M: Elements 1 and 2.

Resources

Learners need to make written contact and visits to manufacturing centres. Further research will require access to a library for books, periodicals, magazines; internet access is also encouraged. Trade literature relating to the content of the unit will prove valuable in research.

To produce the report learners will need access to word processors, laser/ink jet printers etc.


193

Support materials

Books

Chuter A J — Introduction to Clothing Production Management (Blackwell Science, 1995)

Cooklin G — Introduction to Clothing Manufacture (Blackwell Science, 1991)

Tyler D J — Materials Management in Clothing Production (Blackwell Science, 1991)


194


195

Unit 31: Fashion Promotion

Learning hours: 60


Description of unit

This unit provides the learner with an understanding of the essential elements of fashion promotion, enabling them to evaluate their effectiveness and apply knowledge to develop a personal promotional strategy.



1 Demonstrate an understanding of fashion communication theory, the promotional mix and promotional planning

2 Research, analyse and evaluate promotion strategies adopted by fashion companies

3 Develop a personal promotion strategy in relation to a fashion collection

4 Evaluate own promotion strategy.


196

Content

1 Fashion communication theory

Factors influencing the fashion promotion mix: strategic, distribution, consumer, product, price and promotional methods

Concepts: theory of fashion communication, a communications model, advertising, sales promotion, public relations, personal selling

Promotional planning: techniques, setting measurable objectives, co-ordination with other marketing activities

Planning constraints: cost effectiveness, campaign timescale, evaluation and control

2 Evaluate promotion strategies

Analysis of strategies: successful, non-successful companies, comparisons between competition, visual analysis of fashion media

3 Promotion strategy

Campaign requirements: public relations, role of the fashion media/relevant visual solutions, selecting and targeting media, press releases, press packs, advertising

4 Evaluate

Analysis of own strategy: identify strengths and weaknesses in relation to fashion collection, identify strengths and weaknesses in relation to promotion strategies of fashion companies


197




1 Demonstrate an understanding of fashion communication theory, the promotional mix and promotional planning

• investigate the particular combination of promotional methods and media used by an organisation or individual to achieve fashion marketing communication goals

• research, evaluate and develop a framework to minimise the risks of ineffective fashion marketing communications

• research, evaluate and explain the role of the fashion media in leading opinion

2 Research, analyse and evaluate promotion strategies adopted by fashion companies

• analyse and demonstrate an understanding of a variety of fashion promotion strategies

• research and evaluate the creative use of materials and technologies to produce a successful promotional campaign

• assemble a written and visual archive of fashion promotional material for present and for future reference

3 Develop a personal promotion strategy in relation to a fashion collection

• establish and manage a favourable image through pre-planned communication with the customer

• plan and organise visual solutions for a promotional strategy and identified campaign requirements

• produce a press release and a press pack targeting fashion media, trade customers, potential employers and sponsors

4 Evaluate own promotion strategy

• evaluate visual solutions in terms of effectiveness

• evaluate overall promotion strategy in terms of effectiveness


198

Guidance

Delivery

Learners will need an introduction to concepts and strategies through a combination of theory and practice, with a strong emphasis on creative and visual aspects. Learners will need to demonstrate a high level of personal initiative and enquiry that will be presented to peers and tutors at various stages of the unit. Formal lectures and seminars should be used to deliver the theoretical knowledge of fashion promotion interspersed with individual tutorials to guide the learners’ personal exploration.

It is important that learners are encouraged and facilitated to access a wide range of materials; the internet in particular is becoming increasingly informative through specialist search engines and company websites.

Assessment

Research and development throughout this unit will help learners achieve a breadth and depth of visual thinking and creativity in relation to the promotion of fashion. Evidence will take the form of reports, case study evaluations, a short essay (1,500 words) and written/visual research in notebook form. Evidence produced for outcomes should consist of a pack promoting the learner and their fashion collection or promoting an external company collection.

Links

This unit links with Unit 25: Fashion Environment and provides understanding that can inform design work. The outcomes associated with this unit will equip learners for progression to further HE study or employment.



Resources

Appropriate research facilities should be made available to achieve this unit. These may include fashion/lifestyle magazines, specialist publications and journals, internet access, fashion companies reports and promotional packs and specialist texts to utilise the application of certain theoretical aspects of this unit.

Support materials

Book

Easey M (editor) — Fashion Marketing (Blackwell Science, 2001)


199

Magazines/periodicals

Creative Review

Drapers Record

Marketing

Marketing Week

Menswear

PR Week


200


201

Unit 32: Costume Design Concept

Learning hours: 60


Description of unit

This unit aims to develop the understanding and vocational skills required to develop costume design concepts.

Learners will develop an understanding of the design process through project-based work from the director’s brief, script analysis processes, analysing constraints, collaborating with creative team and producing historical research and sketchbook work. The practical aspects of this unit will be largely developed through project-based work.



1 Understand the role of the costume designer and the importance of collaboration with the creative team

2 Analyse the play (or text) and apply research techniques to develop design concepts

3 Generate visual and historical research appropriate to the script analysis, directorial or project brief

4 Generate and develop draft design concepts for presentation.


202

Content

1 Role of the costume designer and the importance of collaboration

Role as part of the creative team: negotiating and meeting the requirements of the brief, liaise with production team and performers, costume lists, charts, development of portfolio, working to budgets and schedules

2 Analyse the play (or text) and apply research techniques

Analysis: record the feeling/mood, themes, historical/contemporary locations, subtexts to establish visual style and/or quality; identify character indicators, performer requirements, cast size, constraints of performance space, practicality of costume changes and performance style and meaning

3 Generate visual research

Exploration of ideas: brain storming ideas collaboratively with creative team, explore visually and verbally aspects of colour schemes, shape, texture (relate to script analysis)

Visual skills: drawing and mix media skills, colour work, sketchbook concepts, research and mood sheets

Gather and record visual/historical research from primary and secondary sources: libraries, galleries, newspaper archives, artworks, furniture, museums, paintings, photographs, internet

Contextual references: relate research to cultural/social aspects and values, label and organise research, annotate research sheets, explain relationship of research to script and character analysis, highlight areas for further in-depth research

4 Generate and develop draft design concepts

Design generation forms: design concepts and sketchbooks, visuals of various characters, collages, mood boards, paintings, colour/texture, effects of lighting and awareness of set constraints

Presentation and analysis of draft costume design concepts: relate research, draft design concepts to script analysis, discuss and agree designs with creative team, designs to be developed in Unit 33: Costume Realisation


203




1 Understand the role of the costume designer and the importance of collaboration with the creative team

• establish a clear understanding of directorial intent, acting space, character, production style and constraints

• collaborate with members of the creative team to establish good communication techniques to achieve a production style and total visual effect

• analyse and highlight potential design problems and constraints, adhering to safe working practices

• work to deadlines agreed by creative team

• demonstrate understanding of a range of characters, periods and environments

2 Analyse the play (or text) and apply research techniques to develop design concepts

• analyse and record overall script information to convey mood, atmosphere, theme, subtexts, style and genre

• analyse and record ‘scene-by-scene’ details of acting and costuming requirements

• analyse issues related to total visual effect and record potential design problems/constraints

3 Generate visual and historical research appropriate to the script analysis, directorial or project brief

• brainstorm own and others’ ideas relating to the script analysis

• gather, record and organise a wide variety of visual research from primary and secondary sources

• select and record relevant contextual references, highlighting subjects for further investigation/research

• explore production/making techniques related to the design projects

• utilise colour, texture, materials and technical information related to design projects


204



4 Generate and develop draft design concepts for presentation

• produce a range of annotated draft designs, devise simple appropriate costume changes (where necessary)

• record and develop draft designs in relation to the research and analysis

• explore and make material selection, analysing durability, surface finishing and effects of lighting

• produce final draft designs suitable for presentation to the creative team and director

• evaluate design proposals and analyse potential refinements


205

Guidance

Delivery

Delivery should be largely project based and practical. Ideally, assignments should be supported by lectures, demonstrations and seminars dealing with issues related to the development of design concepts and processes, which broaden the learners’ response to the conceptual and aesthetic problems posed by the projects.

The unit should be a balance of theory and practice but with the assessment focused on the generation of ideas and design process to the interim stage. The unit should be a mixture of teamwork and individual assignment with tutor support. Some of the projects may be integrated into the work of other units. This unit is based around project work that explores different styles of costume design. The learner should seek to experiment and broaden the approaches to design concepts. As the unit progresses, the learner should build up a portfolio of designs. If the unit is taken in collaboration with Unit 33: Costume Realisation and Unit 34: Costume Production then these designs can be made into actual costumes. Wherever possible the designs should be integrated into performance.

The unit should be delivered through a mixture of project, lecture/demonstration and simulation.

Assessment

Learners should produce a portfolio of work related to specific design briefs. These should include work at the initial stages of research and development. This should show the range and variety of styles explored as well as evidence of research and development of initial ideas. A mix of working methods should be included in this portfolio. The process of the work of the creative team may be recorded in written, audio or visual form. Evidence of the ability to analyse the process of design should be evident.

Links

This unit has direct links with Unit 33: Costume Realisation, Unit 34: Costume Production and Unit 35: Millinery and Headdresses.




Resources

Access to design/studio space or a similar area is essential. The area should be equipped with power and appropriate design equipment. Access to an area with theatre lighting would be useful. Primary and secondary sources may be found in libraries, galleries, museums, on the internet, CD-Roms, specialist publications, exhibitions and specialist collections such as the Victoria and Albert Museum, The Theatre Museum, and Snowshill Manor. Learners must record sources and cite them where referenced.


206

Support materials

Books

Bradfield N — Costume in Detail: Women’s Dress 1730–1930 (Eric Dobby Publishing Ltd, 1995)

The Costumer’s Handbook (Spectrum Books)

Motley — Designing & Making Stage Costumes (Random House USA Inc, 1992)

Tompkins J — Stage Costumes (Pitman, 1978)

Waugh N — The Cut of Men’s Clothes 1600–1900 (Routledge, 1991)

Waugh N — The Cut of Women’s Clothes 1600–1930 (Routledge, 2000)


207

Unit 33: Costume Realisation

Learning hours: 60


Description of unit

This unit aims to develop the understanding, vocational skills and practice of costume design. The process involves development of initial ideas, sketchbook work and production of samples towards costume construction. Learners will consider accessories including headgear and footwear in their designs. This unit is largely developed through project-based work.



1 Develop draft costume designs to final solutions

2 Translate final designs to working costumes

3 Develop and utilise sampling skills in preparation for construction of costume designs

4 Present and analyse final costume designs.


208

Content

1 Designs to final solutions

Present final designs: description of colour/material/character details, comparison of final design to original brief

2 Translate designs to working costumes

Translation: of prepared and final design concepts to patterns

Construction methods: incorporating cutting, sewing, painting, dyeing, and fitting

Hire and acquisition: alteration adaptation

Selection of accessories: support items, headgear, wigs, footwear

Working to agreed budget: monitoring budget

3 Develop sampling skills

Develop skills in construction and finish: fabric treatment, dyeing, printing, painting, distressing, adaptation of existing costume, laundering and cleaning, dressing and fitting

Selection of material and storage: logging of items

4 Present and analyse final costume designs

Interpretations of the design brief, negotiating and developing designs: sketchbook, materials, colour, construction, use, character, integration with other design aspects eg lighting

Finished designs: presentation of final designs with working and constructional notes; full description with colour/material/character indicators, comparison of final design to original brief, evaluation of practical application


209




1 Develop draft costume designs to final solutions

• assume the role of the costume designer as part of the creative team employing the use of interpersonal skills to negotiate clear meaning for working on design concepts

• develop an aesthetic understanding

• work to a production schedule and to budget taking into account safety factors in costume manufacture

2 Translate final designs to working costumes

• use research concepts and sources, historical and contemporary material

• make a collection of design materials and technical information related to design projects

• explore making techniques related to the design projects

3 Develop and utilise sampling skills in preparation for construction of costume designs

• explore ideas in combination with the design team and director

• utilise colour, texture, materials, employ different techniques of construction, and express character

• identify and utilise modelling and accessories

4 Present and analyse final costume designs

• produce finished designs, sketchbooks, working notebooks, working methods for construction

• make material selection and explore surface finish

• present final designs, analyse and show relation of design to brief


210

Guidance

Delivery

This unit is based around project work that explores different styles of costume design. Learners should seek to experiment and broaden the approaches to design concepts. As the unit progresses, the learner should build up a portfolio of designs. If the unit is taken in collaboration with Unit 34: Costume Production then these designs can be made into actual costumes. Wherever possible the designs should be integrated into performance.

The unit will be delivered through a mixture of project, lecture/demonstration and simulation.

Assessment

Evidence should be presented in a portfolio of 2D and 3D design work. This should show the range and variety of styles explored as well as evidence of research and of the development of working ideas. The unit deals mainly with the development of the response to a brief and as such should emphasise the processes involved in this. Finished designs can be assessed in conjunction with notebooks.

Links

This unit has direct links with Unit 32: Costume Design Concept, Unit 34: Costume Production and Unit 35: Millinery and Headdresses.



• Unit 3R: Elements 1 and 2.

Resources

Access to wardrobe facilities and art studio space or a similar area is essential. The area should be equipped with power and appropriate design equipment. The wardrobe area should contain material samples and basic making facilities. Access to an area with theatre lighting would be useful. Primary and secondary sources may be found in libraries, galleries, museums, and specialist collections such as the Victoria and Albert Museum, The Theatre Museum, and Snowshill Manor. Learners must record sources and cite them where referenced.

Support materials

Books

Arnold J — A Handbook of Costume (S G Phillips, 1980)

Arnold J — Patterns of Fashion 1560-1620 (Macmillan, 1985)

Arnold J — Patterns of Fashion 1660-1860 (London Wace & Co, 1964)

Arnold J — Patterns of Fashion 1860-1940 (London Wace & Co, 1967)

Arnold J — Queen Elizabeth’s Wardrobe Unlocked (Maney Publishing, 1988)


211

Ashelford J — A Visual History of Costume (London Batsford, 1983)

Boucher F — History of Costume in the West (Thames & Hudson, 1987)

Bradfield N — Costume in Detail: Women’s Dress 1730–1930 (Eric Dobby Publishing Ltd, 1995)

Covey E and Ingham R — Costumer’s Handbook (Prentice-Hall, 1980)

Hunnisett J — Period Costume for Stage and Screen (Players Press, 1991)

Strong R and Ivor G et al — Designing for the Dancer (Elron Press, 1981)

Waugh N — Corsets and Crinolines (Routledge, 1981)

Waugh N — The Cut of Men’s Clothes 1600–1900 (Routledge, 1991)

Waugh N — The Cut of Women’s Clothes 1600–1930 (Routledge, 2000)


212


213

Unit 34: Costume Production

Learning hours: 60


Description of unit

This unit develops the process of costume construction from design to use and storage. It will develop skills in costume construction, adaptation, and alteration. The unit is also concerned with the day-to-day management and running of a wardrobe department during the run of a production. Learners will learn and develop manual and machine-based skills used in the realisation of costume designs.



1 Translate the designs to working theatre costumes made for performance

2 Develop and utilise skills in the construction and finishing of costume designs

3 Take a lead or team role in a wardrobe team contributing to a public performance

4 Manage the running of a wardrobe in day-to-day non-performance time operations.


214

Content

1 Translate the designs

Translation: of prepared and final design concepts to patterns

Construction methods: incorporating cutting, sewing, painting, dyeing and fitting

Hire and acquisition: alteration, adaptation

Selection of accessories: support items, headgear, wigs, footwear

Working to agreed budget: monitoring budget

2 Develop and utilise skills

Develop skills in construction and finish: fabric treatment, dyeing, printing, painting, distressing, adaptation of existing costume, laundering and cleaning, dressing and fitting

Selection of material and storage: logging of items

3 Take a lead or team role in a wardrobe team

Participate: buying, hiring, storage, retrieval and maintenance, organising meetings, maintaining records and schedules for the operations of the team

Support the performance company or event team: support the process of making, fitting and use of costumes, manage post-show work in the wardrobe in clear-up phase, work to budget

4 Manage the running of a wardrobe

Manage day-to-day operations: hiring, cleaning, storage, maintenance, acquisition, cataloguing, collaborate on use of stock items in public use, maintain safe practice


215




1 Translate the designs to working theatre costumes made for performance

• analyse methods of construction and the stages needed to translate final designs to finished articles

• utilise appropriate techniques of construction and alteration

• work with designer, design team and the model in creating the finished article

2 Develop and utilise skills in the construction and finishing of costume designs

• develop skills in cutting, sewing, painting, dyeing and fitting

• select appropriate materials and maintain costumes through cleaning

• organise the storage and logging of wardrobe and costume products and materials

3 Take a lead or team role in a wardrobe team contributing to a public performance

• assume a lead or team role in a wardrobe/costume-making team, and maintain effective team links with the whole production event

• work to a budget and to schedule for the selected project

4 Manage the running of a wardrobe in day-to-day non-performance time operations

• log, hire, clean and maintain wardrobe stock

• maintain safe working practices

• catalogue wardrobe stock and assess general condition of items


216

Guidance

Delivery

The unit is a mixture of skills development, and practice and performance event-based projects. The learners must be provided with opportunities to practise and acquire appropriate skills. The work of each learner should be supported by the development of an individual portfolio. Where possible, the designs will be integrated with performance.

Assessment

Evidence should be presented as examples of finished work based on sound constructional techniques. Learners should gather a portfolio of evidence of examples of work either completed or at stages illustrative of different techniques. Learners’ evidence should be either the actual garments or a verified pictorial record. Items of costume should, where possible, be modelled live either at an arranged event or in performance. Supporting evidence of the ability to analyse the process of construction and operation will be required.

Links

This unit has direct links with Unit 32: Costume Design Concept, Unit 33: Costume Realisation and Unit 35: Millinery and Headdresses.


• Unit 3M: Elements 1, 2, 3 and 4

• Unit W: Elements 1, 2 and 3.

Resources

Access to a wardrobe-making area and store is essential. They should be equipped with power and appropriate areas for cutting, sewing by hand and by machine, painting, dyeing and cleaning. There should also be facilities suitable for fitting and for safe storage. Access to a theatre space with stage lights is important. The process of material selection and acquisition is a significant part of this unit. Learners should use specialist museum archives to further their understanding of construction and fabric. The recording of sources and references is important.

Support materials

Books

Bradfield N — Costume in Detail: Women’s Dress 1730-1930 (Eric Dobby Publishing Ltd, 1995)

Covey E and Ingham R — Costumer’s Handbook (Prentice-Hall, 1980)

Strong R and Ivor G et al — Designing for the Dancer (Elron Press, 1981)

Waugh N — The Cut of Men’s Clothes 1600-1900 (Routledge, 1991)

Waugh N — The Cut of Women’s Clothes 1600-1930 (Routledge, 2000)


217

Unit 35: Millinery and Headdresses

Learning hours: 60


Description of unit

In this unit learners will have the opportunity to design and realise their own headwear. They should explore traditional hat-making skills and contemporary methods to gain the skills and knowledge to realise innovative designs. The unit has been written to allow centres to adapt the theme of headwear into a specialist area such as fashion, textiles or costume.


To achieve this unit a learner must: 1 Analyse and evaluate traditional millinery methods and associated equipment

2 Explore contemporary building materials, techniques and media for headdresses

3 Investigate and research historical and contemporary millinery and headwear and develop a range of design ideas

4 Analyse and evaluate millinery techniques and apply them to realise designs.


218

Content

1 Traditional millinery methods and associated equipment

Traditional building techniques: blocking by hand on wooden hat blocks to fit a particular client, taking clients’ measurements, using a variety of traditional materials, straw, net, felt, buckram etc experimenting with shaping and stiffing in traditional and experimental ways, developing a level of technical ability for a professional finish

Fabric hats: segment flat pattern cutting for fabric hats

Health and safety: awareness of safety, chemicals for stiffing and hazards, steaming

2 Materials, techniques and media

Exploration of contemporary materials and building techniques: experimenting with a variety of materials and media in an innovative way, pushing the boundaries of tradition, exploring paper, card, plastic, wire, elastic, boning etc

Colour, pattern, texture: different textures can be created for the surface through experimenting with fabrics and mixed media

3 Historical and contemporary millinery and headwear

Investigate and research: look at historical and modern millinery and headdresses in film and theatre for musicals, plays etc carnival headdresses, fashion shows, prestigious events such as Ascot, hats for bridal wear, mourning hats, hat designers

Develop design ideas: create innovative and original design ideas inspired by research and sample investigations

4 Millinery techniques

Building skills: work should be evaluated to use appropriate techniques, processes and materials with samples of the final design

Presentation: the final outcome should be to a professional standard and individually presented


219




1 Analyse and evaluate traditional millinery methods and associated equipment

• analyse and experiment with traditional building techniques and traditional equipment

• explore the possibilities of structure, shape and form through shaping and stiffing

• use traditional materials to build and distort 2 Explore contemporary

building materials, techniques and media for headdresses

• explore different building techniques to create shape and structure

• produce a creative response through the exploration and manipulation of materials and media

• investigate surface quality 3 Investigate and research

historical and contemporary millinery and headwear and develop a range of design ideas

• produce independent research into millinery and headdresses to allow a student to personalise their investigations to suit their inspiration and theme

• produce original design ideas that connect to fashion, costume or textiles and meet the particular market constraints of the chosen area

4 Analyse and evaluate millinery techniques and apply them to realise designs

• apply appropriate techniques, processes and materials with trial samples relating to the design

• produce a final outcome to a professional standard

• present work through a class critique


220

Guidance

Delivery

Learners should be encouraged to choose individual pathways linking their millinery to either a fashion, textile or costume outcome. Learners will be required to write a personal brief to explain their design field and complete personal research into this area of millinery/headwear.

Studio time should involve workshops which will give learners knowledge of specialist techniques and starting points.

This can lead to an experimental approach which should enable learners to discover original ways of producing their outcomes.

Assessment

Assignments for this unit will focus around personal briefs and will be learner led. Learners should be encouraged to link their brief to their chosen field, eg a capsule collection of fashion hats, headdresses for a musical production, a series of textiles hats for an exhibition etc.

Evidence will be recorded in their sketchbooks/journals with an accompanying collection of sample headpieces and their final outcome.

Links

This unit has direct links with Unit 32: Costume Design Concept, Unit 33: Costume Realisation and Unit 34: Costume Production.




Resources

Specialist resources will be necessary and studio space should be provided. Equipment may include shaped blocks, iron, pressing pads, millinery wire and stiffeners such as feltene for traditional methods of blocking felt, straw hoods, wire brims with the use of mixed media paper, plastics, buckram, boning, and card. Resources for research may include the internet, the library, fashion magazines, fashion shows, media coverage of events such as Ascot, weddings, royalty, Hollywood and films, folk and historical images, exhibitions.

Support materials

Books Albrizio A — Classic Millinery Techniques (Lark Books, 2002)

Boucher F — History of Costume in the West (Thames & Hudson, 1987)


221

Gan S — Visionaire’s Fashion 2001 (Laurance King, 1999)

Ginsburg M — The Hat: Treads and Traditions (London, Studio Editions, 1990)

Hopkin S — A Century of Hats (Aurum Press, 1999)


222


223

Annex A

QCA codes

The QCA National Qualifications Framework (NQF) code is known as a Qualification Accreditation Number (QAN). Each unit within a qualification will also have a QCA NQF unit code.

The QCA qualification and unit codes will appear on the learner’s final certification documentation.

The QANs for qualifications in this publication are:

100/3892/9 Edexcel Level 5 BTEC Higher National Certificate in Fashion and Textiles

100/3893/0 Edexcel Level 5 BTEC Higher National Diploma in Fashion and Textiles


224


225

Annex B

Mapping against NVQ in Design — Level 3

The following grid maps the knowledge covered in the NVQ in Design Level 3 against the underpinning knowledge of the BTEC Higher National Diploma/Certificate in Fashion and Textiles.

HND/C titles

NVQ unit titles

Uni

t 1: D

raw

ing

Tec

hniq

ues a

nd

App

roac

hes

Uni

t 2: V

isua

l Com

mun

icat

ion

Uni

t 3: P

rofe

ssio

nal S

tudi

es

Uni

t 4: H

isto

rica

l and

Con

text

ual

Ref

eren

cing

Uni

t 5: P

rofe

ssio

nal P

ract

ice

and

Dev

elop

men

t

Uni

t 6: C

ritic

al S

tudy

Uni

t 7: F

ashi

on a

nd T

extil

e M

ater

ials

Und

erst

andi

ng

Uni

t 8: C

AD

/CA

M fo

r Fa

shio

n an

d T

extil

es

Uni

t 9: C

ultu

ral U

nder

stan

ding

in

Fash

ion

Uni

t 10:

Des

ign

Exp

lora

tion

in

Tex

tiles

Uni

t 11:

Des

ign

App

licat

ion

in

Tex

tiles

Uni

t 12:

Tec

hniq

ues a

nd

Proc

esse

s in

Tex

tiles

Uni

t 13:

Des

ign

Res

earc

h in

T

extil

es

Uni

t 14:

Rea

lisin

g a

Tex

tile

Col

lect

ion

Uni

t 15:

Tex

tile

Man

ufac

ture

Pr

oduc

tion

Ope

ratio

ns

Uni

t 16:

Tex

tiles

Spe

cial

ist

Tec

hniq

ues a

nd P

roce

sses

Uni

t 17:

Exp

erim

enta

l C

onst

ruct

ed T

extil

es

Uni

t 18:

Exp

erim

enta

l Pri

nted

T

extil

es

Uni

t 19:

Exp

erim

enta

l E

mbr

oide

red

Tex

tiles

Uni

t 20:

Des

ign

Exp

lora

tion

in

Fash

ion

31: Clarify briefs and research information 3 3 3 3 3 3 3

32: Develop design ideas using materials, processes and technology

3 3 3 3 3 3 3 3 3 3 3 3 3

33: Develop and present suitable design responses 3 3

34: Produce and present detailed design proposals 3 3

3D: Research design trends and developments in materials and technology

3 3 3 3 3 3 3 3 3

3M: Plan and manage design work 3 3


226

HND/C titles

NVQ unit titles

Uni

t 1: D

raw

ing

Tec

hniq

ues a

nd

App

roac

hes

Uni

t 2: V

isua

l Com

mun

icat

ion

Uni

t 3: P

rofe

ssio

nal S

tudi

es

Uni

t 4: H

isto

rica

l and

Con

text

ual

Ref

eren

cing

Uni

t 5: P

rofe

ssio

nal P

ract

ice

and

Dev

elop

men

t

Uni

t 6: C

ritic

al S

tudy

Uni

t 7: F

ashi

on a

nd T

extil

e M

ater

ials

Und

erst

andi

ng

Uni

t 8: C

AD

/CA

M fo

r Fa

shio

n an

d T

extil

es

Uni

t 9: C

ultu

ral U

nder

stan

ding

in

Fash

ion

Uni

t 10:

Des

ign

Exp

lora

tion

in

Tex

tiles

Uni

t 11:

Des

ign

App

licat

ion

in

Tex

tiles

Uni

t 12:

Tec

hniq

ues a

nd

Proc

esse

s in

Tex

tiles

Uni

t 13:

Des

ign

Res

earc

h in

T

extil

es

Uni

t 14:

Rea

lisin

g a

Tex

tile

Col

lect

ion

Uni

t 15:

Tex

tile

Man

ufac

ture

Pr

oduc

tion

Ope

ratio

ns

Uni

t 16:

Tex

tiles

Spe

cial

ist

Tec

hniq

ues a

nd P

roce

sses

Uni

t 17:

Exp

erim

enta

l C

onst

ruct

ed T

extil

es

Uni

t 18:

Exp

erim

enta

l Pri

nted

T

extil

es

Uni

t 19:

Exp

erim

enta

l E

mbr

oide

red

Tex

tiles

Uni

t 20:

Des

ign

Exp

lora

tion

in

Fash

ion

W: Create and maintain safe and effective working relationships

3 3

3P: Realise design prototypes 3 3

3R: Plan and contribute to the realisation of final design or design product(s)

F: Undertake freelance work

S: Sell and promote designs and design services


227

HND/C titles

NVQ unit titles

Uni

t 21:

Des

ign

App

licat

ion

in

Fash

ion

Uni

t 22:

Tec

hniq

ues a

nd

Proc

esse

s in

Fash

ion

Uni

t 23:

Pro

duct

ion

Tec

hniq

ues

Uni

t 24:

Pat

tern

Dra

ftin

g

Uni

t 25:

Fas

hion

Env

iron

men

t

Uni

t 26:

Res

earc

h an

d D

evel

opm

ent f

or F

ashi

on D

esig

n

Uni

t 27:

Rea

lisin

g a

Fash

ion

Col

lect

ion

Uni

t 28:

Pat

tern

Con

stru

ctio

n

Uni

t 29:

Gar

men

t Man

ufac

ture

Uni

t 30:

Clo

thin

g M

anuf

actu

re

Prod

uctio

n O

pera

tions

Uni

t 31:

Fas

hion

Pro

mot

ion

Uni

t 32:

Cos

tum

e D

esig

n C

once

pt

Uni

t 33:

Cos

tum

e R

ealis

atio

n

Uni

t 34:

Cos

tum

e Pr

oduc

tion

Uni

t 35:

Mill

iner

y an

d H

eadd

ress

es

31: Clarify briefs and research information 3 3 3 3 3

32: Develop design ideas using materials, processes and technology

3 3 3 3 3 3

33: Develop and present suitable design responses 3 3 3 3

34: Produce and present detailed design proposals 3 3 3

3D: Research design trends and developments in materials and technology

3 3 3 3 3 3 3

3M: Plan and manage design work 3 3 3 3


228

HND/C titles

NVQ unit titles

Uni

t 21:

Des

ign

App

licat

ion

in

Fash

ion

Uni

t 22:

Tec

hniq

ues a

nd

Proc

esse

s in

Fash

ion

Uni

t 23:

Pro

duct

ion

Tec

hniq

ues

Uni

t 24:

Pat

tern

Dra

ftin

g

Uni

t 25:

Fas

hion

Env

iron

men

t

Uni

t 26:

Res

earc

h an

d D

evel

opm

ent f

or F

ashi

on D

esig

n

Uni

t 27:

Rea

lisin

g a

Fash

ion

Col

lect

ion

Uni

t 28:

Pat

tern

Con

stru

ctio

n

Uni

t 29:

Gar

men

t Man

ufac

ture

Uni

t 30:

Clo

thin

g M

anuf

actu

re

Prod

uctio

n O

pera

tions

Uni

t 31:

Fas

hion

Pro

mot

ion

Uni

t 32:

Cos

tum

e D

esig

n C

once

pt

Uni

t 33:

Cos

tum

e R

ealis

atio

n

Uni

t 34:

Cos

tum

e Pr

oduc

tion

Uni

t 35:

Mill

iner

y an

d H

eadd

ress

es

W: Create and maintain safe and effective working relationships

3 3 3

3P: Realise design prototypes 3 3

3R: Plan and contribute to the realisation of final design or design product(s)

3

F: Undertake freelance work

S: Sell and promote designs and design services


229

Annex C

Wider curriculum mapping

All units have health and safety dimensions. The programme has a strong practical emphasis so the issues related to health and safety may occur naturally in external and internal assessment. Learners must be made aware of this issue. Some specialist units have specialist health and safety features.

Design units will need to take into account safe workshop practice and COSHH standards.

Wider social, cultural and European issues may be explored. Specialist units may provide opportunities to explore these factors as single units or in combination. Listed below are some potential areas for exploration.

Cultural and social issues — core units

Unit 3: Professional Studies

This unit would provide the opportunity to explore issues of employment and equal rights. The rights and responsibilities of workers in cultural industries will feature as part of the content of this unit. Issues related to Europe-wide employment contexts may provide a theme.

Unit 4: Historical and Contextual Referencing

Issues may be raised in this unit dependent on theme. European art and non-European art may be appropriate source material to be explored. World art forms may also provide material.

Unit 6: Critical Study This unit offers the opportunity for learners following a design based approach to explore the wider visual arts context in research and development of production ideas.

Unit 9: Cultural Understanding in Fashion

This unit may offer the potential for an overview of the cultural, ethical and moral context of the development of design. This may best be delivered through a case study approach.

Unit 11: Design Application in Textiles

This is a practical unit which presents the opportunity for the exploration of cultural and social themes related to the chosen theme.


230


231

Annex D

BTEC Higher Nationals in Fashion and Textiles

This Qualification Requirement should be read in conjunction with the overarching guidance from Edexcel.

Rationale

BTEC Higher Nationals in Fashion and Textiles should be developed to focus on:

• Fashion and Textiles, Fashion and Textiles (Fashion) and Fashion and Textiles (Textiles)

• equipping learners with the knowledge, and understanding and skills required for success in current and future employment or for progression to an undergraduate degree

• equipping learners with transferable skills that will enable them to meet changing circumstances, whether these arise from a shift in their own sphere of employment, promotion to management roles or from general changes in professional practices or technological advances

• the role of the fashion and textiles designer and their relationship within the business in which they work and how their role and that of their business fits within the overall structure of the graphic communications industry

• providing opportunities for learners to focus on the development of the higher-level skills in a fashion and textiles context

• providing opportunities for centres to devise programmes of study that meet local or specialist needs.

Aims of the qualification

BTEC Higher National Diplomas in Fashion and Textiles should meet the needs of the above rationale by:

• providing an educational foundation for a range of creative, technical and management careers in fashion and textiles

• providing specialist studies directly relevant to pathways of fashion and textiles in which learners intend to seek employment

• enabling learners to make an immediate contribution in employment

• providing flexibility, knowledge, skills and motivation as a basis for future studies and career development

• developing learners’ abilities in fashion and textiles through effective use and combination of the knowledge and skills gained in different parts of the qualification

• developing a range of skills and techniques, personal qualities and attitudes essential for successful performance in professional working life.


232

Mandatory curriculum

Drawing techniques in fashion and textiles: learners should experiment with drawing techniques and approaches in order to broaden their understanding of visual language.

Visual language: learners should investigate the use of visual language in the fashion and textiles industries and how it is used to communicate with the intended audience. This investigation should be used to inform the production of their own work.

Professional studies: learners should relate practical studies in fashion and textiles design to a professional context.

Context: learners should study cultural history that informs current thought and debate within fashion and textiles. The emphasis should be on research and study skills and on learners acquiring source material and knowledge.

Professional practice and development: learners should be provided with the knowledge, skill and understanding necessary to produce a coherent and presentable portfolio of work.

Critical study: learners should be provided with the knowledge, skill and understanding necessary to define and research an historical context and relate it to the present.

Optional curriculum

Optional specialist routes through the qualification can be developed in the following context.

Fashion: where learners investigate the fashion industry and fashion markets, learn to design and produce fashion garments and products, investigate fashion techniques and processes, realise a fashion collection and explore clothing manufacture production operations.

Textiles: where learners investigate the surface pattern and textiles industry, learn to design and produce surface pattern designs and textiles products, investigate textiles specialist techniques and processes and explore textiles manufacture production operations.

Professional body recognition

BTEC Higher Nationals in Fashion and Textiles have been developed with career progression and recognition by professional bodies in mind. It is essential that learners gain the maximum benefit from their programme of study.

Links to National Standards

There is the opportunity for programmes in fashion and textiles to provide some of the underpinning knowledge, understanding and skills for the Level 3 NVQ in Design.

Entry prerequisites

Edexcel’s policy regarding access to its qualifications is that:

• the qualifications should be available to everyone who is capable of reaching the required standards

• the qualifications should be free from any barriers that restrict access and progression

• there should be equal opportunities for all wishing to access the qualifications.


233

Centres are required to recruit learners to BTEC qualifications with integrity. This will include ensuring that applicants have appropriate information and advice about the qualifications and that the qualification will meet their needs. Centres should take appropriate steps to assess each applicant’s potential and make a professional judgement about their ability to successfully complete the programme of study and achieve the qualification. This assessment will need to take account of the support available to the learner within the centre during their programme of study and any specific support that might be necessary to allow the learner to access the assessment for the qualification. Centres should also show regard for Edexcel’s policy on learners with particular requirements.

Centres will need to review the profile of qualifications and/or experience held by applicants, considering whether this profile shows an ability to progress to a Level 5 qualification. For learners who have recently been in education, the entry profile is likely to include one of the following:

• a BTEC National Certificate or Diploma in Design or Art and Design

• an AVCE/Advanced GNVQ in an appropriate vocational area

• a GCE Advanced level profile which demonstrates strong performance in a relevant subject or an adequate performance in more than one GCE subject. This profile is likely to be supported by GCSE grades at A* to C

• other related Level 3 qualifications

• an Access to Higher Education Certificate awarded by an approved further education institution

• related work experience.

Mature learners may present a more varied profile of achievement that is likely to include extensive work experience (paid and/or unpaid) and/or achievement of a range of professional qualifications in their work sector.

Higher-level skills and abilities

Learners will be expected to develop the following skills during the programme of study:

• synthesis of a range of concepts, knowledge and skills relating to fashion and textiles

• application of complex theories to practical realistic work situations in the fashion and textiles sector

• independence of approach to study and the generation of fashion and textiles evidence

• ability to engage with complex and/or unpredictable situations in fashion and textiles contexts

• ability to take responsibility to manage and direct their own and others’ activities

• insight and judgement in relation to the margins and consequences of error

• research and investigative skills

• responsiveness to change and ability to multi task

• ability to innovate and work in a creative way.

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Further copies of this publication are available from Edexcel Publications, Adamsway, Mansfield, Notts, NG18 4FN Telephone: 01623 467467 Fax: 01623 450481 Email: [email protected] Publications Code BH015805 April 2005 For more information on Edexcel and BTEC qualifications please contact Customer Services on 0870 240 9800 or http://enquiries.edexcel.org.uk or visit our website: www.edexcel.org.uk Edexcel Limited. Registered in England and Wales No. 4496750 Registered Office: One90 High Holborn, London WC1V 7BH

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