Main format of the examination paper -

1. TEXTILES - Theory paper Main format of the examination paper - Eight questions – 2 hours – 40% Use this guide along with your Revision guidebook: KEY pages: 8-12 – types of research and specification heading and types. 13- 15 – colour primary, secondary, monochromic,, complementary, harmonious, warm, cold, pattern and texture. 18- 23 recycling and sustainability. 26 –27 mood boards and trend forecasting 32 – 33 types of specifications

2. Fibres and yarns 36 – 51 – is a key area that you must learn. What are fibres and yarn. Different types of fabrics - knitted, woven and bonded fabrics. Weave types. Properties of fabrics – p41 and how fabrics can be combined. Special fabrics – p43 elastane, Kevlar, microfibres. Finishes – there three types – physical, biological and chemicals – know about three different types for each type. P 44 – 47. Smart fabrics – 49 -51 Read p 54 – 58 about different ways of decorating fabric Pattern making – lay planning – construction techniques – 60-63 – key pages to learn. . Quality control and quality assurance. - p68 Fabric testing – p67 – often there is a question on this. Regulation and standards – p68 – 69 – NB BSI and CE symbol Production planning – p74 -75 key area Production plans and use of computer in textiles – p 76 – 79 Industrial clothes manufacture – 80 – 81 – important area. Labelling – p86- 87

3. Question 1 – Product analysis – 15 marks Read the question carefully and respond as fully as possible. . You may be given a product and asked to critically analyse it – take this opportunity to show off your technical knowledge and language. Questions will be similar to the design specification – relating points to target group, material properties, aesthetics, safety

4. Question 1 – Product analysis – 15 marks • You need to be able to write a specification • Look at the aesthetics of a product • Study the function of a product • Quality issues relating to the product • Safety issues relating to a product • Consider the scale of manufacture • How it is made • Safety considerations when making a product

5. Write a specification for a weekend bag you may want to write about the following • Size • Cost • Production • Manufacture • Aesthetics • How it is made

6. Mass vs Batch Production • If your product were to be sold commercially do you think it would be produced in high volume (mass production) or low volume (Batch production). • Mass produced products would be made in a factory with a dedicated production line especially set up just to make your product. Mass produced products would generally be sold in huge numbers in order to reduce the production set up costs. • Batch produced items would be made in significantly smaller numbers. A batch would be made in a more versatile production set up as this type of manufacturer may make different items every day. • Mass-High volume production likely to be less labour intensive due to CAD/CAM use of automated machinery. • Batch-Smaller volumes of production, likely to be more labour intensive.

7. Question 2 is about the general issues of Design and Technology. It is worth a total of 10marks. • Environmental issues • 6 R’s • Labelling - • Kitemark. • C E marking • Children's goods and toys – Lion mark. • Care labelling codes using symbols.

8. Sustainability How can we achieve a sustainable future as designers and manufacturers? • Use environmentally friendly materials • Use materials that can be recycled or reused • Use materials that do not use a lot of power to produce. • Use materials that are easy to recycle

9. Sustainability • Why are sustainability issues and environmental issues important. • Global warming due to industry and carbon emissions (polar ice caps melting, sea levels increasing changes to global weather) • The planet has not got an infinite supply of materials. It is estimated that we have 30yrs of oil supplies left. Plastic is made from oil. • Landfill costs us millions of pound a year and we are running out of places to put our rubbish. • Designers have a duty to limit the impact of their products and prevent a negative environmental impact. • Sustainability is more than using recycled or recyclable materials to manufacture their products. • It is the total impact that the process of designing has on the environment.

10. The six R’sSustainability – You need to know these!! • Rethink • Reuse • Recycle • Repair • Reduce • Refuse Read information on page 22 of your revision notes for further details

11. Sustainability • Life cycle analysis – look at the impact of these products, what will happen to them in the future • Cheap cotton clothing – huge use of chemicals, land and water. Cheap labour – 50p a day for use to wear nearly “disposable” clothes. The £2 t-shirt is “costing the earth” • Clothes are now such poor quality they cannot be recycled to Africa etc where there is a big demand. • Traditionally – patchwork • Shoe soles (tyres) • Play mats (tyres) • Plastics (benches) • Glass various • Metal various Products made from recycled materials

12. Responsibility in designing and making • Social – Enjoyment that product may give and effect on quality of life. Does the product have a positive effect on life. • Economic – Cost, is it value for money and commercially viable. Does it use too much non renewable resources in the production process. • Environmental- How much co2 does it give off in production. Can it be re-cycled. Can it be re-used. Does the process by which it is made give off bad by-product (noise, smell, pollution). • Designers need to think about the environmental impact of their products after they have ended their useful period. Well known designers who are “up cycling” e.g. Junkystyling, Treepeople. • Will they end up in landfill, can they be recycled reused, look at the 6 R’s.

13. Question 3 is about the designers you have studied. It is worth a total of 10 marks. John Galliano Vivienne Westwood You will need to know key aspects about these designers – You need to study these two designers and understand the following aspects: (a) the range of work that they have produced over time; (b) how to identify the work of each of the Designers; (c) the innovations and/or new ideas that the two Designers have introduced over time; (d) the influence that each of the two Designers has had on the world of Design and Technology Be prepared to compare the two designers!

14. Select 20 keywords that describe or personify Vivienne Westwood flashy eccentric original provocative inspiring rebellion rebel against tasteless casual wear elegance passion there can be no good taste without elegance rebels provocative Malcolm McLaren one of the most influential British fashion designers provocative prints intellectual observation zipper, safety pins, razor blades anarchist Sex Pistols punk studying their cuts Malcolm McLaren bustles “plundering” the old England’s aristocracy crinoline hooped skirt – Mini Crini 1985 Anglophilia new tartan 1993 MacAndreas

15. Vivienne Westwood Trends by – fashion designers

16. WJEC information – marking scheme info. Vivienne Westwood: • Vivienne Westwood has been at the centre of British fashion for 34 years and is one of its most inventive and influential designers. • Vivienne Westwood first started selling her outrageous clothes in the shop ‘Let it Rock’ owned by her partner Malcolm McClaren. • The ‘punk style’ gained notoriety when clothes designed and made by Westwood were worn by groups such the Sex Pistols and the New York Dolls. • ‘Punk Style’ clothing featured skin tight leather clothing with tons of zips trimmed with items such as safety pins, bicycle chains and spiked dog collars worn as jewellery. • She combined traditional elements of British design, such as tartan and Harris Tweed, alongside the more unusual elements of her style, which made the overall effect more shocking. • A historical influence has always shown in her work, such as the corset and crinoline – taking original cutting principles and modernising them. • Other influences in her work include ethnic Peruvian influences, feminine figure, velvet and knitwear. • Her Ready-to-Wear collections feature style details such as ripped hems and torn seams. • The tube skirt is one of her most successful and commercial designs. • Westwood re-launched the corset, which Karl Lagerfeld described as one of the most important fashion ideas of the 20th century.

17. Key “looks” of Vivienne Westwood – Mini Crini collection 1985 “plundering” the old elegance heritage England’s aristocracy heritage an endless inspiration source traditional materials & patterns dismantled uniforms & costumes studying their cuts bustles experimenting with new combination rejection & attraction Anglophilia intellectual observation crinoline hooped skirt – Mini Crini 1985 took women’s bodies hostage in the name of fashion

18. WJEC information – marking scheme info. John Galliano: • One of the most influential designers of our time. • He is known for creating some of the most spectacular fashion shows in recent years. • John Galliano’s varied life has had a direct influence on the vivid colours he uses in his collections. • He launched his own label before becoming chief designer of France's haute couture flagship, Christian Dior, in Paris. • John Galliano found his first signature mark through strong and personal collections. • His sense of elegance and his proud tender vision of women made him a popular designer. • His collections have always been considered as romantic, this is evident in his Autumn/winter collection 2001 which was a combination of high-tech modernity and romance. • Features of some of his earlier collections include jackets worn upside down and inside out, with romantic organdie shirts. • He accessorised his collections with everything from magnifying glasses, smashed and worn as jewellery to rainbow-coloured ribbons sewn onto the insides of coats. • Galliano reinvented the 1930s-line bias-cut dress and made it modern, he is also known for creating narrow, very feminine tailoring.

19. Question 4 is about the design process and how it is used. and also the design question - 25 marks. Design Question You will have design based questions on : Key terms from your coursework What is an evaluation? ongoing and summative What is a specification? design specification and product or manufacturing specification How can we use CAD when designing? Why do we do product analysis? Why do you develop your design ideas?

20. Exemplar question Study the mood board below and use it as inspiration to design a co-ordinated two piece summer outfit for either male or female young adults. MOOD BOARD

21. Your design must: • be suitable summer wear for either males or females; • reflect the theme and colours of the mood board; • include specific named style details; • include details of the imaginative use of a named decorative technique; • be made of suitable specific named materials. Circle key words so you can focus on the where the marks are. Marks will be awarded for: (i) a co-ordinated two piece design based on the images and colours of the mood board which is suitable summer wear for either male or female young adults; [6] (ii) the imaginative use of a named decorative technique; [3] (iii) labelling three specific style details; [3] (iv) labelling two specific suitable materials; [2] (v) quality of communication. [4] Analyse where the BIG marks are

22. Drawing in PENCIL – add colour with coloured pencils only Do not spend too much time colouring in – add a splash of colour to indicated colour and texture Justify detail or any thoughts use as much technical language as possible. Name style features if you can • Make sure you are specific about components, construction and style details e.g. • open zips, closed zips, velcro, straps, buckets, buttons and buttonholes • single dart, double dart • tucks, gathers – drawn or elasticated, drawstrings, casing • seams – open – name the neatening overlocked, zig-zag, double stitched (jean seam) french seam for delicate fabrics and underwear. • Finishing edges – hems, facing, frills, piping, binding.

23. You can make magnified views to help explain your thinking Justify your fabric choice - time to show off your fabric properties knowledge e.g. Medium weight knitted cotton – cool and absorbent will also stretch with use to allow movement, also use any Smart Materials to max your marks. Water proofed nylon , just naming cotton will not get you high marks.

24. Name style features if you can Identify and use style details which reflect current trends and which are Sleeves: raglan, set-in, dolman, gathered, short/long.

25. Name style features if you can Identify and use style details which reflect current trends and which are Necklines: square/round, sweetheart, boat. Collars: tunnel, sailor, shirt, rever, roll, shawl.

26. Name style features if you can

27. Name style features if you can Identify and use style details which reflect current trends and which are Pockets: patch, welt, shaped, in side seam. Fastenings: zips, buttons, buckles, Velcro, eyelets, ties, poppers. Pleats: knife, box, inverted, kick.

28. Name style features if you can Identify and use style details which reflect current trends and which are Necklines: square/round, sweetheart, boat.

29. Question 5 is about Commercial Manufacturing Practices. It is worth a total of 10 marks.

30. Production methods Different scales of textiles production call for different production methods. The main ones are: One-off production One-off production is designing and making a single textile product to a client's specification. The garment design is developed from a basic block pattern, with a prototype made from inexpensive fabric to test the drape, fit and assembly of the garment. Batch production Batch production is manufacturing set quantities of a textile product to order. The prototype is made up in a medium size from the intended fabric. The prototype is checked for quality of design and manufacture, then put into production in a range of standard sizes. The quantity of products can vary from a set of four cushions made by a designer-maker, to 20,000 jumpers made for a department store. Mass production Mass production is industrial-scale manufacture of large quantities of products, usually on a production line. Mass production is suitable for products that seldom need to be redesigned and are needed in very large numbers, eg socks or jeans. The following table explains how these production methods are used in the textile industry:

33. 7 - Batch vs Mass production on a greater scale. • If your product were to be sold commercially do you think it would be produced in high volume (mass production) or low volume (Batch production). • Mass produced products would be made in a factory with a dedicated production line especially set up just to make your product. Mass produced products would generally be sold in huge numbers in order to reduce the production set up costs. • Batch produced items would be made in significantly smaller numbers. A batch would be made in a more versatile production set up as this type of manufacturer may make different items every day. • Mass-High volume production likely to be less labour intensive due to CAD/CAM use of automated machinery. • Batch-Smaller volumes of production, likely to be more labour intensive.

34. Progressive Bundle System                        With the progressive bundle system, the sewing operations are laid out in sequence. Each operator receives a bundle, does his/her work, reties the bundle and passes it to the next operator. There is usually a storage facility such as rack, bin or table for storing the inter-process work between each operation. The work is routed by means of tickets. This system is the most widely used system in the garment industry today. It is used in shirt factories, jeans factories, jacket factories, etc. • Progressive bundle system: • A system used in clothing production where the task of assembling the garment is broken down into small operations, and bundles of work are progressed down the production line through each operation in sequence until the assembly process is complete

35. Progressive Bundle System    • Advantages: • High productivity • 2. A uniformly high standard of work can be achieved. • 3. Training time and costs can be reduced. • 4. Semi-skilled labour can be used. 6. Individual performance can be monitored and incentives offered. • Disadvantages • Machine investment costs are high. • 2. The system is not very adaptable for short-run production and frequent style changes, as these require rearrangement of the workstations. • 3. It involves high handling costs for bundle handling and transportation. • 4. It requires a high level of management skill to arrange the workflow and decide on    the number of operators for each operation.

36. JIT – Just in time • Producing parts and products just before they are needed. • This means that valuable parts and equipment is not left sitting on the shelf as costing money in storage and unsold product. • Producing components without a buyer costs the business money to hod stock • Danger of not selling the product becoming obsolete.

37. Question 6 is about Materials and Components. It is worth a total of 15 marks

38. How fabric is constructed – • Weaving: plain, twill, satin, herringbone, pile. • Knitting: weft knit and a warp knit. • Bonding: sticking with adhesives; heating thermoplastic fibres; stitching a web of fibres. • Laminating. • Felting. Types of fibres and sources Natural polymers: • Animal polymers: wool/fleece – mohair, cashmere, angora, alpaca, camel (hair). • Insect polymers: silk. • Plant polymers: cotton, linen hemp, jute. Manufactured polymers: • Natural: rayon, viscose, rubber, metal, glass. • Synthetic: polyester, polypropylene, nylon, elastane, lycra, aramid fibres. • Microfibres – Tactel, Tencel (Lyocell).

39. • Theproperties of the main natural and manufactured fibres/fabrics including: strength, elasticity, absorbency, durability, insulation, flammability, water repellency, anti-static and resistance to acid, bleach, sunlight. • Blending and mixing fibres improves the properties and uses of yarns and • Bonding breathable water proof membranes to outer fabrics for allweather wear (Gore-Tex, Permatex). • Quilting – polyester wadding between an outer and lining material

41. Smart fabrics are a must learn See page 49-51

42. Smart fabric • Smart fibres and fabrics that respond to the environment or stimuli: Micro-encapsulation. Photochromic properties. Thermochromic properties. • Interactive textiles that function as electronic devices and sensors: Circuits integrated into fabrics such as heart rate monitors. Wearable electronics such as mobile phones or music player. Wearable electronics integrated into the fabric itself. • The impact of biotechnology. • Micro fibres in clothing manufacture. • Breathable materials. • Sun protective clothing. • Kevlar (used in cables for civil engineering – modular compression engineering); recycling PET bottles into fleece fabrics. • carbon fibres. • Nomex. • Geotextiles for landscaping. • Rhovyl as an antibacterial fibre.

43. Question 7 is about Tools, Equipment and Making related to textiles technology. It is worth a total of 20 marks.

44. Question 7 is about Tools, Equipment and Making related to textiles technology. It is worth a total of 20 marks.

45. Question 7 is about Tools, Equipment and Making related to textiles technology. It is worth a total of 20 marks. On the pattern layout question Straight of grain along the selvedge edge Take time to work out the pattern pieces and where they could be placed – all pieces to run along the straight of grain.

46. Question 8 is about ICT, CAD, CAM, Systems and Processes. It is worth a total of 15 marks.

47. Question 8 is about ICT, CAD, CAM, Systems and Processes. It is worth a total of 15 marks. Read pages -77-78

50. All production systems consist of inputs, processes and outputs. Usually there is a feedback loop as well, to enable the inputs and processes to be modified as a result of quality control checks or feedback from customers. Production systems can be modelled with a system diagram like the one below.