Elective 2: Textiles, Fashion and Design

To learn and revise: l Contemporary clothing and fashion l Textile science l Design evaluation and garment construction l Clothing and textile industries.

Check what has been covered: The LLR–PQR method of revision Tick (✓) each topic when you have learned it (L), checked the links (L), revised it once (R1), practised questions (PQ) and revised it for a second time (R2). At the end is a column to help identify where help or advice is needed.

Topic Learned LINKS Revised Practised Revised Do I need (L) (L) (R1) questions (R2) to ask for (PQ) help?

Contemporary clothing and fashions Factors influencing design and construction Current trends Clothing requirements Elements and principles of design Textile science Fabric profile Construction techniques 2 LESS STRESS MORE SUCCESS

Design evaluation and garment construction Application of elements and principles of design Garment constructions Modification of commercial pattern Clothing and textile industry Structure of industry Small businesses Career opportunities

Allocation of marks/assessment for both Higher and Ordinary Levels: Element Marks

Practical coursework 10% (garment 7.5%, support study 2.5%)

Written coursework 10%

Each year a Textile, Fashion and Design Assignment Brief (common level) is sent to schools for the practical coursework. Students are required to: l Investigate the assignment brief and its theme following the design process. l Create sketches/illustrations of an outfit based on the theme. l Cut out and construct one garment from the outfit designed. l Present a Design Folder with details of their analysis, research, implementation and evaluation. TEXTILES, FASHION AND DESIGN 3

The Design Folder contains information on: l The analysis of the assignment brief. l Research into the theme of the assignment. l Implementation (making one garment from the outfit and including prescribed processes). l Evaluation. Suggestions for the Design Folder Remember to: l Analyse and explore the assignment brief. l Include a plan of action to be followed. l Describe the outfit/garment fully. The Design Folder l Use quality illustrations (photographs, etc.). is A4-sized. l Label all diagrams/sketches and construction processes. l Reference all sources of information (books, Internet, etc.). l Describe the prescribed processes and all aspects of the construction processes accurately. l Evaluate the garment in relation to the theme given in the assignment. Making/constructing the garment Remember to: l Include prescribed processes. l Finish off all threads correctly. The garment must be l Keep the garment clean. textile-based and include l Check the tension and stitch size on the sewing a specific number of fabric machine before sewing garment pieces together. construction techniques l Press at all stages of construction and before and fabric finishes based on presenting the garment. the level you are taking. Other key points: 1. Stick to the Assignment Brief. 2. Include all the prescribed processes asked for. 3. Implement the prescribed processes correctly. 4. Do your own individual research and record it properly. 5. Make the design your own, be creative (do not copy), The garment should introduce variety and individuality, ensure it is your show progression of own work. skills developed in 6. Choose a fabric that is easy to work with and will suit Junior Cycle Home Economics. the prescribed processes. 4 LESS STRESS MORE SUCCESS

Note: The Design Folder and completed garment are assessed by an examiner appointed by the State Examinations Commission. Integration of topics in Elective 2 questions In the written paper for Elective 2, you must answer Questions 2 (a) and either 2 (b) or 2 (c). Exam questions show the integration of topics. You must learn all sections of the elective. Do not omit any section when revising. Here are the topics asked in past exams.

Higher Level Compulsory Q2 (a) AND Q2 (b) OR Q2 (c)

2017 l Athleisure trend (photo l Fabric profile: l Irish fashion provided) blended fabric industry l Trendsetters/media l Career influences opportunities

2016 l Fashion trends (sketch and l Regenerated and l A milliner or describe) synthetic fibres fashion designer l Trend and suitability for l Colour and design l Accessories purpose application

2015 l Playsuit/jumpsuit (sketch l Fabric profile: l Music influences and describe) natural fibre l Restyling garments l Body measurements, fabric, plan of work to assemble garment

2014 l Photo of celebrity’s style l Construction l Challenges in the l Evaluate design of dress technique for cotton clothing industry l Fabric finish l Elements of design to l An Irish fashion (enhance flatter body size and shape designer performance)

2013 l Casual wear fashion trends l Profile: fabric/ l Irish fashion l Customising denim jeans manufactured fibre industry l Evaluate the customised l Growth of textile jeans craft work

2012 l Socio-economic influences l Blended fabrics l Construction, on clothing industry colour and design l Party outfit (sketch and techniques describe) TEXTILES, FASHION AND DESIGN 5

Ordinary level Compulsory Q2 (a) AND Q2 (b) OR Q2 (c)

2017 l Debs (graduation) fashion l Natural fibres l An Irish fashion photo l Identification test designer l Comment on suitability of l Teenage fashion outfits trends l Accessory to enhance outfits

2016 l Office wear photograph l Fabric profile: l Media influences l Suitability of office suits natural fabric, on fashion advantages in l Modern footwear l Fabrics suitable for suit clothing trends jacket

2015 l Teenage outfit (sketch and l Fabric profile: l Commercial describe) synthetic/man-made patterns l Application of elements of fabric l Pressing garments design

2014 l Two-piece interview outfit l Role of small l Fabric finishes – l Fabric suitable for outfit businesses and uses and examples l Principle of design shown cottage industries in sketch l Career opportunities

2013 l Leisure/outdoor outfit l Account of a natural l Designing an outfit (sketch and describe) fabric l Functions of l Evaluate an outfit clothing

2012 l Suitability of school l An Irish fashion l Commercial uniforms designer patterns l Laying out a l Fibre for a school cardigan l Accessories pattern on fabric l Method of applying a (stages to be school crest followed) 6 LESS STRESS MORE SUCCESS

To achieve good marks: l Read questions fully and underline key words. l Carefully sketch all outfits/garments andlabel sketches correctly. l Describe the outfit/garment separately from sketches. l Investigate current Irish designers and their contribution to the fashion industry. l Be familiar with the current state of the textile industry – read the papers, listen to the news, research via the Internet, find out what happened in the latest government budget. Marks are often lost due to lack of detail, repetition of information, no sketches/ illustrations/drawings, poor descriptions.

The written paper Exam questions and summary sample answers show what is expected when answering a question. The next two exam questions show the integration of topics within the elective questions. In the following chapters, only the relevant section of a question (part of a question) and suggested answers are given.

Exam questions and sample answers Higher Level 2013, Section C, Q2 (a), (b), (c) (a) ‘Fashion is a revolving door. Trends change with the seasons and styles are constantly being Make one reference to revived and revamped.’ each of the points and (i) Evaluate current fashion trends in casual wear. add one other point. Refer to colour and pattern, line/shape and accessories. (4 points × 3 marks = 12 marks)

Colour and pattern: l Colours for the current season vary between vivid red, and pastel shades e.g. pinks, blues and yellows, in a mixture of plain, geometric, checks, floral prints, country and arty illustrated prints. There is less emphasis on the effects of colours. Sequins, glitter embellish evening wear. TEXTILES, FASHION AND DESIGN 7

Line/shape: l Relaxed tailoring in soft 1980s silhouettes with puff sleeves and frills. Vertical lines give an illusion of length and height, make the person look slimmer. Horizontal lines add to width and make the body look wider. Diagonal lines visually increase height. Curves create softness in designs. Sportswear continues the athleisure style of last season. l Jumpsuits, asymmetric tunics and shirts, classic trenches and jackets are popular with all fashion collections. Denim designs from the 1970s to 1990s are used in jackets and trousers. Accessories: l Bags in larger sizes, geometric in shape with embellishments for day use and clutch bags for after work events are popular. Transparent bags, shoes and boots, hats in a variety of shapes and size, gloves and arty scarves with interesting patterns are key trends in fashion. l Classic jewellery in simple designs, Art Deco designs and large statement pieces complete outfits.

(ii) Describe, with the aid of a diagram, one method of customising denim jeans in order to give them a unique look. (Description = 3 marks, diagram = 4 marks, total = 7 marks) Method: Fraying denim jeans

Choose from distressing, fraying, embroidery (machine, hand), applique, bleaching, adding studs, labels, sequins, stencilling, fabric painting

Draw the diagram first and then describe the method. 8 LESS STRESS MORE SUCCESS

Description: Equipment: denim jeans, tailor’s chalk, embroidery scissors or art scalpel, old magazine, tweezers Method: 1. Using tailor’s chalk mark the position of the lines to be cut 10 cm above the knee line. 2. Place magazine in the leg of the trousers to prevent Always choose two layers of fabric being cut. examples from 3. Cut the marked horizontal lines using the small the current season scissors/art scalpel. to customise any 4. Using the tweezers tease out the white horizontal garment. and the vertical threads. 5. Remove the vertical threads, check for loose threads and press. (iii) Evaluate the design of the customised jeans with reference to function and aesthetic appeal. (2 points × 3 marks = 6 marks) Function: (3 marks) l The customised finish is representative of the current styles popular with young people. l The jeans are comfortable to wear and decorative. Aesthetic appeal: (3 marks) l Line, shape and texture of the fabric contribute to the aesthetic appeal. l The fraying of the fabric enhances the texture of the garment/jeans. l The eye is drawn to the customised detail, becomes the focal point of the jeans. AND (b) Write a profile of one fabric made from manufactured fibres. Refer to name of fabric; fibre production; fabric properties; and fibre identification test. Name of fabric: Nylon (Name = 2 marks) Fibre production: (3 points × 2 marks = 6 marks) Stage 1 – Forming nylon: 1. Chemicals, adipic acid and hexamethylene, (monomers) are mixed together, heated in a steel chamber, forced from the steel chamber and cooled to form ribbon-like polymers which are cut into chips and dried. Stage 2 – Producing nylon yarn: 2. Nylon chips are melted and pumped through a spinneret into cool air to form different sizes and thickness of fibres and twisted to form filaments or staple fibres. 3. Nylon filaments are wound onto spools for weaving into textiles. Fabric properties: (2 points × 2 marks = 4 marks) 1. Strong and durable. 2. Easy to care for, drip dry. TEXTILES, FASHION AND DESIGN 9

Fibre identification test: (1 point × 3 marks = 3 marks) Burning test: It ignites and burns quickly, shrinks away from flame, melts and drips, results in a hard plastic-like bead when it cools, produces a celery-like or plastic smell and hazardous fumes, very dangerous. OR (c) The contribution that the fashion industry makes to the economy is often undervalued. (i) Suggest how the Irish fashion industry can be promoted in order to give it wider recognition. (2 points × 3 marks = 6 marks) 1. Increased support for the Council of Irish Fashion Designers and Enterprise Boards. 2. Participation by Irish designers in International Fashion Week shows, e.g. London, Paris, Milan, New York. (ii) Discuss, giving examples, the reasons for the growing popularity of textile craft work. (3 points × 3 marks = 9 marks) 1. Desire to learn traditional and new skills due to more leisure time. 2. Setting up new business due to changes in employment, e.g. recession, unemployment. 3. Attending craft, knitting and stitching shows to get new ideas and buy supplies. Ordinary Level 2016, Section C, Q2 (a) Nothing can quite prepare you for the experience of your first office job. (i) Comment on the suitability of the office suits as shown below. Refer to function; comfort; and aesthetic appeal. (3 points × 6 marks = 18 marks) Function: l Easy to wear and suitable for their function as office wear. l Versatile, easy to care for and durable. Comfort: l Allow for ease of movement e.g. stretching. l Are comfortable to wear as they are not too fitted. Aesthetic appeal: l Line and shape of both suits create a formal tailored look, which is popular l Woman’s suit has a fitted short jacket with v-shaped neckline, man’s suit is tailored and combined with a matching tie, buttons on both suits match the fabrics and enhance the designs. 10 LESS STRESS MORE SUCCESS

(ii) Suggest one fabric suitable for the suit jacket and give a reason for your choice. Fabric: Wool (3 marks) Reason for choice: Wool is warm, resilient, absorbent and hardwearing. (1 point × 4 marks) Remember that fibres undergo a variety AND of processes during production. (b) Natural fabrics have many advantages over synthetic fabrics. (i) Write a profile of a natural fabric under each of the following headings. Fibre production (Linen): (3 points × 2 marks = 6 marks) 1. Linen is made from the stems of flax plants which are harvested and the seeds removed. 2. Flax stalks are soaked in water for several weeks to allow fungi and bacteria to work on the substances holding the fibres together. This process is called retting. 3. Flax fibres are dried, separated from the woody core, combed, carded, drawn and spun into yarn.

Fabric construction: Warps (1 point × 3 marks = 3 marks) Warp threads are stretched on a loom, a shuttle passes weft threads over and under the warp threads from one side to the other forming a selvedge edge which prevents fraying. Repeating these actions forms the line fabric which may have a simple or decorative pattern woven into it. Wefts

(ii) Give two advantages of using natural fibres/fabric in clothing. (2 points × 3 marks = 6 marks) 1. Durable and strong. 2. Absorbent, dyes readily.

OR

(c) ‘I love fashion. I think it’s so important because it’s how you show yourself to the world.’ (Emma Watson, April 2015) (i) Explain how the media influences the choice of clothing worn by teenagers. (3 points × 3 marks = 9 marks) 1. Social media provides teenagers with regular access to fashion updates from Irish and global bloggers and stylists who predict the future trends. TEXTILES, FASHION AND DESIGN 11

2. Teenagers like to wear designs made popular by celebrities, e.g. movie stars, sports people, models. 3. Magazines, TV programmes and newspapers provide teenagers with information about new season’s fashions, less expensive alternatives and ideas for updating what they already have in their wardrobes.

Consider what is shown in current magazines, TV shows, movies and international fashion. What is popular with young people?

(ii) Discuss the contribution of modern footwear to current fashion trends. (2 points × 3 marks = 6 marks) Modern footwear can: 1. Create a balance by complimenting outfits with contrasting or matching colours. 2. New shoes can be used to update last season’s fashion.

Ordinary Level 2009, Section C, Elective 2, Q2 (a) (ii) (a) (ii) Sketch and describe a pair of trousers/pants popular with teenagers which would be suitable to wear with a casual, front-zipped jacket with drawstring hood and two pockets.

Marks Sketch = 3 marks Description = 4 marks Total = 7 marks When sketching the trousers, be sure to show details of the design and any features, e.g. pockets, trims, buttons, etc. 12 LESS STRESS MORE SUCCESS

Narrow waistband

Pocket Zip fastening with zip closure

Decorative stitching

Decorative stitching

When describing the trousers include information about the following:

Description

Colour of garment Grey

Fabric used Heavyweight cotton

Properties of the 1. Comfortable and easy to wear fabric (why fabric 2. Durable 3. Easy to wash and care for suits trousers) 4. Fabric is easy to dye – variety of colours available Design and decorative Design features: features l a narrow waistband with hooks which will hold a belt in place l a front zip closure l side pockets with a zip closure l straight legs Decorative feature: machine stitching around the pockets, waistband and leg hems TEXTILES, FASHION AND DESIGN 13

Elements of design Colour: grey is easy on the eye and allows the decorative stitching to be seen Line: the straight legs on the trousers makes the shape look tailored and creates height Shape: the design suits most body shapes Texture: the fine, smooth, dull texture of the cotton visually reduces size and creates height. The trousers look comfortable to wear Principles of design Balance: the outfit is in two halves which are visually balanced (some examples) but are not the same. An informal balance is created Emphasis: the eye is drawn to the decorative details, machine stitching on hems, waistband and pockets 1 Contemporary Clothing and Fashion

To learn and revise: l Social, economic and industrial influences on the design and construction of clothing l Factors that influence clothing requirements l Some current fashion trends, names of labels and Irish designers.

Influences on the design and construction of clothing Social influences l First and Second World Wars. l Status of women, working outside the home, equality. l Changes in leisure activities, new casual-wear styles. l Social conformity, conforming to the latest fashion trends. l Socio-economic status, income, occupation, lifestyle. l Entertainment industry, e.g. World Music Awards, The X Factor, etc. l Media, fashion magazines, films, film stars, pop idols. l Emphasis on youth and youth culture. l Social media posts and blogs (Instagram, Facebook, Tumblr, etc.). Revise the trends of the Economic influences 1920s, 1950s, 1960s, 1970s, 1980s and 1990s. l State of the economy is reflected in fashion trends. Check out the latest l Economic recessions influence consumer demands. views on fashion and l Family income affects consumer spending. the environment. l Employment/unemployment affects disposable income. l Cost of functional clothing versus decorative clothing. l Introduction of ‘off-the-peg’, seasonal collections, investment outfits. l World events, e.g. availability of raw materials, cost of transport. Industrial influences l Inventions, e.g. Spinning Jenny, the sewing machine. l Industrial Revolution (power-driven machinery, mass production). TEXTILES, FASHION AND DESIGN 15

l Creation of new fabrics, e.g. synthetics (nylon). LINKS l Scientific advances, e.g. new microfibres, improved l Textiles manufactured fibres. (p. 247 textbook) l Computerisation, e.g. computer-aided design (CAD). l Family structures l Improved systems of communications and transport. (p. 272 textbook) l Online shopping. Factors that influence clothing requirements The main factors that influence clothing requirements are approval, identification, modesty, personality, protection and status. Examples of these include:

Factors Examples

Approval or acceptance by others Peer group, work colleagues, friends

Identification Coastguard, mountain rescue team member, uniforms for work, school and sports

Modesty Swimwear is only worn on the beach

Personality or expression Casual, formal or unusual

Protection or safety At work, e.g. against fire, smoke, etc. From the weather, e.g. windproof and waterproof

Other factors which influence our choice include: l Advertising and merchandising of the latest trends. l Appearance of design and properties of the fabric. l Age of individual (child, teenager, adult) choosing the clothing. l Fabrics, finishes and care labels (wash, dry clean, hand wash). l Cost of the item and value for money. l Fit and specific requirements for different figure types. l Functions, suitability for purpose, e.g. rainwear, outdoor wear. Revise the following l Trends (constant change, last a long or short time). terms: style, trend and trendsetters. l Cultural and social acceptability (wanting to be fashionable, wearing the latest styles). l Personal preferences, personal style, social media, Internet and TV.

Trends Influenced by the fashion industry, famous people, media, TV reality shows, e.g. The X Factor

Fashion fads Last a short time and are not expensive 16 LESS STRESS MORE SUCCESS

Examples of styles: casual, classic, country, executive or work wear, special occasion, sporty or leisure, athleisure, teenager or youth culture, outdoor (e.g. hiking, gardening). Categories of design: designer, ready-to-wear, bridge, contemporary, children’s wear, haute couture, prêt-à-porter, off-the-peg. LINKS l Consumer studies (p. 253 textbook) l Family resource management (p. 207 textbook)

Exam questions and sample answers Higher Level 2017, Section C, Q2 (a) (i), (ii) (a) The athleisure trend is turning workout wear into a serious style statement. People of every age are wearing workout clothes all day.

(i) Comment on the outfit shown in the picture.* Refer to comfort, aesthetic appeal, and current fashion trend. Comfort: (1 point × 5 marks = 5 marks) A long jacket with a zip opening is worn over a loose fitting top, trousers with a drawstring waist and narrow legs, in a soft fabric, which are comfortable and easy to wear. Aesthetic appeal: (1 point × 5 marks = 5 marks) The overall design appeals to fashion conscious younger people and those who prefer a more casual look. Current fashion trend: (1 point × 5 marks = 5 marks) Clothing traditionally designed for going to the gym, workouts and sporting activities is now worn in a variety of settings from work to casual and social events. This fashion trend is convenient and liked by those who go from one setting to another without changing their outfit. Always give current examples when answering questions. *Images differ slightly from original. TEXTILES, FASHION AND DESIGN 17

(ii) Discuss the influence of trendsetters and the media on fashion. (2 points × 5 marks = 10 marks) Trendsetters: Individuals or groups who create fashion trends due to media exposure when attending celebrity events, publication of endorsements of designers/labels, interviews, etc. Media: The media reflect changing fashion styles and lifestyles of popular celebrities, models and public figures through magazines, television, fashion blogs, social media, Snapchat, etc.

Ordinary Level 2017, Section C, Q2 (b) (i), (ii) (b) Fashion designers made fashion a huge industry in the 21st century.

(i) Name one Irish fashion designer and comment on his/her contribution to Irish fashion. (6 marks) Name: Louise Kennedy (Name = 3 marks) Comment: (Comment = 3 marks)

l Louise Kennedy is an internationally recognised Irish fashion designer.

l She creates clothes which emphasise quality of design, elegance.

l Examples include the designs created for past president Mary Robinson, public figures, etc.

l Her designs show high standards of workmanship and construction.

(ii) Outline three fashion trends currently popular with teenagers. (3 trends × 3 marks = 9 marks) 1. Ripped denim in jeans, skirts and shirts. 2. Designer jackets, runners and shoes in contemporary colours and designs. 3. Scarves in a variety of fabrics, colours and patterns, e.g. new ‘arty’ designs.

Higher Level 2016, Section C, Q2 (c) (i), (ii) (15 marks) (c) ‘Fashion fades, only style remains the same.’ (Coco Chanel) (i) Discuss the work of one milliner or fashion designer. (9 marks) Name: Jennifer Wrynne (3 marks) Work: (2 points x 3 marks = 6 marks) l Specialises in creating unique, luxurious headpieces and hats for special occasions.

l Hats and headpieces are hand made with high quality details and finishes.

l Her work is in high demand and her designs have been featured extensively in the media. 18 LESS STRESS MORE SUCCESS

(ii) Evaluate the growing popularity of accessories in completing an outfit. (2 points × 3 marks = 6 marks) Accessories are used to: 1. Emphasise line and shape, e.g. belts for waistlines, scarves on necklines. 2. Create different looks using statement bags, scarves, jewellery in a variety of designs and colours. 3. Brighten up older outfits and make them look more contemporary, e.g. bold colours.

Basic elements and principles of fashion design Elements of design – a quick revision Colour is the most prominent feature of a garment. Colours can be considered in terms of hue, intensity, value, tints, warm, cool, neutral, primary, secondary and tertiary. Line refers to body, silhouette and structural lines. Curved, diagonal, horizontal and vertical lines are used to influence the garment design and how it drapes on the wearer. Shape is the outline or silhouette of the garment. Texture refers to the softness or crispness of a fabric as determined by the type of fibre, weave used and fabric finish. Fabric is influenced by trends, drape, textures, colour, finishes and patterns. Principles of design Balance: Designs can be balanced vertically, symmetrically or asymmetrically. Emphasis: Creates a focal point or interest in colour, line, texture and design details. Harmony: Achieved when all elements and principles of design work well together. Proportion: Relationship between different parts of the garment, equal or unequal. Repetition: Gives garments rhythm through repetition or regular recurrence of colour, line and shape. Repetition can be continuous, graduated, radiated, unequal or uniform. TEXTILES, FASHION AND DESIGN 19

Teenage fashion

Exam question and sample answers Higher Level 2014, Section C, Q2 (a) (i), (ii) (a) ‘Imelda May’s distinctive rockabilly style is iconic to the core and bold in its delivery – ‘50s all the way.’ (i) Evaluate the design of the dress shown in the diagram. Refer to comfort; aesthetic appeal; and current fashion trends. (3 points × 5 marks each = 15 marks) Comfort: A figure-hugging easy to wear dress in a stretch fabric that is comfortable to wear. 20 LESS STRESS MORE SUCCESS

Aesthetic appeal: A striking effect in horizontal black and white stripes emphasised by a wide fabric belt to create an hourglass body shape. Current fashion trends: Vintage fashion styles are popular in shops, fashion magazines and catwalks. (ii) Discuss the significance of the elements of design when choosing clothing to flatter body size and shape. (2 elements × 5 marks = 10 marks)

Colour: l Attracts the person to the garment initially.

l Colour enhances the perception of the person wearing the garment. Choose from colour, line, shape, texture and pattern. l Neutral colours, black, cream and white Elaborate each point selected balance with other colours. and give examples to explain your answer. l Dark colours visually reduce body size, lighter colours have the opposite effect.

l Varying the intensity of the colour can create warmth or coolness.

l Colour repetition emphasises the line of a garment.

l Colour can make a person seem taller or shorter.

l Colour can enhance a garment, e.g. neckline, waistlines, pleats, cuffs.

Line: The line of a garment is its structural lines and its silhouette.

Structural lines l Lines within the design e.g. horizontal, vertical, diagonal and curved.

l Used to enhance balance and to direct the eye.

l Divert the eye from the less attractive/negative features.

l Horizontal lines widen and shorten the body.

l Vertical lines reduce width and create the impression of height.

l Diagonal lines improve the balance of height and width.

l Curved lines soften the appearance and create a curvy shape.

Silhouette l Outside lines of the garment are based on a rectangle, a triangle or variations.

l Should emphasise the positive features of the body shape and divert from negative features. TEXTILES, FASHION AND DESIGN 21

l Shapes can be fitted, semi-fitted or loose, each creating a visual effect: – Wide or boxy rectangular shapes visually increase width and reduce height. – Narrow rectangular shapes visually create a slimmer appearance. – Wide triangular shapes at tops of garments create slimmer effects.

Fashion trends for women Casual wear: emphasis on colour, fit and shape, variety of traditional and modern fabrics, trend towards tweeds, checks and knits, military style jackets and coats. Check the trends for Knitwear: fine-knitted jumpers and cardigans, twin-sets, this season. fitted jumpers. Skirts: short, knee- or ankle-length, gathered, pleated, ruffled, frilled or scalloped hems, A-line or tiered, casual or semi-formal in style. Tops: variety of colours, fabrics and styles, short in length, camisole tops with spaghetti straps, one-shoulder tops, variety of sleeve lengths, beads, embroidery, fringes, frills, ruffles. Trousers: hipsters with straight, bootleg or wide designs, pockets on the side, side openings or classic front opening. Work wear: combinations of tailored jackets or coats, trousers, skirts or dresses in classic styles, nipped at the waist, a variety of sleeve lengths, fitted zipped jackets or knee- length coats, classic shirts or ribbed tops. Evening wear: long or short dresses in luxury or blended fabrics, tailored or loose trousers, plain or embroidered in casual, semi-formal or formal styles with sequins, metallic knits. Fabrics: denim, luxury blends (cashmere, silk), leather, natural, synthetics, manufactured and blended fibres, velvets and laces, floral fabrics. 22 LESS STRESS MORE SUCCESS

Women’s wear labels – some examples Christian Dior, Victoria Beckham, Prada, Calvin Klein, Magee, Lainey Keogh, Topshop, Giorgio Armani, Michael Kors, Regine, Yves St Laurent, Vivienne Westwood, Philip Treacy, Paul Costelloe, Louise Kennedy, Marks and Spencer, Primark, Simone Rocha, Calvin Klein, Dolce & Gabbana. Fashion trends for men Styles and colours are not as limited for men’s clothing as in the past. Trends feature traditional, classical, casual, outdoor styles and semi-formal styles. A limited range of colours are used in main items, e.g. suits, and a greater variety are available in shirts, ties and socks. Colours tend to be dark for formal wear, with brighter colours for casual day wear, sports wear and outdoor pursuits clothing. Casual wear: designs based on the functions of leisure activities, emphasis on practicality, fit, shape and fabrics, limited styles, adapted to everyday use, including work wear, comfortable to wear and easy-care fabrics and finishes. Trousers: long with or without turn-ups, narrow or wide, fabrics include wool, wool blends, chino, linen, baby cord. Jackets: single-breasted or double-breasted (depends on trend), sports jackets, casual blazers, outdoor waterproof jackets; fabrics include wool, blends, cotton and linen, leather. Shirts: fairly traditional, long or short sleeves, cuffs closed with buttons or cufflinks, large or small collars, plain stripes or prints, made in cotton, polycotton, linen or silk. Tops: casual sweatshirts, T-shirts with or without collars, baggy, long or short in style, tend to be plain or striped, natural and blended fabrics used. Knitwear: fine knits, chunky sweaters for outdoors, wool, cotton or blends used. Work wear: the tailored suit is an essential item for the majority of workplaces; fabrics used include wool and wool blends; if protective clothing is a requirement fabric will be dictated by the function of the clothing. Formal wear: suits are most popular and are worn with traditional shirts and ties. Ties: variety of colours and patterns, little variety in shape (broad or narrow). Menswear labels – some examples Magee, O’Neills, Calvin Klein, Hugo Boss, Ralph Lauren, Nike, Barbour, Armani, Bugatti, Lacoste, Levis, Gant, Diesel. TEXTILES, FASHION AND DESIGN 23

Exam question and sample answer Ordinary Level 2017, Section C, Q2 (a) (i), (ii)

(a) The Debs (graduation) is a very important occasion in many teenagers’ lives. (i) Comment on the suitability of the Debs (graduation) outfits as shown above.* Refer to shape, proportion and design features. Shape: (2 points × 3 marks = 6 marks) Suit: Slim trousers and short length jacket makes the young man look taller. Two-piece debs dress: Short fitted beaded lace bodice with short sleeves, a curved neckline and a lined fitted skirt with sweeping train.

Proportion: (2 points × 3 marks = 6 marks) Suit: The fitted single breasted jacket in a standard size is in proportion with the slim styled trousers. Two-piece debs dress: The long skirt and sweeping train makes the young woman seems taller.

Design features: (2 points × 3 marks = 6 marks) Suit: Pocket handkerchief creates contrasts with the blue fabric and emphasises the line of the pocket on the jacket. Two-piece debs dress: The flowing skirt drapes well and creates an elegant image.

(ii) Suggest one accessory you could add to enhance either of the above outfits. Give a reason for your choice. (1 accessory × 3 marks, 1 reason × 4 marks, total = 7 marks) Accessory: Bow-tie Reason for choice: To create a more sophisticated formal look and add interest. *Images differ from original. 24 LESS STRESS MORE SUCCESS

Irish designers (past and current) Some famous Irish designers are Irene Gilbert, Sybil Connolly, Lainey Keogh, Louise Kennedy, Paul Costelloe, Philip Treacy, Marc O’Neill, Jen Kelly, Peter O’Brien, John Rocha, Simone Rocha, Richard Malone, Orla Kiely, Joanne Hynes, etc.

Become familiar with current designers and the characteristics of their designs, e.g. styles, fabrics used, and their market (haute couture, off-the-peg, etc.). These change with each season’s collections.

Example of a designer-focused question and sample answer Higher Level 2004, Section C, Elective 2, Q2 (c) (i) (c) (i) Discuss the contribution of Irish designers to the success of the clothing industry in Ireland. (3 points × 3 marks 5 9 marks) Ireland has been producing fashion designers of international repute since the 1950s. l Designers who in particular contributed to the success of the clothing industry in earlier days are Sybil Connolly, Irene Gilbert and Neillí Mulcahy. They were You are expected to present involved in the promotion of the and discuss three points. industry alongside their own individual work catering for both Irish and overseas clients. l Sybil Connolly and Irene Gilbert started exporting clothing in the 1950s. Sybil Connolly’s designs were sought after in America by well-known families, e.g. the Rockefellers, Jacqueline Kennedy. Irene Gilbert was well known for the pattern designs she created for Spadea Designer Pattern which featured her name on their covers. Neillí Mulcahy was a founder member of the Irish Haute Couture Group in 1962 along with Irene Gilbert and others. Neillí designed a uniform for Aer Lingus’s air hostesses in 1962 in hand-woven Donegal tweed. She also established a mail order business to cater for her overseas clients. l Collaboration between Irish fashion designers and textile designers produced new approaches to the use of Irish fabrics, e.g. the work of Neillí Mulcahy and Michael McInerney. TEXTILES, FASHION AND DESIGN 25

l Contemporary designers are trained at the Grafton Academy, the National College of Art and Design (NCAD), Limerick School of Art and Design, Griffith College Dublin and other colleges l Designers’ use of Irish-made fabrics supports the textile production industry. l The wearing of Irish designer clothing by prominent people promotes an awareness of the Irish fashion industry at important events, e.g. Mary Robinson wearing a Louise Kennedy design. l Irish designers presented their creations in the Ireland Pavilion at the World Expo Shanghai 2010. This event presented the talent, diversity and creativity of the Irish design industry and Irish designers to an international audience. The designers present included John Rocha, Paul Costelloe, Lainey Keogh, Joanne Hynes, Quinn and Donnelly, Helen McAlinden, Deborah Veale, Aideen Bodkin, Jennifer Rothwell and new designers Tim Ryan, Louise Knatchbull, Yasmin Velloza and milliner Michael Leong.

Exam question and sample answer Higher Level 2007, Section C, Elective 2, Q2 (c) (i), (ii) (c) The Irish clothing and textile sector has evolved from Aran jumpers and tweed skirts to much fresher and creative designs. (i) Discuss the work of one Irish designer who has played an important role in this development. (3 points 3 3 marks 5 9 marks)

Profile one of the following: Louise Kennedy, Philip Treacy, Paul Costelloe, Sybil Connolly, Peter O’Brien, Simone Rocha, Richard Malone, Joanne Hynes; or any other designer of your choice.

(ii) Outline two difficulties affecting the Irish textile industry. (2 points 3 3 marks 5 6 marks) 1. It is difficult to compete with countries which have lower production and labour costs, e.g. China. The costs in Ireland are much higher than in these locations. 2. It is difficult to deal with international markets where there are communication difficulties due to language problems and poor systems of communication 26 LESS STRESS MORE SUCCESS

Sketching an outfit – key points to note

Collar

Striped cotton When describing the sketch, fabric refer to each of the following in your answer: l Colour Long sleeves l Line l Texture l Pattern l Shape

l Design. Cuff Unfitted shape (classic design) Button opening/closure Front buttoned opening

Sketching and labelling outfits are important skills to develop for the Design Folder and the written exam. Practise sketching the following outfits (based on questions given in past exam papers):

Higher level Ordinary level

Outdoor festival clothing Trousers/pants

An office uniform/suit Jacket with a design

Unisex tracksuit Top and cargo pants/shorts

School graduation /debs outfit Office outfit

Winter jacket Sports outfit, tracksuit

Athleisure outfit Staff shirt

Jumpsuit/playsuit Debs outfit

Jeans Any teenage outfit

Dress design Party outfit

Leisure/outdoor outfit

Learn to evaluate garments illustrated in photographs or sketches. Be able to evaluate a garment for exam questions under the following headings: l Function (use) l Comfort when wearing l Aesthetic appeal. TEXTILES, FASHION AND DESIGN 27

Some important terms Couturiers: fashion designers (show collections twice a year). Haute couture: original designs by fashion designers for individuals; tend to be expensive. Prêt-a-porter: ready-to-wear outfits based on couture designs. Off-the-peg: affordable fashion available in the shops, use less expensive fabrics and quick methods of construction and production.

Exam question and sample answer Zip at back Higher Level 2015, Section C, Q2 (a), (c) (a) ‘Playsuits and jumpsuits have evolved from men’s Wrapover top clothing to chic and versatile garments and are important fashion staples in every person’s wardrobe.‘ (i) Sketch and describe a playsuit/jumpsuit you would wear for an occasion of your choice. Striped (Sketch = 5 marks, description = 4 marks, fabric total = 9 marks) Cinched-in waist Description: A sleeveless jumpsuit, with a v-shaped wrap-over bodice and wide legs finishing at the ankles.

Wide (ii) You plan to make the garment. Give details legs of each of the following: body measurement required; the type of fabric you would select and the reason for your choice; and an outline plan of work to assemble the garment. Body measurements required: (2 points × 2 marks = 4 marks) Ankle Length 1. Nape to waist: Measure from the base of the neck to the waistline. 2. Bust: Bring the tape measure around the fullest part of the bust, under the arms and straight across the widest part of the back. 3. Waist: Find the natural waistline and measure with the tape measure, never pull the tape tightly. Choose any two measurements listed. 4. Hips: Located 18–23 cm below the waist, measure the widest part. 5. Trousers length: Measure outside and inside leg, measure from the waistline to the hem length. Type of fabric and reason for choice: (4 marks) Fabric: 100% cotton Reason for choice: cotton is comfortable to wear and drapes well 28 LESS STRESS MORE SUCCESS

Outline plan of work to assemble the garment: (4 points × 2 marks = 8 marks) Preparation: l Lay out pattern pieces on the fabric and pin in place. l Cut out carefully, transfer notches and pattern markings, remove paper pattern. Assembly: l Pin and tack pieces together, try on and check fit.

l Apply facing to armholes and neckline, neaten edges.

l Machine seams, press open and neaten using a seam finish.

l Pin and tack trousers pieces together, try on, check fit and length.

l Machine seams, press open and neaten using a suitable seam finish.

l Attach bodice to trousers, inset zip into side seam.

l Neaten waistline seam using a suitable finish.

l Turn up hem on trousers legs, neaten and press. Pressing/finishing: l Finish all loose threads.

l Press all seams from the wrong side using a pressing cloth.

l Turn right side out and give a final press. Evaluation: l Check fit and finish.

(c) ‘As a practice of expression and as a way to individualism, it is obvious music and fashion are closely linked.’ (i) Discuss, giving examples, how music and/or musicians have influenced trends in fashion over the years. (2 points × 3 marks each)

l Prince popularised an androgynous look, a dynamic array of looks, wore clothes in colours traditionally associated with women’s fashion, leggings and trousers in a tighter fit, etc.

l Madonna popularised leggings, fingerless lace gloves, pioneered underwear as outerwear, prom dresses, punk themed outfits, etc.

(ii) Give examples of how a garment can be restyled to reflect a modern trend. (3 examples × 3 marks = 9 marks) 1. Replace buttons in brighter colours, more interesting patterns and textures. 2. Apply appliqué, beading or embroidery to create a new focus. 3. Shortening shirts, dresses, trousers jackets and coats creates different lines and balance. 2 Textile Science

To learn and revise: l Classification, sources and uses of natural, regenerated and synthetic fibres l A profile of a fabric manufactured from natural fibres – linen l A profile of a fabric made from manufactured (man-made) fibres – nylon l A profile of a fabric manufactured from a blend of fibres (Higher Level) l Yarn production and modification l Fabric construction techniques (Ordinary Level: 2 techniques; Higher Level: 3 techniques) l Fabric finishes (Ordinary Level: 2 techniques; Higher Level: 3 techniques) l Colour application (2 methods) l Fabric performance testing (Higher Level: 2 tests)

Classification of fibres Natural fibres (animal and vegetable)

Animal fibres Examples

Animal hair Wool (sheep), short fibres, speciality hair fibres (cashmere)

Animal secretions Cultivated silk (mulberry), wild silk (tussah) from silkworms Vegetable fibres Examples

Seed Cotton from cotton plant (short fibres)

Bast Linen from flax plant (short fibres)

Leaf Sisal

Fruit Coir (nut husk fibres)

Uses of natural fibres – some examples

Fibres General uses

Cotton Clothing, furnishing, household fabrics

Linen Clothing, bed and table linen, soft furnishings

Silk Clothing, soft furnishings, bed linen, rugs

Wool Clothing, carpets/rugs, furnishing fabrics 30 LESS STRESS MORE SUCCESS

Regenerated fibres These are manufactured fibres made from natural materials such as cellulose. LINK Revise the symbols for cotton, linen, l Properties and care of fibres (p. 250 textbook) wool and silk.

Class/type Origin/source Uses Acetate Cotton linters/wood pulp treated with Blouses, dresses, lingerie, shirts, acetic acid, acetic anhydride and water tops, linings

Tri-acetate Wood pulp or cotton linters Pleated skirts, sportswear

Viscose Cellulose from spruce trees treated with Blouses, lingerie, dresses, skirts, caustic soda and carbon bisulphite shirts, furnishings, table linen Synthetic fibres These are artificial fibres made from chemicals. Raw materials such as coal, petroleum, air and water are modified to produce different polymers and different types of synthetic fibre.

Class/type Origin/source Uses

Acrylic Acrylonitrile is co-polymerised with Blouses, dresses, knitwear, another chemical sportswear

Lycra Chemicals Cycling wear, skiwear, swimwear, underwear

Nylon Coal or oil mixed with air, chemicals and Blouses, thread, shirts, skirts, water rainwear, swimwear

Polyester Acid, alcohol and chemicals blended to Blouses, dresses, jackets, lingerie, form an ester and then polymerised thread, trousers

Exam questions and sample answers Higher Level 2016 Section C, Elective 2, Q2 (b) (i) (b) Fibres are the basis of all textiles. (i) Differentiate between regenerated fibres and synthetic fibres and give one example of each. (Differentiate = 4 marks, examples = 2 × 1 marks, total = 6 marks) Fibre Differentiate Examples (only one required for each fibre type) Synthetic Produced from chemicals derived Polyester, nylon, acrylic, PVC from petroleum or coal. A thick liquid is forced through a spinneret to produce filaments (fibres) which can be twisted to form yarns. TEXTILES, FASHION AND DESIGN 31

Regenerated Regenerated fibres are produced Viscose, rayon, acetate, tri-acetate from cellulose (wood pulp, cotton linters). Pulped, processed into a liquid, forced through spinnerets as filaments and treated with chemicals.

Ordinary Level 2017, Section C, Elective 2, Q2 (b) (i), (ii) (b) ‘Natural fibres are fashionable and the fibre of choice for many young designers.’ (www.wildfibres.co.uk) (i) Classify natural fibres and give one example in each class. Class Example LINK Animal Wool l Classification of fibres (p. 29) Plant Cotton

(ii) Name and describe one test to identify a natural fibre. (Name = 3 marks, description = 4 marks, total = 7 marks) Name: The Burn Test Description: 1. Cut a small piece of fibre from the fabric. 2. Hold fibre with metal tweezers over a flame proof dish. 3. Light using a match or a lighter. 4. Results:

Action Residue Odour/smell

Wool Burns slowly, curls Brittle beads of Burning hair away from flame, self- black ash, crushes extinguishing easily on cooling Cotton Ignites readily, burns Soft, grey fine ash Burning paper rapidly, afterglow

Linen Ignites slowly, afterglow Fine grey ash Burning paper

Silk Burns slowly, curls Dark grainy ash Burning hair or away from flame, self- feathers extinguishing 32 LESS STRESS MORE SUCCESS

Fibre profiles Exam papers often ask about fibre profiles. It is important to be able to profile the following: l A fabric made from natural fibres. l A fabric made from manufactured fibres (regenerated or synthetic). l A blended fabric (Higher Level only). The key information to learn for this type of question is: l Fibre production l Properties l Identification of fibres (burning test and microscope evaluation) l Yarn production Questions on fabric profiles l Yarn or filament modification (Higher Level only) ask for information on: l Fabric construction techniques (2 for Ordinary l production Level, 3 for Higher Level) l properties l Finishes (2 for Ordinary Level, 3 for Higher Level) l identification test l Colour application (2 methods) l uses. l Design application (2 methods) l Fabric performance testing – 2 tests (Higher Level only).

Exam questions and sample answers Higher Level 2017, Section C, Elective 2, Q2 (b) (b) Blending is combining different fibres together to achieve a desired product characteristic. Write a profile of one blended fabric. Refer to fibre production, fabric properties, and uses. Name: Polyester-cotton (polycotton) Fibre production: (3 points × 3 marks = 9 marks) 1. Cotton: Cotton bolls are harvested, cotton fibres removed, cleaned and spun into yarn. 2. Polyester: A viscose liquid is extruded through a spinneret into cold air, cools and forms filaments. 3. Blending: Polyester and cotton threads are blended together before or during weaving. TEXTILES, FASHION AND DESIGN 33

Fabric properties: (3 properties × 1 mark = 3 marks) 1. Holds its shape, does not shrink or stretch. 2. Cotton adds comfort and absorbency. 3. Polyester provides crease-resistance.

Uses: (3 uses × 1 mark = 3 marks) 1. Clothing, e.g. shirts, blouses, dresses. 2. Bed linen, e.g. sheets, duvet covers. 3. Soft furnishings, e.g. cushion covers, curtains.

Ordinary Level 2016, Section C, Elective 2, Q2 (b) (i), (ii) (b) Natural fabrics have many advantages over synthetic fabrics. (i) Write a profile of a natural fabric under each of the following headings: fibre production; fibre construction. Fabric chosen: Wool

Fibre production: (3 points × 2 marks = 6 marks) 1. Fleece is removed from sheep, graded according to colour, fineness and fibre length. 2. Fleece is cleaned to remove dirt, grease and straw. 3. Fibres are combed, carded, twisted and spun into yarn.

Fabric construction: (1 point × 3 marks = 3 marks) Warp threads are stretched down the length of a loom and weft threads are passed over and under the warp from one side to the other side forming a non-fraying selvedge edge as the wefts are double backed.

LINK Draw and label a diagram l Fabric construction of a woven fabric showing techniques (p. 40) this fabric construction.

(ii) Give two advantages of using natural fibres/fabric in clothing. 1. Dyes easily in a variety of colours. 2. Durable and comfortable to wear. 34 LESS STRESS MORE SUCCESS

Profile 1: Linen – a fabric manufactured from natural fibres Composition Linen is made from the inner fibres of the stem of the flax plant. It is composed of bundles of fibres held together by a gum-type substance. The stem is composed of a thick wall and a lumen. Fibre production Processing: flax is allowed to flower and produce seeds. Stalks are pulled by hand or machine. Seeds are removed by machine. Retting: stalks undergo retting to allow fungi and bacteria to form (3–7 weeks). Fungi and bacteria attack the substance holding the fibres together. Flax fibres are dried and separated from the core. The fibres undergo the following processes: l Scutching: rollers and blades separate the woody material; the fibres stay together. l Combing/hacking: long fibres separated by combing through a set of pins. l Carding: this process untangles the fibres and removes any traces of impurities. l Drawing: the linen threads are stretched, evened out and wound onto bobbins. l Spinning: drawn-out strands of thread are twisted together to form yarns. l Bleaching. l Weaving. Properties of linen Desirable properties l Absorbent and dries quickly. l Comfortable, non-allergic, non-static. l Cool to wear in summer, conducts heat. l Durable (wears and washes well). l Good lustre, natural surface. l Resistant to mildew, moths, pilling. l Strength increases when wet. Undesirable properties l Burns readily, poor resistance to fire. l Creases quickly unless treated. l Damaged by mildew, easily soiled. l Little elasticity, tendency to shrink. TEXTILES, FASHION AND DESIGN 35

Chemical properties l Easily damaged by concentrated acids and hot dilute acids. l Resistant to alkalis, cool dilute acids and dry-cleaning solvents. Identifying linen The burn test

Fibre Near flame In flame Out of flame Residue Smell

Linen No reaction to Burns with a Burns with an A small soft Burning flame approaching yellow flame afterglow grey ash paper

The microscopic view: flax Longitudinal section: long, irregular bamboo-like structure held together by a gummy substance. Cross-section: thick walls with a polygonal shape and a regular-shaped lumen or canal though the centre of the flax stem. Younger flax has oval cells. Yarn production methods Filaments are connected end-to-end into long lengths and wound onto bobbins for spinning. Two methods of spinning are used to produce linen yarn: l Dry spinning: used for tow (short fibres) – produces a coarser yarn. l Wet spinning: used for high-quality finer yarns from tow or line (longer fibres). Yarn or filament modification l Bleaching: to improve its colour – makes it whiter. l Blending with other fibres: blended with wool, cotton, silk or polyester. Fabric finishes: beetling, crease-resistant, flame- resistant. Applying colour: direct or vat method to apply direct, reactive or acid dyes. Applying designs: block printing, roller printing, screen printing, weaving. 36 LESS STRESS MORE SUCCESS

Profile 2: Nylon – a fabric manufactured from man-made fibres Composition: nylon is manufactured from carbon, hydrogen, oxygen and nitrogen. Uses: carpets, clothing, curtains, home furnishings, lampshades, lingerie, raincoats,­ shirts, skiwear, snowsuits, underwear, windbreakers. Specialist uses: conveyor belts, fishing equipment, sails, sleeping bags, tents. Fibre production – nylon 66 l Two chemicals, adipic acid and hexamethylene diamine, are used to produce nylon 66. The chemicals are mixed in a stainless steel cylinder and heated. Molecules link up to form a long filament. l Molten nylon is forced from the steel container onto a water-cooled revolving wheel. l Nylon sets, forms a ribbon-like filament, which is chopped up into chips and dried. Melt-spinning nylon l Nylon chips are melted and forced through holes in a spinneret. l Molten liquid leaves the jets, cools and hardens in a stream of cold air. l Nylon forms filaments, which are twisted together to form yarn. Properties of nylon Desirable properties l Durable, strong, high-tensile strength. l Easy to launder, dries quickly. l Does not shrink, retains its shape. l Good elasticity recovery (100%). l Resilient, resists abrasion. l Resistant to mildew and most insects. l Crease resistant, can be permanently set. l Easy to dye in a variety of colours. Undesirable properties l Poor moisture absorbency. l Uncomfortable in warm atmospheres. l Nylon pills easily, can be treated. l Develops static electricity. l Mildew attacks surface finishes. Chemical properties l Weakened by acids and strong sunlight. l Resistant to alkalis, bleach, detergents, dry-cleaning, organic solvents and soaps. TEXTILES, FASHION AND DESIGN 37

Identifying nylon The burn test

Fibre Near flame In flame Out of flame Residue Smell

Nylon Shrinks and Burns and Extinguishes A hard grey Celery-like melts as flame melts slowly in when removed bead smell approaches flame from flame, may drip

The microscopic view Longitudinal section: with transparent fibres. Cross-section: circular shapes with smooth edges characteristic of melt spun fibres. Yarn production methods l Filaments are conditioned, twisted and wound onto spools. l Filament is ‘drawn’ by passing it between two rollers (slow and fast) to increase length and strength, and to improve lustre. l Filament is heat set in boiling water for two hours. l Wound onto bobbins as multifilament yarn. Yarn/filament modifications l Blended with other fibres to improve durability. l Cut into lengths and twisted to make a fluffy yarn. l Extruded through smaller holes to produce finer filaments. l Use of trilobal filaments to allow water vapour to escape. Suitable fabric construction techniques: warp knitting, weft knitting, weaving. Fabric finishes: anti-static finish, blending, brushing, heat setting. Applying colour: acid dyeing, disperse dyeing. Applying designs: embossing, roller printing, screen printing. 38 LESS STRESS MORE SUCCESS

Profile 3: Polyester/cotton – a fabric manufactured from a blend Fibres are mixed or blended together to produce fabrics with particular characteristics. A blended yarn is one that is spun from two or more types of fibre, e.g. cotton and polyester. When natural and manufactured fibres are combined, the fabric produced has the advantages of both fibres, e.g. durable, strong when wet and dry, absorbent, crease- resistant, resilient. Uses of polyester-cotton: bed and table linen, blouses, shirts, outdoor wear, nightwear. Fibre production of poly-cotton A. Cotton The cotton plant produces green pods called bolls which contain seeds and fibres. On maturing they produce a mass of white fluffy fibres. Cotton may be harvested by machine or by hand. Cotton fibres are separated from the seeds by a ‘ginning’ machine. B. Polyester Polyethylene terephthalate (PET), a by-product of the oil industry, is created by reacting ethylene glycol with terephthalic acid in the presence of a catalyst. The viscous liquid is extruded through a spinneret into the cold air where it is cooled and stretched to form fibres. Properties of polyester cotton Desirable properties l Easier to launder and press than 100% cotton. l Drip-dries, dries quickly. l Holds its shape, does not shrink or stretch. l Polyester provides added strength to cotton. l Polyester has increased abrasion resistance. l Cotton adds comfort, allows perspiration through. l Cotton reduces static levels of polyester. l Dyes well due to presence of cotton. Undesirable properties l Higher percentage of polyester increases static. l Easily damaged by heat, mildew and bacteria. l Higher percentage of polyester reduces absorbency. Chemical properties Cotton: resistant to alkalis, detergents and organic solvents, damaged by strong acids, hot dilute acids and strong sunlight. Polyester: resistant to acids, alkalis and oxidising agents. TEXTILES, FASHION AND DESIGN 39

Identifying cotton and polyester The burn test

Fibre Near flame In flame Out of flame Residue Smell

Cotton Does not Burns quickly Burns with Grey ash Burning shrink, ignites with a steady an afterglow, paper upon contact flame continues to burn

Polyester Fuses, melts, Burns and Self-extinguishing Hard, tough Strong shrinks from melts slowly, when flame is black or odour, a approaching produces black removed brown bead sweetish flame smoke smell

The microscopic test Cotton Longitudinal section: ribbon-like shape with a twist at irregular intervals, lumen in centre.

Cross-section: three areas visible: outer skin, secondary wall and the lumen.

lumen cuticle

primary wall

secondary wall 40 LESS STRESS MORE SUCCESS

Polyester Longitudinal section: uniform smooth surface and a rod-like appearance. Cross-section: generally a round regular shape, trilobal variants possible. Yarn production (blend) l Two or more different fibres blended in varying ratios before spinning. l Polyester and cotton fibres cut to the same length. l Blending machine loosens and separates cotton fibres. l Fibres are blown to separate them and then cleaned. l Carding arranges fibres into thick ropes or slivers. l Combing removes the short fibres (noils) from the slivers. l Slivers are combined and fed into a drawing machine. l 50:50 blend represents one sliver of cotton and one sliver of polyester. l Mixture of fibres are drawn out and pulled to the required thickness. Yarn/filament modification Cotton: mercerised to increase affinity for dyes, lustre, moisture and strength. Polyester: crimping produces a bulky form for hand-knitting yarns, jersey fabrics. Fabric construction: knitting, weaving. Finishes: brushing, flame proofing, napping, water repellence. Applying colour: disperse dyes, in direct or vat dyes, reactive dyes. Applying design: block printing, screen printing. Fabric construction techniques Method 1 – woven fabric (weaving) l Woven fabrics are made up of two sets of yarn forming lengthwise (warp) and crosswise (weft) thread running across the width. l A roller holds the warp threads in place as a shuttle carries the weft back and forth between the warp threads, which are raised and lowered following a pre-set pattern. Woven fabric – plain weave l Each line of weft is pushed into place by a batten. TEXTILES, FASHION AND DESIGN 41

l The selvage edges are formed along the edges of the warp. l The diagonal is called the bias. The main methods of weaving are: l Conventional warp preparation. l Sectional warping. l Using a rapier loom instead of a shuttle loom. Types of weave: plain, basket, herringbone twill, rib, satin. Method 2 – knitted fabric techniques A series of interlocking loops are worked by hand or Woven fabric – twill weave machine to produce a chunky, fine or thick fabric. Knitted fabric is stretchy and warm, loses its shape quickly and requires careful laundering. Knitting can be divided into two main structures: weft and warp knitting. Weft knitting A single yarn forms continuous rows of interlocking loops in a horizontal direction. A dropped stitch will result in a vertical ‘run’ downwards. Examples: double knit, patterned knit, plain jersey knit, purl knit, rib knit. Warp knitting More than one yarn is used to form interlocking loops that run vertically and zig-zag across each other. Warp knitting is produced only by machine. Examples: crochets, double-warp tricot, single-warp tricot, raschel. Other fabric constructions Bonding, braiding, felting, fusing, knotting. Finishes that improve fabric performance – functional Examples of finishes: easy care, minimum care, drip-dry, colourfast, shrink-resistant, crease-resistant, mildew-resistant, mothproof, mercerised, water-repellent, waterproof, showerproof, anti-static, permanent press, permanent pleating, stain-resistant, anti- bacterial, pre-shrunk, flame-proofing and flame-retardant. Crease-resistant finish Fabrics are immersed in a water bath with a solution of urea-formaldehyde and heated to 1508C for a few minutes. A resin forms an interlocking network, which is insoluble in water. The finish resists and recovers from creasing. 42 LESS STRESS MORE SUCCESS

Water-repellent finish Fabrics are treated with silicone and ‘baked’ to create a durable water-repellent finish. Fabrics are porous but resist the absorption of water.

Exam questions and sample answers Ordinary Level 2007, Section C, Elective 2, Q2 (b) (i) (b) Modern fabrics are given a variety of treatments during manufacture. (i) Explain why fabric finishes are used when manufacturing fabrics. (3 points × 3 marks 5 9 marks) 1. To improve the performance of the fabric, e.g. crease-resistant. 2. To make the fabrics colour fast and resistant to fading. 3. To change the appearance of the fabric, e.g. mercerising cotton. Higher Level 2014, Section C, Elective 2, Q2 (b) (ii) (ii) Give details of one functional fabric finish applied to enhance fabric performance. (2 points × 3 marks = 6 marks) Name: Proban (flame-retardant finish) Description: l This is a finish used on cotton and cellulose-based fibres to make them flame- retardant. l A chemical compound containing phosphorus and chlorine saturates the fibres. l It is treated with ammonia which forms polymers that are fixed in the fabric structure. l The fabric does not melt, smoulder or continue lighting when removed from the flame. l The flame will go out: that is, it will self-extinguish. Colour application methods Method 1 – dyeing Dyeing, or the addition of colour, can be done using natural or synthetic dyes. Fabric may be dyed at different stages of manufacture, as fibre, yarn or cloth: l Stock dyeing: loose fibres are dyed before spinning in a vat containing a dye bath. l Solution dyeing: yarns on bobbins or cones are lowered into a dye bath. l Piece dyeing (fabric or garment): woven fabric or garment is put into a dye bath. Direct method: fabric is immersed in a salt and water-soluble dye solution with chemicals to set the colour. Without the chemicals the colours would fade. This method is easy to carry out, is inexpensive and provides a wide range of colours. TEXTILES, FASHION AND DESIGN 43

Method 2 – printing l Direct printing: colour applied by blocks, rollers and screens. l Digital printing: design printed using reactive or pigment dyes onto specially coated fabric. l Resist printing: fabric printed with chemical to form resist, then piece dyed. Treated part does not absorb the dye, non-treated part is printed. l Discharge printing: colour is removed to form printed areas on fabric. l Others: batik, tie-dyeing, stencilling. Method 3 – stencilling A design is drawn on a card and cut out using a sharp blade. The stencil is taped to the fabric. A sponge or a brush is dipped into fabric paint and pressed over the cut-out design. The card is removed, the fabric dried and the paint heat set.

Exam question and sample answer Higher Level 2016, Section C, Elective 2, Q2 (b) (ii) (ii) Name and describe each of the following: (9 marks) A. Method of colour application (1 point × 5 marks = 5 marks) Name: Batik Description (traditional method): l Batik is a resist method for applying colour and pattern to fabric, e.g. silk, cotton, wool. l Selected areas of the fabric are blocked out Choose one method only by painting hot wax over them. for each application. l Fabric is then dyed and the parts covered in wax resist the dye and remain in the original colour. l Process of waxing and dyeing can be repeated to create different mixes of colours and designs. l The wax is removed, fabric is washed and colour is set. B. Method of design application (1 point × 4 marks = 4 marks) Name: Stencilling Description (basic method): l A design is drawn and a sharp-edged image is cut to create an ink-blocking stencil. l The stencil is positioned in place over the fabric. l A squeegee is moved across the screen stencil forcing the fabric paint over the cut-out design into the fabric fibres. l Multi-colour designs can be applied but the fabric must dry between applications. 44 LESS STRESS MORE SUCCESS

Fabric performance tests Test 1 – Testing insulation Refer to Higher Level 2008 sample answer, p. 45. Test 2 – Testing colour fastness Equipment: fabric samples (coloured and white), warm/hot water. Methods Methods What is involved?

Dry rubbing Use a white piece of fabric to rub the test fabric. The dye is poor if any colour transfers to the white fabric. If this happens, the colour is not fast.

Washing Wash the test fabric with a piece of white fabric. After washing check to see whether the dye transfers from the test fabric to the white fabric. If colour transfers to the white fabric the dye is not fast.

Wet rubbing Use a white piece of fabric, wrung out in warm water, to rub the test fabric. If any colour transfers to the white fabric the dye is poor.

Make a chart to record the changes:

Starting Colour Fabric 1: Record the starting colour of all fabrics Fabric 2: When recording the Changes Fabric 1: changes to the different Record the changes in the fabrics, explain what colour of all fabrics has happened. Fabric 2:

Exam questions and sample answers Ordinary Level 2014, Section C, Q2 (c) (i), (ii) (c) Fabrics may be treated with specific fabric finishes for a variety of reasons. (i) Explain why fabric finishes are used when manufacturing fabrics. (1 point × 5 marks = 5 marks) Fabric finishes are used to: 1. Make fabrics flame-retardant and safe to use for clothing, upholstery and fire uniforms. TEXTILES, FASHION AND DESIGN 45

2. Create fabrics which are easy to care for e.g. drip-dry, easy-iron, crease- resistant. (ii) Name and describe two fabric finishes. (10 marks) Fabric finish 1 Name: Water repellent finishes Description: Fabrics are treated with silicon, fluorochemicals or other chemicals to give them a water repellent finish. Some finishes wear off and have to be redone. Scotchguard is a fluorochemical available for home use in an aerosol. Uses: outdoor clothing. Fabric finish 2 Name: Mercerising finish Description: A sodium hydroxide solution is added to cotton fibres while they are stretched to produce a permanent finish. This finish makes cottons stronger, smoother and shinier. Uses: dress fabrics, sewing threads.

Higher Level 2008, Section C, Elective 2, Q2 (a) (iii) (iii) Name and describe a fabric performance test of your choice. (Name 5 2 marks; description: 2 points × 2 marks 5 4 marks; total 5 6 marks)

Examples of acceptable tests: abrasion resistance, tearing resistance, flame resistance, fabric stretch and recovery, recovery from wrinkling.

Fabric performance test: testing insulation (2 marks) Equipment: calorimeters or metal cans or coffee jars, fabric samples, thermometer, warm water (60–808C). Method: (4 marks) 1. Cut out fabric samples the height and dimension of the container to be used. 2. Wrap samples of linen and another fabric around separate calorimeters (or metal cans). 3. Add water (60–808C) to each calorimeter, cover with an insulating material and insert a thermometer into each. 4. Record the starting temperature and continue to record the temperature every three minutes for 20 minutes. 5. The fabric holding the heat longest provides the better insulation and would be warmer to wear. 13 Design Evaluation and Garment Construction

To learn and revise: l The elements of design l The principles of design l Designing and making a garment l Patterns, modifications and use l Processes for making a garment l Fitting garments l The clothing and textile industry.

The elements of design 1. Colour Visual impact of colour l Warm colours increase perception of size, the figure appears larger. l Dark colours reduce perception of size, pale colours increase perception of size. l Warm colours are stronger than pale colours. l Harmonising colours are easy on the eye. l Neutrals add emphasis to garments. l Colour can emphasise details, e.g. collars, cuffs, etc. l Colour repetition emphasises direction and line. Evaluating colour Colours should: l Suit the theme/design and function of the garment. l Be comfortable to wear. l Complement the skin tone and age of the person wearing the garment. 2. Line Definition of line: Line refers to the silhouette and structural lines in all garments.

Type of line Explanation Visual impact

Silhouette l The outside line of garments l Narrow rectangular shapes are l Two main shapes (rectangle, slimming triangle) l Boxy rectangular shapes increase l Variation in shapes (fitted, semi- width and reduce height fitted, loosely fitted) TEXTILES, FASHION AND DESIGN 47

Structural Refers to lines within the design Structural lines: Four types: l Enhance balance, divert or draw the 1. Curved eye 2. Diagonal l Create illusions 3. Horizontal Curves make the garment look softer 4. Vertical and less formal. Diagonal lines contribute to height or width and add contrast. Horizontal lines widen and shorten. Vertical lines create height and reduce width.

Evaluating line: Line should create interest, diverting the eye away from less attractive features, and enhance the person wearing the garment. 3. Shape Shape is determined by the pattern chosen and personal preferences, which are based on the perception of one’s own figure type. Evaluating shape: The shape should suit the figure type, drawing attention to the best features or diverting the eye away from less attractive features. 4. Texture Fabric texture provides variation in how fabrics feel and reflect light. Textures are rough, smooth, thick and fine. Visual impact of texture: l Thick, rough textures add bulk, making the wearer appear heavier. l Fine, smooth, soft textures create a softer look as they cling to the body. l Dull textures absorb light and visually reduce size. l Shiny, smooth textures reflect light and appear to increase size. 5. Prints and pattern Patterns should suit the design and function of garments. Visual impact of prints and pattern: l Large prints look best on tall individuals. l Large patterns do not suit small garments. l Small prints suit smaller figures. The principles of design Balance There are two types of balance: formal and informal. Formal balance is achieved when two halves of the design are exactly the same. Informal balance refers to two halves which are visually balanced but are not identical. 48 LESS STRESS MORE SUCCESS

Emphasis This attracts the eye to a specific feature or detail and creates a central point of interest, e.g. buttons, collar, cuff, neckline, waistline. Harmony If balance, emphasis, proportion and rhythm work well together harmony will have been achieved. The garment will look well designed. Proportion and scale Proportion refers to the space relationships between colour, line, pattern, texture, length and size. Scale refers to size relationships, e.g. similar sizes are in scale with each other. Proportion and scale must be related to an individual’s height, figure type and posture in order to cater for individual needs. Rhythm A comfortable rhythm is created when the eye can move easily and smoothly across the garment, connecting all points of interest without jerking the eye from point to point. Relationship between design and function l Garments must be comfortable, decorative and functional. l Consider what is required of the garment, e.g. protection, safety. l Function is determined by design performance (zips, pockets). l Design and function may be determined by a social occasion. l Fabric performance may influence design and function, e.g. fire-fighting. Relationship between comfort and aesthetic appeal l Garments should allow for easy body movement. l Comfort and aesthetic appeal can be created using line, shape and texture. l Consider the function of the garment, e.g. hill-walking, warm/cold weather. l Aesthetic appeal must complement function and comfort. l Appeal is determined by construction techniques, decorative finishes, colour, pattern or texture. Designing and making a garment Designing a garment – the design brief process What is a design brief? A design brief is a statement of what you are asked to do, e.g. the type of garment, age group, function, cost, prescribed processes, etc. The basic steps involved in a design brief are: l Reading the design brief statement. l Analysing the brief – identifying the requirements. TEXTILES, FASHION AND DESIGN 49

l Researching or investigating (methods and sources). l Creating a list of possible ideas or solutions. l Choosing one solution – developing a storyboard. l Investigating and selecting pattern, fabric and notions. l Constructing the garment. l Evaluating the finished garment. Making a garment Making a garment involves: 1. Taking body measurements. 2. Choosing and buying patterns. 3. Reading the pattern envelope information. 4. Buying fabric and notions. 5. Reading the information and instructions (inside the envelope). 6. Preparing and cutting out the pattern. 7. Modifying patterns. 8. Preparing the fabric. 9. Cutting out the garment. 10. Constructing the garment. 1. Taking body measurements – the basic rules l Measure accurately, get someone else to measure as a check. l Compare personal measurements against pattern measurements. l Wear well-fitting underclothes or leotard and leggings. l Do not take measurements over layers of outer garments. l Stand up straight, feet on the ground and shoulders back. l Hold tape measure straight and measure snugly, never loosely or tightly. l Double check measurements. l Create a personal measurement chart. You will need the following measurements: bust/chest, waist, hips, back waist length (neck to waist), shoulder length, sleeve length, inside leg, outside leg, crotch length for trousers, skirt or trouser length. 2. Choosing and buying patterns When choosing and buying patterns always: l Look at a variety of pattern catalogues before making a choice. l Buy patterns before buying fabric. l Compare your measurements with those of the pattern. l Buy a pattern in the correct size, never a size larger or smaller. l Buy a pattern with a variety of garments. l Choose simple designs with few pattern pieces. 50 LESS STRESS MORE SUCCESS

3. Reading the pattern envelope information

Pattern envelope Information given on the envelope

Envelope front l Manufacturer’s name l Pattern number and size l Sketch or photograph of garment/s l Variations of main design, e.g. with/without sleeves

Envelope back l Style number l Front and back views of garment (line drawings) l Written description of garment l Measurements of finished garment l Number of pattern pieces l Pattern sizes and standard body measurements l Suggested fabrics, amounts needed l Details about extra requirements, e.g. interfacing, extra fabric, notions, e.g. buttons, zip Note: mark the size, view, width and amount of fabric.

4. Buying the fabric and notions l Check envelope back for type and amount of fabric. l Avoid fabrics not on the recommended list. l Avoid checks and fabrics with a nap. l One-way designs/patterns require extra fabric. l Fabrics are sold in many widths, e.g. 90 cm, 115 cm, 140 cm. l Suitable fabrics will be easy to use and firmly woven. l Check the care label and specific recommendations for cleaning. Notions Buy quality buttons, hooks and eyes, thread, trims, zips, etc. Interfacing may be required for collars, cuffs and facings. 5. Reading pattern information and instructions Pattern instruction sheet (inside) (a) Layout and cutting-out guide: l Identifies each pattern piece. l Gives instructions on preparing the fabric. l Identifies and explains the pattern markings. l Provides layout guide for fabrics of different widths. l Outlines special rules for using one-way or nap designs. (b) Construction guide: l Step-by-step instructions for assembling the garment. l Sketches explaining each sewing process. TEXTILES, FASHION AND DESIGN 51

l Guidelines for construction techniques and alterations. l Suggestions on stitching, trimming. Pattern markings There are various different pattern markings: straight grain, place to fold, cutting line, stitching line, notches (single, double, triple), fold line, balance marks (to be transferred), dart, buttonholes and button, hemline, adjustment line, construction symbols, e.g. tucks, direction of sewing.

Notch

Cutting line Balance mark Button hole Stitching line Place to fold line

Dart

Adjustment line

6. Preparing and cutting out the pattern Preparing pattern pieces: l Select pieces for view chosen. l Press creased pattern pieces with a cool iron. l Cut out accurately on the bold line of the pattern. 7. Modifying patterns – flat pattern adjustments Use lengthening and shortening lines on the pattern to alter the length. Use vertical lines to insert or remove width. By adding to or taking away a small amount from seams minor adjustments may be made. Be careful not to over fit. Length modifications (a) To add length (sleeves, bodices, lower hipline): Cut pattern on alteration line. Separate pieces the required distance, insert extension paper between the cut pattern pieces, pin in place and redraw all pattern markings, e.g. cutting lines, darts, hemlines and seamlines. (b) To increase hemline of skirt: Extend the pattern with paper and tape in position; redraw seamlines, cutting lines and the lower edge of pattern. 52 LESS STRESS MORE SUCCESS

bodice skirt

bodice skirt

shorten shorten lengthen lengthen

(c) To reduce or shorten (sleeves, bodices, raise hipline): Fold the pattern along the alteration line and make a pleat half the depth required. Pin in position. Redraw all cutting lines, dart lines and seamlines. Circumference modifications – general guidelines Reducing and increasing waistlines: (a) Increases up to 2 cm can be added to side seams – add extension paper and redraw markings. If larger increases are needed, widen darts or consider buying a larger pattern size. (b) For reductions, use a pencil to mark each pattern piece a quarter of the amount needed to be reduced at the waistline. Redraw pattern markings, e.g. cutting lines, seamlines and zipline. Extra darts can be added on either side of the original darts if greater reduction is needed.

skirt sleeve sleeve

skirt skirt

More than 2” (5 cm)

decrease decrease increase increase increase TEXTILES, FASHION AND DESIGN 53

Reducing and increasing hiplines: (a) Increases up to 5 cm can be added at the hipline. For increases place an extension paper along the side seam from waist to hem. Add a quarter of the amount needed to the hipline and slowly draw a line from the hipline to the hemline along the side seams. Pin the paper in place. (b) For reductions, remove a quarter of the decrease from each of the front and back seams. Draw a new line from the waist seamline to the hemline. Trouser adjustments: To achieve perfectly fitting trousers, adjust the crotch depth and length. To shorten depth, make a pleat half the amount needed at the adjustment line on each pattern piece. Pin in place and redraw pattern lines. To lengthen depth, cut pattern along the adjustment line, insert extension paper, pin and redraw lines. To decrease or increase length, add or subtract shorten lengthen half the adjustment amount at the inner leg seam. Retain the curve shape and draw in the new seam lines. (a) Crotch length (b) Crotch depth 8. Preparing fabric l Press fabric to remove creases. l Identify right side of fabric and selvage. l Straighten fabric if it is off grain. l Pin selvages together, placing pins 1.5 cm apart. (a) Laying pattern on fabric: l Collect all equipment, e.g. scissors, tailor’s chalk, etc. l Fold fabric following the guidelines on the information sheet. l Keep grain line of pattern parallel to that of the fabric. l Use a tape measure to check grain line is in the correct position. l Position pattern pieces with ‘place-to-fold’ mark exactly on the fold. l For nap and one-way designs place the pattern in one direction. l Match fabric designs on seam lines, not on cutting lines. l Cut out each piece the right number of times. l Do not cut fabric until all the pattern pieces are in position. l For patterns without a seam allowance, draw it in using tailor’s chalk. (b) Cutting the fabric pieces: l Cut along the edge of the pattern. l Use sharp, bent-handled scissors; never use pinking shears. 54 LESS STRESS MORE SUCCESS

l Place the non-cutting hand over the pattern piece to hold it in place. l Do not lift fabric when cutting out; do not allow it to move. l Cut with long even strokes to ensure neat edges. l Cut notches outwards, never inwards. (c) Transferring pattern markings: Transfer pattern markings using tailor tacking, dressmaker’s carbon paper and wheel or tailor’s chalk.

30 mm 25 mm

25 mm

cut

separate

fabric

pattern Tailor tacking

Useful pattern terms: clipping, layering/grading, notching, trimmings, trimming a point, understitching. Prescribed processes for making a garment Useful hand stitches: tacking (straight, diagonal and slip-tacking), hemming (standard, slip-hemming, blind hemming), gathering, running, slip-hemming, over- casting, top-sewing. Useful machine stitches: straight machining, zig-zag, embroidery stitches. TEXTILES, FASHION AND DESIGN 55

Seam types and uses

Types Uses

Plain (flat) Fine, medium or heavyweight fabrics, jersey fabrics Suitable for coats, jackets, skirts and trousers

French seam Fine, lightweight fabrics such as lawn, silk, muslin, organza Suitable for shirts, blouses, lingerie, underwear

Felled seam/ Medium-weight closely woven fabrics such as cotton, denim and linen self-finished seams Suitable for shorts, jackets, jeans, sportswear

Decorative seams Seams in medium-weight fabrics Suitable for jackets, shirts, coats, jeans

Fitting line Fitting line

WS Flat seam Plain flat seams – finishes and uses

Flat seam finish Uses

Pinking Suitable for non-fraying fabrics, e.g. flannel; use pinking shears

Edge machining Suitable for light to medium-weight fabrics

Zig-zag machining Used on most fabrics except very delicate ones

Overcasting Suitable for medium to heavyweight fabrics

Binding Sew bias binding on each of the raw edges

Seam finishes

1. Edge machining 2. Zigzag machining 3. Pinking 4. Overlocking

5. Blanket stitching 6. Binding: Bias 7. Binding: Paris 56 LESS STRESS MORE SUCCESS

Darts Darts are used to arrange unnecessary fullness in garments at bust, elbow, shoulder and waist. Darts fit the curving shape of the body. Types of darts: standard single-pointed dart, double-pointed dart or contour dart, and curved or French dart.

standard single- pointed dart

double-pointed/ curved/French contour dart dart

Gathers Gathers draw in fabric and reduce fullness. They are used in cuffs, flounces, frills, ruffles, necklines, yokes, hem edges and on sleeve edges. They can be worked by hand or machine. Facings Facings are used to finish off raw edges around armholes, necklines and cuff openings. Interfacing is attached to the wrong side of the facing to prevent it stretching.

Machining Centre back

clip WS clip WS WS facing RS RS bodice RS CF bodice CF

RS TEXTILES, FASHION AND DESIGN 57

Collars Collars neaten the raw edges of a neckline. The main collar shapes are flat, rolled, jabot, shawl, shirt and standing.

Standing collar Flat collar with lace edging Rolled collar Sleeves The main sleeve types are gathered, raglan, kimono, set-in, shirt and T-shirt. The main sleeve hem finishes are self-hem, facings (bias, shaped), casing and bands.

Cap Long Cuff Bishop Angel Ruffle sleeve sleeve sleeve sleeve sleeve sleeve

Puff Leg of sleeve mutton sleeve Buttonholes Types and uses l Bound: all types of fabrics and garments – for a professional finish. l Hand-worked: fine or delicate fabrics for blouses and children’s clothes. l Machine-worked: fine to medium-weight fabrics for shirts, children’s clothes. l Tailored: tailored jackets, dresses and suits. Position and direction Horizontal buttonholes: used where the strain is on the horizontal, e.g. cuffs, dresses, jackets and waistcoats. Vertical buttonholes: used where the strain is on the vertical, e.g. blouses, shirts, waistbands and loose fittings. 58 LESS STRESS MORE SUCCESS

Working round edge Working upper edge Beginning bar end Bar stitch Hand-worked button hole

1. 2. 3. 4. Zips Zips can be used centred, concealed, fly- front, open-end and lapped. Types of zip Conventional: metal, synthetic. Special purpose: invisible, open-end, two-way. Pockets Machine-worked button hole Pockets can be decorative, functional or both, and lined or unlined. Types of pocket Patch pocket: square, rounded or curved, pointed, rectangular. Bag pockets: pocket in side seam, bound, flap, welt.

Right side

Square Round or curved Pocket in side seam

Rectangular Pointed Flap pocket TEXTILES, FASHION AND DESIGN 59

Hem finishes Hem finishes are used on the bottom of garments. The main types of hem are turned up and stitched, faced and enclosed. The choice of hem is determined by the fashion or trend, garment style and shape, personal preference and type of fabric, e.g. crisp, soft, delicate.

WS WS WS

catch stitch zigzag

6–8 mm slip hemming 10 mm edge machining

edge machining and slip hemming direction of garment seam machining

WS pinked and slip hemming

WS

WS Herringbone stitches catch stitch

Type of fabric Finishes

Fine and lightweight l Turned under and slip-stitched fabrics l Zig-zagged raw edges and catch stitched in place l Edge machined and slip-hemmed in place l Blind stitching, pinked and slip-stitched l Top-stitched

Medium and l Herringbone stitch heavyweight fabrics l Overcast and catch stitch l Bias binding and slip-hemming l Paris binding and slip-hemming l Bonded or fused hems l Top-stitched

Stretchy fabrics Zig-zag stitching is used to neaten the raw edges of jersey fabric to produce a ‘fluting’ effect or a flat finish. A narrow hem is then turned up and slip-stitched to the garment. 60 LESS STRESS MORE SUCCESS

Fitting a garment during construction First fitting checks During the first fitting, tack darts, shoulder, side and waist seams along fitting lines. l Try on garment right side out over undergarments and shoes. l Pin shut openings e.g. cuff, neck, zip. l Check the hang on centre front and back lines. l Check length from shoulder to waist. l Check that the garment looks in proportion. l Check position of darts and closures, adjust as necessary. l Garment should drape smoothly without wrinkling. l Remove garment and make adjustments, then try on again. Second fitting checks During the second fitting, machine and press darts and seams, attach collar/facing, tack sleeves into armholes. l Check that seams are straight. l Check that sleeves are in the right position and fullness evenly distributed. l Check position of openings. l Make adjustments if necessary; try on again. Final fitting checks All described processes except for hem finishes should be completed before the final fitting. l Mark hem length using hem gauge and pins. l Pin up and check hem is parallel to floor. l Remove garment, complete hem and press. Design features – examples of creative details Garments may be made more original by: appliqué, quilting, hand embroidery, machine embroidery, fabric painting (silk, stencilling), braid, laces, ruffles, feathers, fur, fringes, beading, sequins, combination of both. Design application Method 1: embroidery stitches

Stitch Uses

Stem Outlines, motifs, stems

Satin Leaves, motifs, petals

Chain To fill in or outline designs

Long and short stitch Flowers, leaves, motifs

Lazy daisy Petals, daisy designs TEXTILES, FASHION AND DESIGN 61

Stem stitch Satin stitch Chain stitch

Tying stitch (to hold lazy daisy stitch Long and short stitch Lazy daisy stitch in place)

Method 2: appliqué Pieces of fabric can be cut into a variety of shapes and attached to garments as a decorative finish. Fabric can be applied by hand (blanket stitch, embroidery stitches) or by machine (zig-zag). Cut out fusible web, attach to the back of the fabric piece and then iron into position on the garment. Stitch in place and press. The clothing and textile industries Production sectors in the industry Different sectors in the clothing and textile industries produce accessories, business wear, children’s wear, fashion knitwear, lingerie and hosiery, menswear, ladies’ outerwear, leisure wear, shirts and underwear. Clothing retailing in Ireland – an overview l Clothing outlets are dominated by chain stores. l Chain stores account for 30% of purchases. Before your exam, check the l The remaining 70% is accounted for by department impact of the most recent stores, independent Irish retailers, specialist budget on the clothing and textile industry in Ireland. multiples and foreign retailers. l Large chain stores serve the lower and middle end of the market. l Department stores serve the middle to upper end of the market. l Specialist outlets serve the middle and upper end of the market. 62 LESS STRESS MORE SUCCESS

Factors encouraging growth 1. Fashion trends (designer influences). 2. Economic growth. 3. Increase in number of people at work. Access to and the popularity of 4. Increase in disposable income. Internet shopping is changing consumer approaches to 5. Development of brand names. choosing and buying clothing. 6. Marketing based on demographic trends. Consumers can check what’s 7. Development of export market. trending at the touch of a button. 8. Youth culture. 9. Media and lifestyles. Factors inhibiting growth 1. Labour-intensive business. 2. Increased cost of labour and raw materials. 3. Lower labour costs in other countries. Manufacturing has been 4. Cost of training in terms of time and people. transferred from Ireland 5. Increased competition from other countries. to other countries due 6. Lack of language and computer skills. to cheaper raw materials and lower labour costs. Strategies to improve growth 1. Improving competitiveness at production and retail levels. 2. Increasing the use of computer-aided manufacture (CAM). 3. Offering flexibility in relation to the size of orders. 4. Using quality management systems. 5. Developing strong links between industry and graduates. 6. Marketing the industry at national and international levels. 7. Promoting careers in the textile industry. Areas of potential growth include: yarns and fibres, non-woven fabrics, woollen fabrics, new fabrics and finishes, design and manufacture of textile products, online retailing. Agencies supporting the development of the textile industry include: Enterprise Ireland, Industrial Development Authority, Design and Craft Council of Ireland, Local Enterprise Groups. Small clothing and textiles businesses and cottage industries This sector accounts for most of the clothing business and the majority of businesses employ fewer than twenty-five people. It has a history of sub-contracting work. It provides much-needed employment in rural areas and has an impact on the cultural, social and economic development of communities. Small firms contribute to the national economy. Cottage industries supply a niche market. Cottage industries are associated with weaving, knitting, crochet, lace and the production of by-products associated with these TEXTILES, FASHION AND DESIGN 63 skills. Linen and wool woven here are exported abroad to designers. The Aran sweater is an example of an Irish craft. Crafts generate income from tourism. Other examples include Donegal Tweed, Limerick Lace and Foxford Rugs. Irish designers – some examples Aideen Bodkin, Lulu Guinness, Paul Costelloe, Jen Kelly, Louise Kennedy, Lainey Keogh, Orla Kiely, Helen McAlinden, Quinn and Donnelly, John Rocha, Jennifer Rothwell, Tim Ryan, Philip Treacy, Leigh Tucker, Mairead Whisker, Honor Fitzsimons, Tim Ryan, Aisling Duff. Clothing brands in Ireland – some examples

Menswear Louis Copeland, Boss, Bugatti, Remus, Magee, Ramsey, Jack & Jones, Wolsey, Lacoste, Northface, Gant, Levi, Barbour, Primark

Womenswear Paul Costelloe, Millie Mackintosh, Joanne Hynes, Simone Rocha, Quinn and Donnelly, Libra, Primark, Ramsay, John Rocha, Fran and Jane, Karen Millen, Barbour, DKNY, Max Mara, Mango, Celine

Knitwear Carraig Donn, Tricot Marine, Electronic Sheep, Ireland’s Eye Knitwear

Others Calvin Klein, Tommy Hilfiger, Diesel, Lacoste, Baumler

Career opportunities

l Craft worker l Fashion buyer l Textile designer l Retail personnel in shops l Textile production l Image consultant l Clothing designer l Design/manufacture l Pattern designer of accessories l Production line operator l Tailor l Quality controller l Fashion journalist/ l Health and safety officer writer Check the Internet for the latest l Model l Research and development designers and l Marketing l Stylist, hairdresser brands. New Irish l Systems analyst l Photographer designers are emerging each year.

Exam questions and sample answers Higher Level 2017, Section C, Elective 2, Q2 (c) (i), (ii) (c) The textile and fashion industry is one which is market-driven, with high levels of skill, imagination and creativity. (i) Outline how the Irish fashion industry is promoted at home and abroad. (3 points × 3 marks = 9 marks) 64 LESS STRESS MORE SUCCESS

1. Support from the Local Enterprise Offices (LEO) to establish fashion enterprises. 2. Fashion blogs which promote personal style, latest trends, etc. 3. Irish designers showcase their collections at International Fashion Shows, e.g. London, New York. 4. Shops which support and showcase Irish designers, e.g. Powerscourt Townhouse, Kilkenny Design. 5. Public figures wearing Irish designer fashions. (ii) Name and give details of one career opportunity in the textile and fashion industry. (Name = 2 marks, details = 2 points × 2 marks, total = 6 marks) Name: Fashion designer (couturier) Details: l Create design concepts to be translated into garments and accessories. l Research trends, contemporary styles, textiles, marketing, etc. l Work on their own in a studio or as part of an in-house team in a company. l Work as specialists in specific areas, e.g. children’s wear, bridal, maternity. l Act as consultants in industry or retail working with design teams. l Work in the area of conservation and museums.

Ordinary Level 2014, Section C, Elective 2, Q2 (b) (i), (ii) (b) Hobbies can be turned into business in times of economic recession. (i) Discuss the role played by small businesses and cottage/home based industries in the Irish fashion industry. (3 roles × 3 marks = 9 marks) Small businesses and cottage/home based industries: 1. Create employment opportunities in small rural communities for skilled and non-skilled workers. 2. Promote the survival of traditional Irish crafts using contemporary designs. 3. Promote Irish fashion industry by exporting to other countries using online platforms. (ii) Describe two career opportunities in the clothing and fashion industry. (6 marks) LINK l Career opportunities (p. 63)

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