HN Fashion Textiles Units

BTEC
Edexcel Level 5 BTEC Higher

Nationals in Fashion and Textiles
April 2005
Guidance and units

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Edexcel Limited is one of the leading examining and awarding bodies in the UK and throughout
the world. It incorporates all the qualifications previously awarded under the Edexcel and BTEC
brands. We provide a wide range of qualifications including general (academic), vocational,
occupational and specific programmes for employers.
Through a network of UK and overseas offices, our centres receive the support they need to
help them deliver their education and training programmes to learners.
For further information please call Customer Services on 0870 240 9800, or visit our website at
www.edexcel.org.uk

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

Authorised by J im Dobson
Prepared by J ohn Davies
Publications Code BH015805
All the material in this publication is copyright
Edexcel Limited 2005

EDEXCEL LEVEL 5 BTEC HIGHER NATIONALS
IN FASHION AND TEXTILES
BTEC Higher National Certificate in Fashion and Textiles
BTEC Higher National Diploma in Fashion and Textiles
The Qualifications Curriculum Authority (QCA) has introduced changes to the National
Qualifications Framework (NQF) in the way it sets out the levels at which qualifications are
recognised. Its revised levels broadly compare with the Framework for Higher Education
Qualifications (FHEQ). The academic level of BTEC Higher National Certificates and
Diplomas has not changed and they will remain as Intermediate level qualifications on the
FHEQ. However, the QCA changes will allow the NQF to recognise more precisely the true
academic level of BTEC Higher Nationals and they will now be designated as at the revised
NQF Level 5. As the academic level has not changed, progression to BTEC Higher Nationals
will still be from Level 3 qualifications and progression from BTEC Higher Nationals will be to
qualifications at the revised Level 6. Learners progression routes do not necessarily involve
qualifications at every level.
Specifications for all new accreditations after September 2004 will show both the original and
revised NQF levels and the QCA Openquals database (www.qca.org.uk/openquals) will show
both the original level and the revised level for each of these qualifications. Certification will be
at the original levels up until December 2005. All certifications after that date will be at the
revised levels.
Further information on these changes can be obtained from QCA at
www.qca.org.uk/qualifications/types/7918.html

BTEC Higher Nationals within the National
Qualifications Framework (NQF)
NQF
Original levels Revised levels #
Framework for Higher
Education Qualifications
(FHEQ)
8
No current BTEC qualifications
D (doctoral)
doctorates
5

Level 5 BTEC Advanced
Professional Diplomas,
Certificates and Awards

7
Level 7 BTEC Advanced Professional
Diplomas, Certificates and Awards
M (masters)
masters degrees, postgraduate
certificates and diplomas
6
No current BTEC qualifications
H (honours)
bachelors degrees, graduate
certificates and diplomas
5
Level 5 BTEC Higher National
Diplomas and Certificates

Level 5 BTEC Professional Diplomas,
I (intermediate)
diplomas of higher education and
further education, foundation
degrees, higher national
diplomas
4

Level 4 BTEC Higher
National Diplomas and
Certificates

Level 4 BTEC Professional
Diplomas, Certificates and
Awards
4
Level 4 BTEC Professional Diplomas,
C (certificate)
certificates of higher education
3
There is no change to Level 3 in the revised NQF

Level 3 BTEC National Diplomas, Certificates and Awards

Level 3 BTEC Diplomas, Certificates and Awards

Advanced GCE
2

Level 2 BTEC First Diplomas and Certificates


GCSEs grades A*C
1

Level 1 BTEC Introductory Diplomas and Certificates


GCSEs grades DG
Entry
There is no change to Entry Level in the revised NQF

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

#The revised NQF applies from 1 September 2004 and will be fully implemented from 1 J anuary 2006.

The revision is designed to recognise more precisely the academic levels at the higher levels of the framework:
the actual content and other attributes of the respective qualifications are not altered or diminished.

The revision also provides better alignment with the FHEQ used in universities and higher education
institutions.

Contents

Qualification titles covered by this specification 1
Introduction 2
Structure of the qualification 2
BTEC Higher National Certificate 2
BTEC Higher National Diploma 2
Key features 9
Professional body recognition 10
National Occupational Standards 10
Qualification Requirement 10
Higher-level skills 10
BTEC Higher National Certificate 11
BTEC Higher National Diploma 11
Teaching, learning and assessment 12
Unit format 12
Learning and assessment 13
Grading Higher National units 14
Grade descriptors 15
Accreditation of Prior Learning (APL) 17
Quality assurance of BTEC Higher Nationals 17
Centre and programme approval 17
Monitoring centres internal quality systems 18
Independent assessment: the role of the external examiner 18
Programme design and delivery 19
Mode of delivery 19
Resources 20
Delivery approach 20
Meeting local needs 20
Locally-devised specialist units 21
Limitations on variations from standard specifications 21
Access and recruitment 21
Restrictions on learner entry 22
Access arrangements and special considerations 22
The wider curriculum 22
Spiritual, moral, ethical, social and cultural issues 22
Environmental issues 22
European developments 23
Health and safety issues 23
Equal opportunities issues 23
Useful publications 23
Professional body contact details 23
How to obtain National Occupational Standards 24
Professional development and training 24
Further information 24
Core units 25
Unit 1: Drawing Techniques and Approaches 27
Unit 2: Visual Communication 33
Unit 3: Professional Studies 39
Unit 4: Historical and Contextual Referencing 43
Unit 5: Professional Practice and Development 47
Unit 6: Critical Study 53
Unit 7: Fashion and Textile Materials Understanding 59
Specialist units 65
Unit 8: CAD/CAM for Fashion and Textiles 67
Unit 9: Cultural Understanding in Fashion 73
Unit 10: Design Exploration in Textiles 77
Unit 11: Design Application in Textiles 83
Unit 12: Techniques and Processes in Textiles 89
Unit 13: Design Research in Textiles 95
Unit 14: Realising a Textile Collection 101
Unit 15: Textile Manufacture Production Operations 107
Unit 16: Textiles Specialist Techniques and Processes 113
Unit 17: Experimental Constructed Textiles 119

Unit 18: Experimental Printed Textiles 125
Unit 19: Experimental Embroidered Textiles 131
Unit 20: Design Exploration in Fashion 137
Unit 21: Design Application in Fashion 141
Unit 22: Techniques and Processes in Fashion 147
Unit 23: Production Techniques 153
Unit 24: Pattern Drafting 157
Unit 25: Fashion Environment 163
Unit 26: Research and Development for Fashion Design 169
Unit 27: Realising a Fashion Collection 173
Unit 28: Pattern Construction 177
Unit 29: Garment Manufacture 183
Unit 30: Clothing Manufacture Production Operations 189
Unit 31: Fashion Promotion 195
Unit 32: Costume Design Concept 201
Unit 33: Costume Realisation 207
Unit 34: Costume Production 213
Unit 35: Millinery and Headdresses 217
Annex A 223
QCA codes 223
Annex B 225
Mapping against NVQ in Design Level 3 225
Annex C 229
Wider curriculum mapping 229
Annex D 231
BTEC Higher Nationals in Fashion and Textiles 231

BH015805 Guidance and units Edexcel Level 5 BTEC Higher Nationals in Fashion and Textiles
Issue 1 April 2005
1
Qualification titles covered by this specification
Edexcel Level 5 BTEC Higher National Certificate in Fashion and Textiles
Edexcel Level 5 BTEC Higher National Diploma in Fashion and Textiles

These qualifications have been accredited to the National Qualifications Framework (NQF). The
Qualification Accreditation Numbers (QANs) for these qualifications are listed in Annex A.
These qualification titles are as they will appear on the learners certificate. Learners need to be
made aware of this when they are recruited by the centre and registered with Edexcel. Providing
this happens, centres are able to describe the programme of study leading to the award of the
qualification in different ways to suit the medium and the target audience.

Issue 1 April 2005
2
Introduction
This document contains the units and associated guidance for the National Qualifications
Framework (NQF) Edexcel Level 5 BTEC Higher Nationals in Fashion and Textiles. Each unit
sets out the required outcomes and content and includes advice regarding appropriate delivery
and assessment strategies. The guidance contains further details of the teaching, learning,
assessment and quality assurance of these qualifications. It includes advice about Edexcels
policy regarding access to its qualifications, the design of programmes of study and delivery
modes.
Structure of the qualification
BTEC Higher National Certificate
The BTEC Higher National Certificate in Fashion and Textiles is a 10-unit qualification of
which seven are core units.
The BTEC Higher National Certificate programme must contain a minimum of five units
designated at H2 level.
BTEC Higher National Diploma
The BTEC Higher National Diploma in Fashion and Textiles is a 16-unit qualification of which
seven are core units.
The BTEC Higher National Diploma programme must contain a minimum of eight units

Issue 1 April 2005
3
Structure of Edexcel Level 5 BTEC Higher National Certificate in Fashion and
Textiles

Unit no Core units all seven units must be taken
Unit level
H1 or H2
1 Drawing Techniques and Approaches H1
2 Visual Communication H1
3 Professional Studies H2
4 Historical and Contextual Referencing H1
5 Professional Practice and Development H2
6 Critical Study H2
7 Fashion and Textile Materials Understanding H1
Specialist units choose three units
8 CAD/CAM for Fashion and Textiles H1
9 Cultural Understanding in Fashion H2
10 Design Exploration in Textiles H1
11 Design Application in Textiles H1
12 Techniques and Processes in Textiles H1
13 Design Research in Textiles H2
14 Realising a Textile Collection H2
15 Textile Manufacture Production Operations H2
16 Textiles Specialist Techniques and Processes H2
17 Experimental Constructed Textiles H2
18 Experimental Printed Textiles H2
19 Experimental Embroidered Textiles H2
20 Design Exploration in Fashion H1
21 Design Application in Fashion H1
22 Techniques and Processes in Fashion H1
23 Production Techniques H1
24 Pattern Drafting H1
25 Fashion Environment H1
26 Research and Development for Fashion Design H2
27 Realising a Fashion Collection H2
28 Pattern Construction H2
29 Garment Manufacture H2
30 Clothing Manufacture Production Operations H2
31 Fashion Promotion H2
Issue 1 April 2005
4

Specialist units choose three units (continued)
32 Costume Design Concept H1
33 Costume Realisation H1
34 Costume Production H2
35 Millinery and Headdresses H1
The BTEC Higher National Certificate programme must contain a minimum of five units

Issue 1 April 2005
5
Structure of Edexcel Level 5 BTEC Higher National Diploma in Fashion and
Textiles

Unit no Core units all seven units must be taken
Unit level
H1 or H2
1 Drawing Techniques and Approaches H1
2 Visual Communication H1
3 Professional Studies H2
4 Historical and Contextual Referencing H1
5 Professional Practice and Development H2
6 Critical Study H2
7 Fashion and Textile Materials Understanding H1
Specialist units choose nine units
Issue 1 April 2005
6

Specialist units choose nine units (continued)
The BTEC Higher National Diploma programme must contain a minimum of eight units

Issue 1 April 2005
7
Specialist pathways for Higher National Diplomas only
The specialist units have been developed with pathways in mind. The specialist units that relate
to each pathway are listed below. There is no requirement for a centre to follow the specialist
pathways; they are recommendations only.
Fashion
Unit number Unit title Unit level
H1 or H2
In order to satisfy specification requirements, centres following this route must select at least
five of the H2 units listed above.
Textiles
H1 or H2
Issue 1 April 2005
8
Textiles (continued)
H1 or H2
In order to satisfy specification requirements, centres following this route must select at least
five of the H2 units listed above.

Issue 1 April 2005
9
Key features
BTEC Higher Nationals are designed to provide a specialist vocational programme, linked to
professional body requirements and National Occupational Standards where appropriate, with a
strong work related emphasis. The qualifications provide a thorough grounding in the key
concepts and practical skills required in their sector and their national recognition by employers
allows progression direct into employment. BTEC Higher Nationals offer a strong emphasis on
practical skills development alongside the development of requisite knowledge and
understanding in their sector. Learners are attracted to this strong vocational programme of
study that meets their individual progression needs whether this is into employment or to further
study on degree or professional courses.
A key progression path for BTEC Higher National Certificate and Diploma learners is to the
second or third year of a degree or honours degree programme, depending on the match of the
BTEC Higher National units to the degree programme in question.
BTEC Higher Nationals in Fashion and Textiles have been developed to focus on:
providing education and training for a range of careers in fashion and textiles
providing opportunities for fashion and textiles practitioners to achieve a nationally
recognised Level 5 vocationally-specific qualification
providing opportunities for full-time learners to gain a nationally-recognised vocationally-
specific qualification to enter employment in fashion and textiles or progress to higher
education vocational qualifications such as a full-time degree in fashion and textiles or
related area
developing the knowledge, understanding and skills of learners in the field of fashion and
textiles
providing opportunities for learners to focus on the development of higher-level skills in a
fashion and textiles context
providing opportunities for learners to develop a range of skills and techniques and
attributes essential for successful performance in working life
developing learners ability to manage themselves
developing learners critical awareness and their ability to research and synthesise complex
information
developing learners skills in communication and presentation
developing learners ability to handle information.
This qualification meets the needs of the above rationale by:
equipping individuals with knowledge, understanding and skills for success in employment
in the fashion and textiles area
enabling progression to an undergraduate degree or further professional qualification in
fashion and textiles or related area
providing opportunities for specialist study relevant to individual vocations and contexts
supporting individuals employed or entering employment in the fashion and textiles area
developing the individuals ability in the fashion and textiles area through effective use and
combination of the knowledge and skills gained in different parts of the programme
Issue 1 April 2005
10
developing a range of skills and techniques, personal qualities and attributes essential for
successful performance in working life and thereby enabling learners to make an immediate
contribution to fashion and textiles
providing flexibility, knowledge, skills and motivation as a basis for future studies and
career development in the fashion and textiles area.
Professional body recognition
The BTEC Higher Nationals in Fashion and Textiles have been developed with career
progression and recognition by professional bodies in mind. It is essential that learners gain the
maximum benefit from their programme of study.
National Occupational Standards
BTEC Higher Nationals in Fashion and Textiles are designed to relate to the National
Occupational Standards in the fashion sector at Level 5, which in turn form the basis of the
fashion National Vocational Qualifications (NVQs). BTEC Higher Nationals do not purport to
deliver occupational competence in the sector, which should be demonstrated in a work context.
However, the qualifications provide underpinning knowledge for the National Occupational
Standards, as well as developing practical skills in preparation for work and possible
achievement of NVQs in due course.
Links to National Occupational Standards are indicated in each of the units.
Through the study of core and relevant specialist units learners will cover much of the
underpinning knowledge, skills and understanding for Design NVQ Level 3. Mapping against
the Design NVQ Level 3 is given in Annex B.
Qualification Requirement
Edexcel has published Qualification Requirements as part of the revision of BTEC Higher
Nationals. Qualification Requirements set out the aims and rationale of the qualifications and
provide the framework of curriculum content. They also identify the higher-level skills
associated with the qualifications and any recognition by relevant professional bodies. The
Qualification Requirement for BTEC Higher Nationals in Fashion and Textiles is given in
Annex D.
Edexcel standard specifications titles are developed from the Qualification Requirements.
Licensed centres comply with Qualification Requirements when developing BTEC Higher
Nationals under these standard titles.
Qualification Requirements provide consistent standards within the same vocational area and
clearly identify the skills and knowledge that can be expected of any holder of an identical
BTEC Higher National. This will allow higher education institutions, employers and
professional bodies to confidently provide progression opportunities to successful learners.
Higher-level skills
Learners studying for BTEC Higher Nationals in Fashion and Textiles will be expected to
develop the following skills during the programme of study:
synthesis of a range of concepts, knowledge and skills relating to fashion and textiles
application of complex theories to practical realistic work situations in the fashion and
textiles sector
independence of approach to study and the generation of fashion and textiles evidence

Issue 1 April 2005
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ability to engage with complex and/or unpredictable situations in fashion and textiles
contexts
ability to take responsibility to manage and direct their own and others activities
insight and judgement in relation to the margins and consequences of error
research and investigative skills
responsiveness to change and ability to multi-task
ability to innovate and work in a creative way.
BTEC Higher National Certificate
The 10-unit BTEC Higher National Certificate in Fashion and Textiles provides a specialist
work-related programme of study that covers the key knowledge, understanding and practical
skills required in the fashion and textiles sector and also offers particular specialist emphasis
through the choice of specialist units.
BTEC Higher National Certificates provide a nationally recognised qualification offering career
progression and professional development for those already in employment and opportunities to
progress into higher education. The qualifications are mode free but they are primarily
undertaken by part-time learners studying over two years. In some sectors there are
opportunities for those wishing to complete an intensive programme of study in a shorter period
of time.
This specification provides centres with a framework to develop engaging programmes for
higher-education learners who are clear about the area of employment that they wish to enter.
The BTEC Higher National Certificate in Fashion and Textiles mainly offers a progression
route for learners who are employed in the fashion and textiles sector.
Learners studying on the BTEC Higher National Certificate will be able to either gain
employment in the fashion and textiles sector or continue their studies at BA or MA levels.
BTEC Higher National Diploma
The 16-unit BTEC Higher National Diploma provides greater breadth and specialisation than
the BTEC Higher National Certificate. Higher National Diplomas are mode free but are
followed predominately by full-time learners. They allow progression into or within
employment in the fashion and textiles sector, either directly on achievement of the award or
following further study to degree level.
The BTEC Higher National Diploma in Fashion and Textiles provides opportunities for learners
to apply their knowledge and practical skills in the workplace. Full-time learners have the
opportunity to do this through formal work placements or their part-time employment
experience.
The qualification prepares learners for employment in the fashion and textiles sector and will be
suitable for learners who have already decided that they wish to enter this area of work. Some
adult learners may wish to make the commitment required by this qualification in order to enter
a specialist area of employment in fashion and textiles or progress into higher education. Other
learners may want to extend the specialism that they followed on the BTEC Higher National
Certificate programme. Progression from this qualification may well be into or within
employment in the fashion and textiles sector.
The BTEC Higher National Diploma in Fashion and Textiles mainly offers a progression route
for learners who are studying on an Art and Design Diploma in Foundation Studies course, a
National Diploma in Design or a National Diploma in Art and Design.
Issue 1 April 2005
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Learners studying for the BTEC Higher National Diploma will be able to either gain
employment in the fashion and textiles sector or continue their studies at BA or MA levels.
Teaching, learning and assessment
Learners must pass all 10 units on their programme of learning to be awarded a BTEC Higher
National Certificate and all 16 units to be awarded a BTEC Higher National Diploma.
The assessment of BTEC Higher National qualifications is criterion-referenced and centres are
required to assess learners evidence against published learning outcomes and assessment
criteria. All units will be individually graded as pass, merit or distinction. To achieve a
pass grade for the unit learners must meet the assessment criteria set out in the specifications.
This gives transparency to the assessment process and provides for the establishment of national
standards for each qualification.
The units in BTEC Higher National qualifications all have a standard format which is designed
to provide clear guidance on the requirements of the qualification for learners, assessors and
those responsible for monitoring national standards.
Unit format
Each unit is set out in the following way.
Unit title, learning hours and NQF level
The unit title is accredited by QCA and this form of words will appear on the learners
Notification of Performance. In BTEC Higher National qualifications each unit consists of
60 guided learning hours.
Each unit is assigned a notional level indicator of H1 or H2, indicating the relative intellectual
demand, complexity and depth of study, and learner autonomy.
At H1 level the emphasis is on the application of knowledge, skills and understanding, use of
conventions in the field of study, use of analytical skills and selection and organisation of
information.
At H2 level the emphasis is on application and evaluation of contrasting ideas, principles,
theories and practices, greater specialisation in the field of study, and an increasing
independence in systematic enquiry and analysis.
Description of unit
A brief description of the overall purpose of the unit is given, together with the key areas of
study associated with the unit.
Summary of learning outcomes
The outcomes of the unit identify what each learner must do in order to pass it. Learners must
achieve all the outcomes in order to pass the unit.
Content
This section picks up highlighted words from the outcomes and amplifies the content coverage
required when addressing the outcomes. The content section will often provide lists of topics.
Please note all aspects of the listed topics should be covered, except those that begin with eg,
where items listed are merely indicative.

Issue 1 April 2005
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Outcomes and assessment criteria
Each unit contains statements of the evidence that each learner should produce in order to
receive a pass.
Guidance
This section is not prescriptive but provides additional guidance and amplification related to the
unit to support teachers/deliverers and assessors. Its subsections are given below. Only those
subsections which apply to the unit will appear.
Delivery offers guidance about possible approaches to delivery. The guidance is based
on the more usual delivery modes and is not intended to rule out alternative approaches.
Assessment provides advice about the nature and type of evidence that learners are likely
to need to produce. This subsection should be read in conjunction with the assessment
criteria and the generic grade descriptors.
Links sets out the links between units. Provides opportunities for integration of learning,
delivery and assessment. Any links to the National Occupational Standards will be
highlighted here.
Resources identifies the specialist resources likely to be needed to allow learners to
generate the evidence required by each unit. The centre will be asked to ensure that this
resource requirement is in place when it seeks approval from Edexcel to offer the
qualification.
Support materials identifies, where appropriate, textbooks, videos, magazines, journals,
publications and websites that may support the delivery of the unit.
Learning and assessment
The purpose of assessment is to ensure that effective learning of the content of each unit has
taken place. Evidence of this learning, or the application of the learning etc, is required for each
unit. The assessment of the evidence relates directly to the assessment criteria for each unit,
supported by the generic grade descriptors.
The process of assessment can aid effective learning by seeking and interpreting evidence to
decide the stage that learners have reached in their learning, what further learning needs to take
place and how best to do this. Therefore, the process of assessment should be part of the
effective planning of teaching and learning by providing opportunities for both the learner and
assessor to obtain information about progress towards learning goals. The assessor and learner
must be actively engaged in promoting a common understanding of the assessment criteria and
the grade descriptors (what it is they are trying to achieve and how well they achieve it) for
further learning to take place. Therefore, learners need constructive feedback and guidance
about how to improve, capitalising on strengths, with clear and constructive comments about
weaknesses and how these might be addressed.
Assessment instruments are constructed by centres. Assessment instruments should collectively
ensure coverage of all assessment criteria within each unit and should provide opportunities for
the evidencing of all the grade descriptors. It is advised that assessment criteria and
contextualised grade descriptors are clearly indicated on each assessment instrument to provide
a focus for learners (for transparency and to ensure that feedback is specific to the criteria) and
to assist with internal standardisation processes. Tasks/activities should enable learners to
produce evidence that relates directly to the assessment criteria and grade descriptors.
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When centres are designing assessment instruments, they need to ensure that the instruments are
valid, reliable and fit for purpose, building on the application of the assessment criteria. Centres
are encouraged to place emphasis on practical application of the assessment criteria, providing a
realistic scenario for learners to adopt, making maximum use of work-related practical
experience and reflecting typical practice in the sector concerned. The creation of assessment
instruments that are fit for purpose is vital to achievement and their importance cannot be over-
emphasised.
Grading Higher National units
The assessment of BTEC Higher National qualifications will be at unit level and there will be
no overall grade for either the Certificate or the Diploma. This means that learners are able to
access the qualification through a unitised approach.
Each unit will be graded as a pass, merit or distinction. A pass is awarded for the achievement
of all outcomes against the specified assessment criteria. Merit and distinction grades are
awarded for higher-level achievement.
The generic merit and distinction grade descriptors listed on pages 1516 are for grading the
total evidence produced for each unit and describe the learners performance over and above
that for a pass grade.
Summary of grades
In order to achieve apass all outcomes and associated assessment criteria have
been met
In order to achieve amerit pass requirements achieved
all merit grade descriptors achieved
In order to achieve adistinction pass and merit requirements achieved
all distinction grade descriptors achieved

The merit and distinction grade descriptors can be achieved in a flexible way, eg in a sequential
or holistic mode, to reflect the nature of the sector concerned.
Each of the generic merit and distinction grade descriptors can be amplified by use of indicative
characteristics. These give a guide to the expected learner performance, and support the
generic grade descriptors. The indicative characteristics should reflect the nature of a unit and
the context of the sector programme.
The indicative characteristics shown in the table for each of the generic grade descriptors are not
exhaustive. Consequently, centres should select from the list or may construct other appropriate
indicative characteristics for their sector programme which may be drawn from the appropriate
higher-level skills. It is important to note that each assessment activity does not need to
incorporate all the merit and/or distinction grade descriptors.
Contextualising the generic grade descriptors
The generic merit and distinction grade descriptors need to be viewed as a qualitative extension
of the assessment criteria for pass within each individual unit. The relevant generic grade
descriptors must be identified and specified within an assignment and the relevant indicative
characteristics should be used to place the required evidence in context.

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Grade descriptors
Pass grade
A pass grade is achieved by meeting all the requirements defined in the assessment criteria for
pass for each unit.
Merit grade
Merit descriptors Indicative characteristics
In order to achieve a merit
the learner must:
The learners evidence shows:
identify and apply
strategies to find
appropriate solutions
effective judgements have been made
complex problems with more than one variable have been
explored
an effective approach to study and research has been applied
select/design and apply
appropriate methods/
techniques
relevant theories and techniques have been applied
a range of methods and techniques have been applied
a range of sources of information has been used
the selection of methods and techniques/sources has been
justified
the design of methods/techniques has been justified
complex information/data has been synthesised and
processed
appropriate learning methods/techniques have been applied
present and
communicate
appropriate findings
the appropriate structure and approach has been used
coherent, logical development of principles/concepts for the
intended audience
a range of methods of presentation have been used and
technical language has been accurately used
communication has taken place in familiar and unfamiliar
contexts
the communication is appropriate for familiar and unfamiliar
audiences and appropriate media have been used
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Distinction grade
Distinction descriptors Indicative characteristics
In order to achieve a
distinction the learner must:
The learners evidence shows:
use critical reflection to
evaluate own work and
justify valid conclusions
conclusions have been arrived at through synthesis of ideas
and have been justified
the validity of results has been evaluated using defined
criteria
self-criticism of approach has taken place
realistic improvements have been proposed against defined
characteristics for success
take responsibility for
managing and organising
activities
autonomy/independence has been demonstrated
substantial activities, projects or investigations have been
planned, managed and organised
activities have been managed
the unforeseen has been accommodated
the importance of interdependence has been recognised and
achieved
demonstrate
convergent/lateral/
creative thinking
ideas have been generated and decisions taken
self-evaluation has taken place
convergent and lateral thinking have been applied
problems have been solved
innovation and creative thought have been applied
receptiveness to new ideas is evident
effective thinking has taken place in unfamiliar contexts

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Accreditation of Prior Learning (APL)
Edexcel encourages centres to recognise learners previous achievements and experience
through APL. Learners may have evidence that has been generated during previous study, in
their previous or current employment or whilst undertaking voluntary work that relates to one or
more of the units in the qualification. Assessors should assess this evidence against the Higher
National standards in the specifications in the normal way. As with all evidence, assessors
should be satisfied about the authenticity and currency of the material when considering
whether or not the outcomes of the unit have been met.
Full guidance about Edexcels policy on APL is provided on our website (www.edexcel.org.uk).
Quality assurance of BTEC Higher Nationals
The quality assurance system for BTEC Higher National qualifications, as higher-level
vocational qualifications at Level 5 on the NQF, will comprise three main components.
Approval process a control measure to confirm that individual centres (and programme
teams) are appropriately resourced and competent to deliver a BTEC Level 5 programme of
study.
Monitoring of centres a method of monitoring centres internal quality systems to
ensure ongoing fulfilment of initial requirements and, where appropriate, enhancement of
those requirements to accommodate new qualifications.
Independent assessment a measure that provides independence within the assessment
process, so that the certificated outcomes for each learner are not reliant on determinations
by individuals or groups with a vested interest in the outcome. This measure should be
consistent and reliable over time, and should not create unnecessary barriers.
Centre and programme approval
Approval to offer BTEC Higher National qualifications will vary depending on the status of the
centre. Centres that have a recent history of delivering BTEC Higher National qualifications and
have an acceptable quality profile in relation to their delivery will be able to gain approval
through an accelerated process. Centres that are new to the delivery of BTEC Higher National
qualifications will be required to submit evidence to demonstrate that they:
have the human and physical resources required for effective delivery and assessment
understand the implications for independent assessment and agree to abide by these
have a robust internal assessment system supported by fit for purpose assessment
documentation
have a system to internally verify assessment decisions to ensure standardised assessment
decisions are made across all assessors and sites.
Such applications have to be supported by the head of the centre (principal, chief executive,
etc).
We communicate all approvals in writing to the head of centre in the form of a qualification
approval letter. The approval letter will also contain a programme definition for each
qualification approved. The programme definition clearly states to the centre all units that
comprise the qualification for which the centre is approved.
Issue 1 April 2005
18
Monitoring centres internal quality systems
Centres will be expected to demonstrate ongoing fulfilment of approval criteria across all
programme areas. This should include the consistent application of policies affecting learner
registrations and appeals, together with the effectiveness of internal examination and
standardisation processes.
Centres may opt for a review of their provision under the quality verifier/quality reviewer
arrangements, which already apply to all further education centres. Alternatively, centres may
present evidence of their operation within a recognised code of practice, such as that of the
Quality Assurance Agency for Higher Education. Edexcel reserves the right to confirm
independently that these arrangements are operating to our satisfaction.
Independent assessment: the role of the external examiner
Supporting consistency and appropriateness of centre assessor decisions
For all BTEC Higher Nationals accredited at Level 5 on the NQF, Edexcel will appoint
appropriately qualified subject-specific external examiners to the programme in each centre.
Edexcel will define the selection, appointment and training process, together with the roles and
responsibilities of the external examiners and will communicate the details to centres in a centre
handbook.
The function of the external examiner will be to review and evaluate objectively the assessment
process and standards of learner attainment by independently reviewing, in the first year of the
programme, a sample of learner work (including the centre-designed assignments on which the
samples are based) selected by the external examiner, from across the programme.
When they visit centres, external examiners must be afforded reasonable access to the assessed
parts of the programme, including evidence of learner performance on placement. They are
required to:
verify that standards are appropriate for the qualification and its elements
assist institutions in the comparison of academic standards across similar awards nationally.
Should any disparity occur between the judgement of centre assessors and that of the external
examiner, this will be reported to the centre and to Edexcel by the external examiner. The centre
will be required to agree appropriate corrective action as a result of this report.
Independence in confirmation of certificated outcomes
In the final year of the programme, the external examiner will revisit the centre in order to
independently assess learner work and to evaluate centre assessor decisions on final outcomes.
This process of evaluation may focus upon work in units, selected by the external examiner, that
present the most appropriate evidence for this exercise. The work of all learners not already
sampled in the first year of the programme will be reviewed.
Resolution of assessments will normally be handled at the centres final programme review
board. The external examiner will be expected to endorse the outcomes of assessment before
certification can be authorised. Should the external examiner be unable to provide such
endorsement, certification will be withheld until appropriate corrective action has taken place.
(The senior subject examiner may become involved in such instances).
The external examiner will be required to prepare a written report after each visit. The report
will include comments from the external examiner on:
academic standards and programme specification
academic standards and learner performance
academic standards and assessment

Issue 1 April 2005
19
the assessment process
assessment meetings
physical resources
comments of learners
meetings with staff
external examiner practice
issues arising from previous reports
details of sampling
general points, areas of good practice and major issues
action points.
The external examiner report provides the mechanism by which the external examiner
independently verifies learner ability, endorses the validity of the assessment process and
releases certification for a cohort.
The report is a confidential document between Edexcel, the appointed external examiner, and
the centre to use for internal/external quality assurance processes. It provides the centre with
feedback on the external examining process and on the judgements that determine the external
examiners decisions on endorsement, or otherwise, of learner outcomes.
Programme design and delivery
The qualifications consist of core units (which are mandatory) and specialist units. These
specialist units will be mostly optional and are designed to provide a specific focus to the
qualification. Required combinations of specialist units are clearly set out in relation to each
qualification in the defined qualification structures provided in this document.
In BTEC Higher National qualifications each unit consists of 60 guided learning hours. The
definition of guided learning hours is a notional measure of the substance of a qualification. It
includes an estimate of time that might be allocated to direct teaching, instruction and
assessment, together with other structured learning time such as directed assignments or
supported individual study. It excludes learner-initiated private study. Centres are advised to
consider this definition when planning the programme of study associated with this
specification.
Mode of delivery
Edexcel does not define the mode of study for BTEC Higher National qualifications. Centres
are free to offer the qualifications using any mode of delivery that meets the needs of their
learners. This may be through traditional classroom teaching, open learning, distance learning or
a combination of these. Whatever mode of delivery is used, centres must ensure that learners
have appropriate access to the resources identified in the specifications and to the subject
specialists delivering the units. This is particularly important for learners studying for the
qualification through open or distance learning.
Full guidance on Edexcels policies on distance assessment and electronic assessment are
provided on our website.
Issue 1 April 2005
20
Learners studying for the qualification on a part-time basis bring with them a wealth of
experience that should be utilised to maximum effect by tutors and assessors. Assessment
instruments based on learners work environments should be encouraged. Those planning the
programme should aim to enhance the vocational nature of the BTEC Higher National
qualification by:
liaising with employers to ensure that the course is relevant to the specific needs of the
learners
accessing and using non-confidential data and documents from learners workplaces
including sponsoring employers in the delivery of the programme and, where appropriate, in
the assessment
linking with company-based/workplace training programmes
making full use of the variety of experiences of work and life that learners bring to the
programme.
Resources
BTEC Higher National qualifications are designed to prepare learners for employment in
specific sectors. Physical resources need to support the delivery of the programme and the
proper assessment of the outcomes and, therefore, should normally be of industry standard. Staff
delivering programmes and conducting the assessments should be fully familiar with current
practice and standards in the sector concerned. Centres will need to meet any specialist resource
requirements when they seek approval from Edexcel.
Please refer to the resource section in individual units for specialist resource requirements.
Delivery approach
It is important that centres develop an approach to teaching and learning that supports the
specialist vocational nature of the BTEC Higher National qualifications. The specifications
contain a balance of practical skill development and knowledge requirements, some of which
can be theoretical in nature. Tutors and assessors need to ensure that appropriate links are made
between theory and practice and that the knowledge base is applied to the sector. This will
require the development of relevant and up-to-date teaching materials that allow learners to
apply their learning to actual events and activity within the sector. Maximum use should be
made of the learners experience.
Meeting local needs
Centres should note the qualifications set out in these specifications have been developed in
consultation with centres, employers and the Creative and Cultural Industries Sector Skills
Council, the professional body for the fashion sector, together with support from the Sector
Skills Council or NTO for the fashion sector. The units are designed to meet the skill needs of
the sector and the specialist units allow coverage of the full range of employment. Centres
should make maximum use of the choice available to them within the specialist units in these
specifications to meet the needs of their learners, as well as the local skills and training needs
identified by organisations such as Regional Development Agencies and Local Learning and
Skills Councils.
Centres may not always be able to meet local needs using the units in this specification. In this
situation, centres may seek approval from Edexcel to make use of units from other standard
NQF BTEC Higher National specifications. Centres will need to justify the need for importing
units from other specifications and Edexcel will ensure that the vocational focus of the
qualification has not been diluted.

Issue 1 April 2005
21
Locally-devised specialist units
There may be exceptional circumstances where even the flexibility of importing units from
other specifications does not meet a particular local need. In this case, centres can seek
permission from Edexcel to develop a unit with us to meet this need. The cases where this will
be allowable will be very limited. Edexcel will ensure that the integrity of the qualification is
not reduced and that there is a minimum of overlap and duplication of content of existing units.
Centres will need strong evidence of the local need and the reasons why the existing standard
units are inappropriate. Edexcel will need to validate these units.
Limitations on variations from standard specifications
The flexibility to import standard units from other BTEC Higher National specifications and/or
to develop unique locally-devised specialist units is limited to a maximum of four units in a
BTEC Higher National Diploma qualification and a maximum of two units only in any
BTEC Higher National Certificate qualification. The use of these units cannot be at the
expense of the core units in any qualification.
Access and recruitment
Edexcels policy regarding access to its qualifications is that:
the qualifications should be available to everyone who is capable of reaching the required
standards
the qualifications should be free from any barriers that restrict access and progression
there should be equal opportunities for all wishing to access the qualifications.
Centres are required to recruit learners to BTEC qualifications with integrity. This will include
ensuring that applicants have appropriate information and advice about the qualifications and
that the qualification will meet their needs. Centres should take appropriate steps to assess each
applicants potential and make a professional judgement about their ability to successfully
complete the programme of study and achieve the qualification. This assessment will need to
take account of the support available to the learner within the centre during their programme of
study and any specific support that might be necessary to allow the learner to access the
assessment for the qualification. Centres should also show regard for Edexcels policy on
learners with particular requirements.
Centres will need to review the profile of qualifications and/or experience held by applicants,
considering whether this profile shows an ability to progress to a Level 5 qualification. For
learners who have recently been in education, the entry profile is likely to include one of the
following:
a BTEC National Certificate or Diploma in Design or Art and Design
an AVCE/Advanced GNVQ in an appropriate vocational area
a GCE Advanced level profile which demonstrates strong performance in a relevant subject
or an adequate performance in more than one GCE subject. This profile is likely to be
supported by GCSE grades at A* to C
other related Level 3 qualifications
an Access to Higher Education Certificate awarded by an approved further education
institution
related work experience.
Issue 1 April 2005
22
Mature learners may present a more varied profile of achievement that is likely to include
extensive work experience (paid and/or unpaid) and/or achievement of a range of professional
qualifications in their work sector.
Restrictions on learner entry
The majority of BTEC Higher National qualifications are accredited on the NQF for learners
aged 16 years and over. Learners aged 15 and under cannot be registered for a BTEC Higher
National qualification.
Access arrangements and special considerations
Edexcels policy on access arrangements and special considerations for BTEC and Edexcel
NVQ qualifications aims to enhance access to the qualifications for learners with disabilities and
other difficulties (as defined by the Disability Discrimination Act 1995 and the amendments to
the Act) without compromising the assessment of skills, knowledge, understanding or
competence.
Further details are given in the policy Access Arrangements and Special Considerations for
BTEC and Edexcel NVQ Qualifications, which is on the Edexcel website
(www.edexcel.org.uk). This policy replaces the previous Edexcel policy (Assessment of
Vocationally Related Qualification: Regulations and Guidance Relating to Learners with
Special Requirements, 2002) concerning learners with particular requirements.
The wider curriculum
The study of the BTEC Higher Nationals in Fashion and Textiles provides opportunities for
learners to develop an understanding of spiritual, moral, ethical, social and cultural issues and
an awareness of environmental issues, health and safety considerations, and European
developments. These wider curriculum opportunities are indicated in the units as appropriate.
Mapping of wider curriculum opportunities issues is provided in Annex C.
Spiritual, moral, ethical, social and cultural issues
The specification contributes to an understanding of:
spiritual issues through an appreciation of the spiritual dimension to fashion and textiles,
particularly when fashion and textiles is seen in an historical context, for example in Units 4
and 9
moral and ethical issues are encountered throughout the BTEC Higher Nationals in Fashion
and Textiles as dealing with people will always involve the learner engaging in moral and
ethical issues. A more detailed analysis is given in certain units such as Unit 25 and Unit 31
social and cultural issues are encountered throughout the BTEC Higher Nationals in
Fashion and Textiles.
Environmental issues
Learners are led to believe the importance of environmental issues as they engage in fashion and
textiles study as well as through experience of the fashion and textiles industry in Unit 7, Unit
15 and Unit 30.

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European developments
Much of the content of the BTEC Higher Nationals in Fashion and Textile, because of its global
nature, is applicable throughout Europe, even though the context of the delivery is within the
UK. The European dimensions of fashion and textiles are specifically addressed in Unit 25.
Health and safety issues
The BTEC Higher Nationals in Fashion and Textiles are practically based and so health and
safety issues are encountered throughout the courses. Learners will develop awareness of the
safety of others as well as themselves in all practical activities. Learners will also explore health
and safety issues across the fashion and textiles industry, particularly in Unit 29.
Equal opportunities issues
Equal opportunities issues are implicit throughout the BTEC Higher Nationals in Fashion and
Textiles.
Useful publications
Further copies of this document and related publications can be obtained from:
Edexcel Publications
Adamsway
Mansfield
Nottinghamshire NG18 4FN
Telephone: 01623 467 467
Fax: 01623 450 481
Email: publications@linneydirect.com
Related publications include:
the current Edexcel publications catalogue and update catalogue
Edexcel publications concerning the quality assurance system and the internal and external
verification of vocationally-related programmes may be found on the Edexcel website and
in the Edexcel publications catalogue.
NB: Most of our publications are priced. There is also a charge for postage and packing. Please
check the cost when you order.
Professional body contact details
Creative and Cultural Skills
11 Southwark Street
London SE1 1RQ
Website: www.ccskills.org.uk
Fax: 0113 244 8577
Email: info@ccskills.org.uk
Issue 1 April 2005
24
How to obtain National Occupational Standards
Creative and Cultural Skills
11 Southwark Street
London SE1 1RQ
Website: www.ccskills.org.uk
Fax: 0113 244 8577
Email: info@ccskills.org.uk
Professional development and training
Edexcel supports UK and international customers with training related to BTEC qualifications.
This support is available through a choice of training options offered in our published training
directory or through customised training at your centre.
The support we offer focuses on a range of issues including:
planning for the delivery of a new programme
planning for assessment and grading
developing effective assignments
building your team and teamwork skills
developing student-centred learning and teaching approaches
building key skills into your programme
building in effective and efficient quality assurance systems.
The national programme of training we offer can be viewed on the Edexcel website
(www.edexcel.org.uk). You can request customised training through the website or by
contacting one of our advisers in the Professional Development and Training Team on
telephone number 0870 240 9800 to discuss your training needs.
The training we provide:
is active ideas are developed and applied
is designed to be supportive and thought provoking
builds on best practice.
Our training will also underpin many areas of the Higher Education Staff Development Agency
(HESDA)/FENTO standards for teachers and lecturers working towards them.
Further information
For further information please call Customer Services on 0870 240 9800, or visit our website at
www.edexcel.org.uk.

Issue 1 April 2005
25
Core
units
Issue 1 April 2005
26

Issue 1 April 2005
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Unit 1: Drawing Techniques and Approaches
Learning hours: 60
NQF Level 5: BTEC Higher National H1

Description of unit
In this unit learners will be encouraged to develop visual thinking and creativity as fundamental
to all design work. This unit will enable learners to experiment with drawing approaches and
techniques in order to broaden their experience and understanding of visual language. Learners
will need to use materials and media which are specific to design, as well as unusual materials
and media which will extend their visual language and creativity.
To achieve this unit a learner must:
1 Analyse and evaluate the nature and qualities of drawing media and materials
2 Demonstrate creative use of drawing techniques and processes
3 Develop and extend understanding of visual language
4 Evaluate and adapt work for further development.
Issue 1 April 2005
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Content

1 Drawing media and materials
Drawing medium: eg pencil, compressed/willow charcoal, marker pens, chalk, oil, pastels,
graphite, dry pigment, silver point, inks, dyes, various paints
Technological media: eg computers, lens-based media
Specific nature and qualities of drawing medium: eg mark-making techniques using a range
of wet and dry media, use of media in traditional and non-traditional ways, own and others
work
2 Drawing techniques and processes
Application of materials and techniques: eg traditional, non-traditional technologies, 2D,
3D and 4D
Contrasting concepts: eg hot/cold, dry/wet, soft/hard, alive/dead, dark/light
Alternative contexts: eg life drawing, perspective drawing, analytical studies, environmental
drawing
3 Visual language
Visual language: own and others work, eg semiotics, semantics, symbolism, icons and
concepts
Formal elements: eg colour, line, pattern, texture, form and tone, structure, weight,
composition, mass, space, volume, proportion, scale, balance, movement
Personal and/or emotional response: eg layout and composition, stability, energy,
movement, harmony, discord, balance, disparity or distortion
4 Development
Evaluate and analyse: eg de-construction of outcomes, identify strengths, weaknesses,
successes or failures, application of criteria for the analysis and evaluation of creativity
Adaptation: eg combination, modification and re-construction of outcomes

Issue 1 April 2005
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Outcomes Assessment criteria for pass
To achieve each outcome a learner must demonstrate the
ability to:
1 Analyse and evaluate the
nature and qualities of
drawing media and
materials
research and record specific qualities of various media in
own and others work
develop an effective understanding of a range of drawing
media and materials
2 Demonstrate creative use
of drawing techniques
and processes
produce a range of competent work showing imaginative
use of drawing techniques and processes
show originality and innovation
3 Develop and extend
understanding of visual
language
produce an imaginative range of work
demonstrate a creative and effective use of visual language,
formal elements and techniques and devices
4 Evaluate and adapt work
for further development
analyse and evaluate own work in terms of creativity
through discussion
develop new ideas and approaches as a result of analysis,
evaluation and discussion

Issue 1 April 2005
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Guidance

Delivery
Delivery of this unit should be practical and motivating. An experimental approach is required
to encourage learners to broaden their visual language and creativity. Learners should be
exposed to as wide a range of good quality examples as possible. In particular the study of
visual language in relation to different cultural contexts should be wide ranging, with a
particular focus on mark-making techniques, formal elements, responses, moods and emotions
evoked. Learners should be encouraged to look at contemporary youth culture as well as historic
sources for reference.
Learners should be encouraged to experiment in their own work, and evaluate their own use of
visual language. Unusual materials and media which may extend visual thinking and creativity,
as well as materials and media which are specific to art, craft and design, should be used.
Learners should demonstrate their knowledge and understanding in a range of ways, through
discussion, presentation, criticism with tutors, professional practitioners and the peer group.
Formal elements and visual dynamics are essential parts of the vocabulary for all artists,
craftspeople and designers. These technical terms should be used in discussion with learners
about fashion and textiles work.
Assessment
Evidence for this unit can be generated through exploratory work using theformal elements of
2D visual language and mark-making techniques. Work produced should communicate a theme
effectively and evoke responses from the viewer.
Learners can present their analysis and evaluation of their own and others work in written
assignments or to peer groups and/or tutors for discussion. Learners should be able to articulate
their own thinking using appropriate language, through discussion and evaluation,
demonstrating a broader understanding of visual thinking and creativity in their work.
Links
This unit will link to other units as a developmental unit. Drawing is of central importance to
this qualification and learners must be able to think visually. Specific links could be made to
Unit 2: Visual Communication. Links could be made to all the practical units through a
vocationally-focused assignment.
This unit also links with the following units in the National Occupational Standards (NOS):
Unit 32: Element 3
Unit 33: Elements 2 and 3
Unit 34: Element 1.

Issue 1 April 2005
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Resources
For practical work, basic studio resources will be required.
Resources for research may include the library, the internet, websites, CD-Rom, databases,
specialist publications, galleries, exhibitions, questionnaires and interviews with practitioners.
Research is a basic skill that is developed in this unit to broaden visual thinking and creativity in
design. Learners will need to be encouraged to research others work and critically analyse their
use of materials and media, techniques and processes to improve the quality of their own work.
Support materials
Books
Berger J Ways of Seeing (Penguin, 1990)
Berger J About Looking (Vintage Books, 1992)
De Bono E Serious Creativity: Using the Power of Lateral Thinking to Create New Ideas
(HarperCollins, 1995)
Gombridge E H Art and Illusion: A Study in the Psychology of Pictorial Representation
(Phaidon Press, 2002)
Hoffman D Visual Intelligence How We Create What We See (W W Norton, 2000)
Issue 1 April 2005
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Unit 2: Visual Communication
Learning hours: 60

Description of unit
The aim of this unit is to explore the meanings, messages and information that are
communicated in fashion and textiles work. Learners will explore professionals work to
develop understanding of how they use visual language to communicate with an intended
audience, purchaser or user. Learners will apply their skill and understanding of visual language
to create effective and imaginative work.
1 Research and evaluate the differences between implicit and explicit meanings, messages
and information in others work
2 Analyse the communication methods used in fashion and textiles to convey meaning,
messages and information
3 Useexperimental visual language to communicate meanings, messages and information to
specified audience, purchaser or user effectively and imaginatively
4 Evaluate use of experimental visual language.
Issue 1 April 2005
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Content

1 Meanings, messages and information
Meaning, messages and information: semiotics, codes, symbols, signs, forms,
environmental arrangements, textual, visual, implicit, explicit
Others work: the forms and content of historical, modern, contemporary specialist work
2 Communication methods
Techniques: use of composition, experimentation with visual and/or material characteristics
Approaches: 2D, 3D, 4D in the style of historical and contemporary movements
Conventions and systems: technical drawing, illustrative, use of perspective
3 Experimental visual language
Visual language: choice of technologies and processes, methods of selection, construction
and manipulation of materials, alternative approaches, conventions and systems
Audience, purchaser, user characteristics: in relation to gender, status, function, role,
ceremony
4 Evaluate
Effective communication: communication of messages, audience
Experimentation: wide range of media, preconceived ideas

Issue 1 April 2005
35

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

collect and present examples of static and/or moving images
which effectively communicate implicit and explicit
meaning in others work
understand the features of work which support the
communication of implicit and explicit meanings, messages
and information
2 Analyse the
communication
methods used in fashion
and textiles to convey
meaning, messages and
information
collect, present and experiment with the visual
characteristics of historical/contemporary movements used
to communicate
explain methods used in selected examples of others work
3 Useexperimental
visual language to
communicate meanings,
messages and
information to specified
audience, purchaser or
user effectively and
imaginatively
produce a portfolio of experimental work showing diverse
and creative use of visual language
produce 2D images or 3D artefacts which effectively
communicate implicit and explicit meanings
4 Evaluate use of
experimental visual
language
evaluate own use of experimental visual imagery to
communicate meanings and messages
evaluate impact of experimental visual imagery on intended
audience, purchaser or user

Issue 1 April 2005
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Guidance

Delivery
Tutor-led discussion of others use of visual language and analysis of the meanings and methods
will be needed to encourage learners to develop and apply analytical skills at a suitable level.
Critiques of work and peer review can also provide a forum for considering the application of
principles to practical work.
Experimental visual language can take any form suitable to the learners chosen area of
specialism or interest. Learners should be encouraged to identify the purpose of their
communication ie the meaning, message or information they wish to convey and the
characteristics of their target audience, purchaser and user.
Assessment
There are two strands to the evidence for this unit:
analytical work
practical work.
Projects should, where possible, combine the analysis of others use of visual language with
practical and experimental work.
For outcomes 1 and 2 supporting information will be needed, either in the form of separate
notes or as annotations to collected examples. Presentations could provide a means of
evidencing the results of analysis.
Links
In a general sense, this unit links with all other units which involve the application of visual
languages, for example Unit 20: Design Exploration in Fashion. This unit provides essential
underpinning knowledge which will be developed by further specialisation.
This unit also links with the following unit in the National Occupational Standards (NOS):
Unit 31: Element 1
Unit W: Elements 1 and 2.
Resources
Specialist resources will be necessary to complete this unit and learners will need access to a
broad range within their specialism.

Issue 1 April 2005
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Support materials
Books
Arnheim R Art and Visual Perception (University of California Press, 1983)
Berger J Ways of Seeing (Penguin, 1990)
Dormer P Design Since 1945 (Thames & Hudson, 1993)
Forty A Objects of Desire: Design and Society 1750-1980 (Thames & Hudson, 1986)
Godfrey T Drawing Today (Phaidon, 1990)
Gombridge E H Art and Illusion: A Study in the Psychology of Pictorial Representation
(Phaidon Press, 2002)
Pipes A Production for Graphic Designers (Laurence King, 2001)
Poyner R Typography Now: The Next Wave (Booth Clibborn Editions, 2000)
Scharf A Art and Photography (Pelican, 1974)
Sontag S On Photography (Penguin, 1978)
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39
Unit 3: Professional Studies
Learning hours: 60

Description of unit
This unit is intended to help learners relate practical studies in fashion and textiles to a
professional context. The unit deals with legislation affecting artists, craftspeople and designers
and develops understanding of professional ethics and responsibilities. The unit requires
learners to examine business organisations and to compare job roles of artists, craftspeople and
designers working in different kinds of organisations. Learners are also expected to investigate
the ethics and responsibilities of artists, craftspeople and designers in relation to society and the
environment.
1 Investigate and understand legislation affecting fashion and textile designers
2 Investigate and understand the professional ethics and responsibilities of fashion and
textile designers
3 Investigate and understand environmental ethics and social responsibilities of fashion and
textile designers
4 Investigate and understand business organisations and thejob roles of fashion and textile
designers.
Issue 1 April 2005
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Content

1 Legislation
Regulations and legislation: eg copyright, designs and patents legislation, consumer
protection legislation, equal opportunities legislation, Control of Substances Hazardous to
Health (COSHH) regulations, electricity at work regulations (Portable Appliance Testing),
Health and Safety (display screen equipment) regulations, Health and Safety at Work Act
(1974)
Complications: eg concept of intellectual property, implications of new technologies with
respect to copyright legislation
2 Professional ethics and responsibilities
Codes of ethics: personal, eg punctuality, honesty, integrity, conscientiousness, respect for
others; corporate, eg professional bodies codes of practice, company policies and charters
Professional responsibilities: of fashion and textile designers to their agents, sponsors,
clients or employers, eg meeting deadlines, confidentiality, settling bills; to consumers and
the general public, eg protection of consumers, avoidance of the public display or sale of
discriminatory or offensive products, images or messages, supply of quality work
3 Environmental ethics and social responsibilities
The consumer society: use of style, image, durability and efficiency of products, culture,
lifestyle, globalisation
The secular society: politics, economics, science, technology, socio-economic groups
Moral issues: religion, ethnic groups, poverty, gender, sexuality
The environment: green issues, recycling, use of natural resources, sustainability
4 Business organisations and job roles
Businesses and organisations in which fashion and textile designers work: types and
purpose, structures of different types
Modes of employment: job roles of fashion and textile designers working at different levels
in different types of businesses and organisations

Issue 1 April 2005
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ability to:
1 Investigate and
understand legislation
affecting fashion and
textile designers

research and explain the main areas of legislation and give
examples of the effects of legislation on the work of fashion
and textile designers
2 Investigate and
understand the
professional ethics and
responsibilities of
fashion and textile
designers
analyse and give examples of codes of ethics developed by
companies and professional bodies
develop and show a personal code of ethics
3 Investigate and
understand
environmental ethics
and social
responsibilities of
fashion and textile
designers
investigate and give examples of some of the main aspects
of society and the environment which impact on the work of
fashion and textile designers
show understanding of the main aspects of society and the
environment which impact on the work of fashion and
textile designers
4 Investigate and
understand business
organisations and the
job roles of fashion and
textile designers
research, evaluate and understand types and purposes of
businesses and organisations in which fashion and textile
designers work
describe the structures of different types of businesses and
organisations in which fashion and textile designers work

Issue 1 April 2005
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Guidance

Delivery
In order to ensure that theory can be put into practice effectively, parts of this unit may usefully
be integrated with assignments which incorporate a practical dimension. Other aspects can be
delivered through lectures, seminars, classroom teaching and directed independent study. The
use of paper-based and electronic learning materials can effectively supplement more traditional
forms of delivery.
Assessment
Most of the evidence for this unit can be presented as a file of notes, collated printed material,
summarised case studies and personal commentary written by the learner. The file should be
organised and indexed by outcomes and topics. The file should be presented to a professional
standard using word-processing or desktop publishing software for the origination of material.
Links
It is important that this unit is set firmly in the context of fashion and textile practice. The
outcomes and content should be interpreted by reference to the particular discipline(s) the
learner is pursuing through other units, so that the relevance to specific practice is clearly
understood.
This unit could be linked to some of the more practical units, for example Unit 14: Realising a
Textile Collection and Unit 27: Realising a Fashion Collection.
Unit W: Elements 1, 2 and 3.
Resources
Sufficient library resources should be available to enable learners to achieve this unit and
learners should be able to access email and the internet.
Printed material relating to aspects of outcome 1 can be obtained from the Patent Office.
For other outcomes, an eclectic range of texts should be available so that learners are exposed to
as many different views and opinions as possible. This is particularly important for
outcome 3.
Support materials
Books
Charter M Greener Marketing (Greenleaf Publishing, 1992)
Evans D W People and Communication: Communication in Organisations (Copp Clark
Professional, 1983)

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Unit 4: Historical and Contextual
Referencing
Learning hours: 60

Description of unit
This unit introduces learners to the cultural history which informs current thought and debate in
design. Emphasis is on research and study skills and learners acquiring source material and
knowledge. Presentation skills will also be applied in a practical context.
1 Undertake in-depth research using electronic sources and paper-based materials
2 Demonstrate an understanding of creative influences through the effective interpretation
and analysis of information
3 Assess, interpret and evaluate information effectively and develop a personal view
4 Present conclusions effectively.
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Content

1 Research
Electronics sources: eg retrieval of computer-based data, internet, CD-Rom, local and
distant films, videos
Paper-based materials: eg use of library, learning resource centre, lectures, group
presentations, study skills, local and distant
Other sources: eg visits to collections, museums, original sources, local and distant
2 Influences
Historical and cultural histories: eg major historical movements, modern practitioners,
relationship between modern practice and historical sources, current attitudes towards the
arts, current cultural context, historical concepts and principles versus modern notions of
moral and ethical practice
Making judgements: questioning, comparing, measuring, observing, evaluating
3 Information
Sources: personal research, primary, secondary
Synthesis: ideas, influences, observation, personal view
4 Conclusions
Presentation forms: eg oral presentation, illustrated written communication

Issue 1 April 2005
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To achieve each outcome a learner must demonstrate
the ability to:
1 Undertake in-depth research
using electronic sources and
paper-based materials
research a variety of appropriate areas of study using
paper-based materials effectively
research a variety of appropriate areas of study using
electronic sources effectively
2 Demonstrate an understanding
of creative influences through
the effective interpretation
and analysis of information
research the major historical movements and cultural
attitudes that have influenced modern practitioners
interpret and analyse information effectively
demonstrate an understanding of creative influences
3 Assess, interpret and evaluate
information effectively and
develop a personal view
assess and interpret primary and secondary sources
of information
evaluate information and develop a personal view
4 Present conclusions
effectively
select and use appropriate presentation techniques to
communicate research information

Issue 1 April 2005
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Guidance

Delivery
The unit should be underpinned by an introduction to study skills and research techniques
needed by learners. Emphasis should be placed upon the techniques themselves rather than the
information, so that the skills can be acquired. With these, learners may undertake research
which is of practical use.
It may be appropriate to introduce learners to case studies of research programmes that have
culminated in culturally influential outcomes.
Assessment
For this unit learners will need to be familiar with a broad sweep of the historical and cultural
developments which inform current thought and debate on design.
Presentation will be an important element in demonstrating learners studies. Notebooks and
scrapbooks should indicate that learners understand and have developed information received in
the lecture programme.
Learners could make an oral presentation followed by an illustrated assignment, with words
suitably amended from the feedback received in the oral presentation. This essay should form
part of the learners practical work, and could be linked with practical units.
Links
Research undertaken for this unit can be linked to practical work in another unit, for example
Unit 9: Cultural Understanding in Fashion and Unit 13: Design Research in Textiles. The units
could be covered by an integrated assignment that encompasses both units.
Unit 31: Element 1
Unit 3D: Elements 1, 2 and 3.
Resources
The learning resource centre includes books, CD-Roms, newspapers, magazines, bibliographical
material available through the inter-library loan system and the internet. Specific texts relating
to the delivery of this unit should be specified by the centre.
Support materials
Books
Aynsley J A Century of Graphic Design (Barrons Educational Series, 2001)
Hollis R Graphic Design: A Concise History (Thames & Hudson, 2001)
Pevsner N Pioneers of Modern Design (Penguin Books, 1991)

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Unit 5: Professional Practice and
Development
Learning hours: 60

Description of unit
This unit serves to draw together the various aspects of learners work to provide evidence of a
coherent and presentable portfolio of work which is of a standard acceptable to a commercial
employer. Learners are expected to demonstrate a full understanding of their intended job role
and its career potential.
1 Plan, monitor and evaluate a series of projects effectively
2 Understand and display professional competence consistently
3 Present an imaginative portfolio of work of a professional standard
4 Produce direct evidence of an intended career path in fashion and textile design.
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Content

1 Series of projects
Live project: marketing information/research, collecting and collating data, costing,
presentation format, client employing company (its market, product range, design and
marketing strategies, product/job costing, influential factors)
2 Professional competence
Operational: time management, planning, evaluation and monitoring, commercial
awareness
Professional standards: ethical considerations, environmental impact, legal
restrictions/parameters, quality assurance systems, procedures, monitoring mechanisms
Design development and realisation: will vary according to the project but may include
negotiation, design development, presentation drawings, working drawings
3 Portfolio of work
Organised: structure, clarity, prototyping
Supporting information: project focus and intentions, producing a final product, research
findings, decision making, evaluation, future potential
Personal presentation skills: attitude, dress, manner, personal marketing, adjusting
portfolio/personal presentation strategy to specific job interview requirements
4 Career path
Planning: action plans, decision trees, SWOT analysis
Career direction: educational course(s), employment opportunities, business start-up

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ability to:
1 Plan, monitor and
evaluate a series of
projects effectively
liaise with a client in order to plan projects effectively
monitor the progress of projects during their life and evaluate
them when complete
2 Understand and display
professional
competence consistently
analyse and understand the importance of operational skills
and professional standards which demonstrate professional
competence
apply operational skills and professional standards when
developing and working on a live project
3 Present an imaginative
portfolio of work of a
professional standard
apply professional standards in arranging, integrating and
presenting work and supporting information
identify and apply personal presentation skills which
contribute to success in pursuing progression aims
4 Produce direct evidence
of an intended career
path in fashion and
textile design
produce evidence for realistic short- and long-term plans for
own career direction
produce CV for a specific job role progression opportunity

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Guidance

Delivery
Learners will need support and advice in structuring and desktop publishing their report. This
work can be linked to key skills support.
Work for this unit should be developed through two routes:
practical work undertaken as a project set in a professional context
research into professional working practices and the learners future career aspirations.
Practical work should be presented in a suitable format and may vary depending on the
specialism of the learner. Sketchbooks should be included in the portfolio and these should
demonstrate an understanding of the area in which the learner is working.
Learners should gain enough professional experience to give them a good understanding of their
intended specialist job area. Ideally this should be a live project monitored by an external
agency to set standards for presentation format, timing and coverage. Professional experience
should ideally equate to a minimum of six weeks full-time study.
Assessment
The main focus of the unit is a live project which staff are likely to have to organise. However,
where possible the project can be undertaken as part of a work experience or through an
opportunity that the learner identifies.
For aspects of outcomes 1 and 3 a report of no less than 2,500 words should be written and
desktop published. However the content of the report rather than the presentation should be the
main focus of assessment. The structure and content of the report should address the
requirements of the outcomes and identify the approaches the learner has taken to actively
pursuing potential progression routes. Learners should not be penalised for identifying routes
that are unconventional or beyond the scope of the programme.
Links
This unit links to Unit 3: Professional Studies which explores the professional context and
specialism.
This unit can also be integrated with specialist design units where understanding of professional
practice will support the work, for example Unit 14: Realising a Textile Collection and Unit 27:
Realising a Fashion Collection.
Unit 3M: Elements 1, 2, 3 and 4.

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Resources
Learners will need access to a range of studio facilities and equipment suitable for a chosen
specialism. They will need access to professional practitioners and expertise to enable them to
research professional working practices and undertake live projects. Careers advice will be
needed to complete aspects of outcome 3.
Learners will need access to desktop publishing to produce the report.
Support materials
Book
Evans D W People and Communication: Communication in Organisations (Copp Clark
Professional, 1983)

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53
Unit 6: Critical Study
Learning hours: 60

Description of unit
This unit provides the learner with knowledge, understanding and skills to define and research a
historical context and relate it to the present. The unit also provides an opportunity for learners
to evaluate these references within the context of their chosen specialism.
The aim of the unit is for the learner to have developed an independent view of one area of
design context that relates closely to their own work.
1 Analyse in depth and interpret the historical evolution and visual characteristics of the
work of designers
2 Analyse in depth and interpret specialist work through applying appropriate methods of
research and information retrieval
3 Analyse in depth how historical, contextual and contemporary practice influences
learners specialist pathway
4 Draw independent and insightful conclusions from others writings and critiques about a
range of design work and present a personal view.
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Content

1 Historical evolution and visual characteristics
Definitions: key movement, styles, influences, eg constructivism, futurism, De Stijl,
Bauhaus
Chronology: sequence of key movements, styles, influences
Comparisons: between key artists, designers and/or craftspeople in chosen pathway
Influences: visual language, period style, eg ornament and decoration
Techniques, processes and interpretation: explored in developmental work, selected for
final outcome
2 Methods of research and information retrieval
Sources: eg library research, reference systems and abstracting, electronic sources,
museums, galleries, exhibitions, workshops, interviews and questionnaires
Methods: survey of relevant contemporary topics, first-hand research
Extracting information: topic description, first-hand research from practising
professionals, related visual language and techniques, creative and cultural contexts, eg
linked to movements, schools, style, ethnic influences
3 Historical, contextual and contemporary practice
Influences: on others work, social, economic, political events
Styles: of contemporary practice, eg avant garde, cutting edge
4 Writings and critiques
Drawing conclusions: eg comparative study, critical analysis, interpretations, quotations,
conclusion, appraisal of findings
Personal view: opinions, arguments, style

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the ability to:
1 Analyse in depth and interpret
the historical evolution and
visual characteristics of the
work of designers
analyse in depth a range of techniques, processes
and visual language from examples of work
produced in the context of their chosen specialism
interpret and make effective comments on the
historic evolution and visual characteristics of the
work of designers
2 Analyse in depth and interpret
specialist work through
applying appropriate methods
of research and information
retrieval
identify and develop effective methods of research
and information retrieval from paper sources and
electronically
compile a wide-ranging personal record of
contemporary criticism, illustration and references
from journals, magazines and first-hand research
3 Analyse in depth how
historical, contextual and
contemporary practice
influences learners specialist
pathway
analyse the creative, cultural, social, political and
economic contexts which influence selected
specialist work
make the connection between the analysis of
contextual influences and the learners own work
4 Draw independent and
insightful conclusions from
others writings and
critiques about a range of
design work and present a
personal view
compare historical and/or contemporary influences
on the visual language used by the practitioners
explore a range of creative, cultural, social, political
and economic contexts and draw independent
conclusions
critically analyse and review findings

Issue 1 April 2005
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Guidance

Delivery
Learners will need to show a high level of personal initiative and an inquisitive mind to achieve
the outcomes. Study should complement the learners chosen vocational routes and lead to self-
awareness from a historical perspective.
Formal delivery should concentrate on research and presentation skills followed by systematic
seminar and tutorial sessions on a group or individual basis.
Assessment
Work should be presented as an extended written study which should integrate all historical and
contextual referencing. This should be no less than 3500 words with appropriate supporting
visual information.
A file or appendix which contains evidence of study skills and research methods should
accompany an extended written study to provide evidence for outcome 2.
Links
This unit is linked with Unit 4: Historical and Contextual Referencing which provides essential
skills and understanding of research processes. However, the emphasis is on developing and
applying analytical skills to a topic related to the learners chosen area of specialism/interest.
This serves two purposes. Firstly the research provides useful source material relevant to design
projects and secondly it develops the learners academic skills, knowledge and understanding
which will equip them for progression to further higher education study or employment.
This unit can be linked to some of the more practical units, for example Unit 9: Cultural
Understanding in Fashion or Unit 13: Design Research in Textiles. The units can be covered by
an integrated assignment that encompasses both units.
Unit 3D: Element 1.
Resources
The learning resource centre should provide not only books and periodicals but also CD-Roms
and access to the internet.
Learners will need access to primary sources, such as local and national galleries, exhibitions,
artists and designers studios/workshops. They will also need access to word processors, laser
copiers and computer scanners to help them prepare and present their study.

Issue 1 April 2005
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Support materials
Books
Hollis R Graphic Design, A Concise History (Thames & Hudson, 2001)
Strinati D An Introduction to the Theories of Popular Culture (Routledge, 2004)
Wildbur P and Burke M Information Graphics: Innovative Solutions in Contemporary
Design (Thames & Hudson, 1999)
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59
Unit 7: Fashion and Textile Materials
Understanding
Learning hours: 60

Description of unit
In this unit learners will research, record and analyse the properties and characteristics of fibres
and fabrics, and their suitability for different uses. Learners should also develop a visual and
tactile understanding of textile raw materials and fabrics. This will enable them to evaluate
performance characteristics in fibres and fabrics in relation to commodity and processing costs.
Learners should examine methods of producing materials and business practice as they relate to
costing.
1 Analyse and interpret the main properties of both natural and man-made fibres and sheet
materials
2 Describe different systems of fabric manufacture and explain how these affect fabric
properties and characteristics
3 Investigate and understand how simple testing methods can be used to assess textile
performance in textile and garment production
4 Make connections between fibre and fabric properties, processing methods, garment
construction and cost.
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Content

1 Properties
Visual properties: colour, cross section, lustre
Practical properties: fibre diameter, fibre length, bulk/crimp, softness (handle), absorption,
strength, heat resistance, insulation, ability to absorb dye, elasticity, resistance to damage by
light and chemicals, flammability
Economic properties: cost, environmental sustainability, pollution, waste disposal
Natural fibres: wool, cotton, linen, silk, mohair, speciality hairs
Man-made fibres: regenerated cellulosics, polyamides, polyesters, polyurethanes,
polypropylenes, acrylics, elastomerics
Naturally occurring sheet material: skins, furs
Man-made sheet material: rubbers, plastics, paper
2 Fabric manufacture
Systems: weaving, knitting, non-woven, lace, trims, braids, ribbons, threads, in small
quantity, in bulk
Fabric properties: weight, structure, appearance, drape, strength, elasticity, stability,
aesthetic appeal
Characteristics: visual appearance, eg loop structure, warp and weft; tactile character,
eg fibre content, spinning system, finishing treatment
3 Performance
Testing methods: fibre identification, abrasion, pilling, seam slippage, dye fastness, colour
matching, tear strength
Performance: durability, washability, colour fastness, appearance retention, comfort
4 Cost
Raw material costs: availability, transport, trade agreements, minimum order sizes, lead
times
Processing methods: machinery/equipment used for flow production, large/small-batch
production, one-off production
Processing costs: rates, power, labour, transport, warehousing, machine capability,
production run, piece lengths, processing shrinkage, waste
Garment construction: fabric waste, complexity of construction, seam type, fastenings,
stiffenings, trimmings
Costing methods: direct, indirect, apportioned

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ability to:
1 Analyse and interpret the
main properties of both
natural and man-made
fibres and sheet
materials
identify and record specific information about the properties
and characteristics of a variety of textiles
analyse and evaluate the positive and negative
characteristics of the major fibre types
2 Describe different
systems of fabric
manufacture and
explain how these affect
fabric properties and
characteristics
summarise main methods of fabric manufacture and analyse
the similarities and differences between them
describe how methods of fabric manufacture affect fabric
properties and characteristics
3 Investigate and
understand how simple
testing methods can be
used to assess textile
performance in textile
and garment production
research, record and interpret testing methods
select test methods most suitable for a range of design
outcomes and then use as a design tool
4 Make connections
between fibre and fabric
properties, processing
methods, garment
construction and cost
identify and record costing methods used by businesses
analyse and evaluate the connections between properties,
processes, construction and cost

Issue 1 April 2005
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Guidance

Delivery
Developing tactile and visual awareness of materials is the main focus of this unit and a broad
range of learner-centred activities will make the unit lively and varied. The content requires a
combination of lectures/seminars with guidance to learners to undertake their own research in
sourcing of samples from a variety of fibre processes, manufacturers, wholesalers and retailers.
They may wish to research the work of practitioners in a particular field. Tutors should
highlight first-hand evidence as good practice and this could include surveys, recorded visits,
interviews and letters. The research element of the unit could provide a useful focus for team
activities or group work and learners should be able to articulate their learning using appropriate
language and terminology.
Assessment
There are three strands to this unit: fabric and fibres, manufacturing processes and costing.
Learners should be encouraged to research suppliers and manufacturing outlets. Where possible,
learners should visit outlets to compare commercial-scale processes with those they can
replicate themselves. Case studies may be needed to help learners understand costing. Where
possible, data should be linked to local manufacturing outlets.
Research findings may be presented as written assignments, oral presentations or fact sheets,
together with files of annotated samples.
Links
This unit provides valuable grounding in materials and processes which is relevant to the
designer, craftsperson or fine artist. Linking work from this unit with Unit 12: Techniques and
Processes in Textiles would enable learners to apply their knowledge practically. This can allow
for an experimental approach and also marry learners skills and interests with the different
aspects of fabric production. Linking with Unit 15: Textile Manufacture Production Operations
at the next level would give the work a more technical bias, suitable for marketing, buying or
technology specialists.
Unit 32: Elements 1 and 2.
Resources
It is important that learners are able to handle a range of man-made and natural fibres both in
their raw state and at various stages of processing. Although it is not essential to use commercial
production equipment, it is desirable that learners visit processing and production
establishments to gain an insight into what they do. The fundamental principles of fibre
processing and fabric production can be taught using hand techniques and domestic equipment.
However, learners wishing to specialise in design may need access to some commercial
equipment, especially CAD. CD-Roms, the internet, audio-visual equipment and IT will
enhance research and enrich the curriculum.

Issue 1 April 2005
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Support materials
Books
Emery I The Primary Structures of Fabrics: An Illustrated Classification (Thames &
Hudson, 1994)
Holland S K All About Fabrics: Introduction to Needlecraft (Oxford University Press, 1987)
J oseph M Essentials of Textiles (Thomson Learning, 1984)
Miller E Textiles: Properties and Behaviour (B.T. Batsford, 1992)
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Specialist
units
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67
Unit 8: CAD/CAM for Fashion and Textiles
Learning hours: 60

Description of unit
This unit explores the application of computer technology in the design and manufacture of
clothing and textiles. It provides learners with an opportunity to develop an understanding of
specialist computer applications and to apply this to their own design and development.
1 Apply computer aided design techniques to design and visualise fashion and textiles
2 Apply computerised systems to aid the design development of garment construction
and/or fabric design
3 Investigate and understand the use of computer technology to aid the commercial
production of fashion and textiles
4 Research and evaluate technological developments and their potential application within
the fashion/textile industry.

Issue 1 April 2005
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Content

1 Design and visualise
Computer design and illustration: CAD, vector drawing and bitmap packages, 2D/3D
scanning
Computer presentation skills: research, storyboards, designs, DTP software, visualisation of
fashion and textiles, image and text manipulation, digital photography
2 Garment construction and/or fabric design
Construction techniques: pattern manipulation, grading, sizing, costings, fabric utilisation,
lay planning
Fabric techniques: knitted, woven, printed, embellished structures, repeats, colourways
3 Commercial production
Garment making: industrial CAM processes for lay planning, cutting, sewing, pressing
Textile production: CAM for textile production
Management systems: quick response systems, production planning
4 Technological developments
IT systems: internet, digital networks, data storage/retrieval, communication systems
Developments: current, future, 2D/3D/4D visualising, 2D/3D scanning technology, sizing
Uses: research, design, visualisation, production, buying, selling

Issue 1 April 2005
69

ability to:
1 Compile and assimilate
research data as
reference for
contemporary fashion
trends
use a variety of software packages to produce fashion or
textile illustrations
use CAD and DTP design skills to present research and
design ideas, identifying current and future applications of
3D and 4D methods to visualise fashion or textiles
2 Evaluate and analyse the
effects of cultural
influences on the work
of fashion designers
construct, adapt and grade garment patterns to aid garment
and fabric costings, using suitable software
use CAD skills to realise fashion or textile designs
role of the fashion
designer within the
fashion industry
use, explore and evaluate computer technology used in the
commercial production and management processes of
fashion or textiles
explain the role of computer networks/systems to store,
retrieve and distribute data
4 Demonstrate an
independent and
professional approach to
presentation of
research
evaluate recent developments in the use, impact and potential
of the internet and websites for the fashion or textile industry
explore and suggest uses for technological developments in
the industry
Issue 1 April 2005
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Guidance

Delivery
Formal delivery and workshop demonstrations of hardware and software applications will cover
much of this unit. Learners will need to produce written research following company visits,
exhibitions and surveys of manufacturers and suppliers.
The integration of specialist CAD/CAM skills into a variety of units is encouraged.
Assessment
The purpose of this unit is to develop learners theoretical and practical understanding of
fashion and textile CAD/CAM to help gain entry into relevant employment.
CAD work can be presented in a portfolio, file or on disc, eg writeable CD-Rom, Zipdrive,
floppy disc. Written reports based on visits to computer exhibitions, fashion/textile companies
and computer bureaux should be included.
Individual learners should be encouraged to develop their experience for this unit through
company links and work experience opportunities.
Links
Skills and knowledge from a variety of units should be integrated into this unit, for example
Unit 16: Textiles Specialist Techniques and Processes and Unit 19: Experimental Embroidered
Textiles.
Unit 32: Element 2
Unit 3D: Elements 1 and 3.
Resources
Resources should include a computer resource for formal teaching, demonstrating and learner
drop-in. This should have up-to-date hardware and software covering DTP applications, vector
drawing and bitmap painting, and the following specialist fashion and textile CAD software:
DTP/Illustration Software: Adobe PageMaker, Quark Xpress, Adobe Illustrator, Adobe
Photoshop, Adobe Freehand, Corel Draw, Micrografix Designer, Painter
Specialist fashion software: Gerber, Lectra, Investronica, Ormus Fashion/Concept Design
Studio.
Suggested input devices should include digitisers, a colour scanner and digital camera. Output
devices should include a plotter and colour printer.
The facilities should allow for the use of CD-Roms and internet access and offer access to
specialist books and magazines.
Learners would benefit from industrial visits and visits to trade shows.

Issue 1 April 2005
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Support materials
Books
Aldrich W CAD in Clothing and Textile (Blackwell Science, 1994)
Gray S The Benefits of Computer-aided Design and Manufacture Clothing and Textiles
(Design Council, 1992)
Taylor P Computers in the Fashion Industry (Butterworth-Heinemann, 1990)
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Unit 9: Cultural Understanding in Fashion
Learning hours: 60

Description of unit
This unit aims to familiarise learners with fashion culture by further investigating design
influences. It will enable learners to effectively broaden their experience and understanding of
professional fashion design.
Learners will explore the effects of culture, sub-culture groups and lifestyle trends on the social,
aesthetic and cultural aspects of fashion.
1 Compile and assimilateresearch data as reference for contemporary fashion trends
2 Evaluate and analyse the effects of cultural influences on the work of fashion designers
3 Analyse and evaluate the role of the fashion designer within the fashion industry
4 Demonstrate an independent and professional approach to presentation of research.

Issue 1 April 2005
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Content

1 Research data
Sources: internet, libraries, data information services, eg BIDS; primary sources
Evaluate and organise data: collating, compiling, assimilating and interpreting information,
validity and reliability, qualitative methods, critical appraisal
2 Cultural influences
Art and society: museums, galleries, exhibitions, media coverage, multicultural diversity,
popular culture
Lifestyle trends influenced by: music, theatre and film, subculture groups, eg Teddyboys,
Mods, Rockers, Hippies, Punk, New Romantics
Fashion industry: couture, mass market, high street, designer label, the roles of the
photographers, models, stylists, writers, craft skills, magazines
3 Fashion designer
Role: working methods, their motivations/influences, philosophies, techniques, style
Lifestyles: personalities, influence on society, friends and associates
4 Presentation of research
Visual methods: posters, storyboards, image selection, layout, typeface choice, composition
Audio-visual methods: slides, charts, diagrams, video, PowerPoint, CD-Rom etc, individual
and team presentation

Issue 1 April 2005
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ability to:
1 Compile and assimilate
research data as
reference for
contemporary fashion
trends
research, evaluate and analyse data for contemporary fashion
trends
organise and communicate knowledge and understanding of
contemporary fashion trends from a range of sources
2 Evaluate and analyse the
effects of cultural
influences on the work
of fashion designers
research and identify lifestyle trends in fashion and
investigate the relationship between art, society and fashion
evaluate their research in terms of the influence of lifestyle
trends on current and past fashion design
role of the fashion
designer within the
fashion industry
explain the work, lifestyle and role of past and contemporary
designers and their personal contribution to the fashion
industry
compare the lifestyles of fashion designers in the past and
present and evaluate their impact on the fashion industry
4 Demonstrate an
independent and
professional approach to
presentation of
research
identify key issues from personal research, making a
coherent and informed presentation
analyse current designer collections, identifying key look and
communicate findings in a confident and professional
manner
Issue 1 April 2005
76
Guidance

Delivery
This should be a lecture- and seminar-based programme of study with learners working on
individual and group projects. This will enable learners to gain experience in preparing and
presenting work to others in a variety of ways. Group and individual critiques and presentations
should form part of the delivery.
Aspects of fashion culture will be explored to broaden learners experience and understanding.
Learners will need to be encouraged to research and record, collate and present the work of
designers by preparing presentations on how the work of designers inspires and influences
fashion culture.
Assessment
Research conclusions should be delivered through a presentation, backed up by essay(s) and
reports. Involvement in discussion and question and answer sessions is an essential element of
the course. Learners should record sources carefully and accurately, citing authors, titles of
books, articles, journals and publications, and the date/place/country of publication.
Links
This unit will combine well with Unit 26: Research and Development for Fashion Design,
Unit 27: Realising a Fashion Collection and Unit 31: Fashion Promotion.
Unit 3D: Element 1.
Resources
Suggested resources for research may include libraries, art galleries, exhibitions, fashion
magazines, websites and CD-Rom databases.
Support materials
Books
Breward C The Culture of Fashion (Manchester University Press, 1995)
Costantino M Designers: Fashion File (B.T. Batsford, 1997)
Polhemus T Streetstyle: From Sidewalk to Catwalk (Thames & Hudson, 1994)

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Unit 10: Design Exploration in Textiles
Learning hours: 60

Description of unit
This unit introduces learners to the wide range of research techniques and creative exploration
that underpins successful textile design. It develops a critical and analytical approach to
sourcing ideas and encourages an awareness of the broader contexts in which the textile
designer operates.
1 Investigate and understand colour and texture through the experimental manipulation of
materials and media
2 Research and evaluate appropriateprimary and secondary sources for creative textile
design
3 Apply formal design elements in the design development process
4 Investigate and understand the principles of colour and trend prediction in textiles.

Issue 1 April 2005
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Content

1 Colour and texture
Materials and media: pigments, pastels, inks, dyes, papers, fabrics, non-woven materials,
pencils, threads
Experimental manipulation/techniques: papermaking, collage, frottage, resist methods,
stitching, felting, drawing, markmaking
Investigate: using a range of techniques to explore colour, decoration and tactile surfaces
and design concepts
2 Primary and secondary sources
Primary and secondary sources: observational drawing, sketching on site, still life,
sourcing from library references, collected material, work of other artists/designers to
include: decorative/non-decorative, organic, natural/synthetic, multicultural, historical,
contemporary, popular culture
Identifying and researching: identification of relevant sources within the parameters of a set
brief, researching and recording visual information in a variety of ways (eg annotated
sketchbooks, ideas sheets, photography, collated information)
3 Formal design elements
Formal design elements: colour theory, texture, scale, proportion, composition, repeat
patterns, movement, colour psychology
Application: employing formal elements intentionally to create movement, space, discord,
subtlety, energy, balance/imbalance, impact
4 Colour and trend prediction
Colour and trend prediction: colour trends, fibre and fabric trends, seasonal changes,
short-, medium- and long-term trends
Understanding principles: investigation and evaluation of seasonal trends for a specific
brief, sourcing information through secondary sources, eg magazines, journals

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ability to:
1 Investigate and
understand colour and
texture through the
experimental
manipulation of
materials and media
experiment with and manipulate a range of materials and
media
research and record the exploration of colour and tactile
surface using a range of media
produce an individual and creative response using colour
and texture
appropriateprimary
and secondary sources
for creative textile
design
produce accurate information from primary and secondary
sources and present it in a visually stimulating manner
evaluate and communicate the relevance of source material
to intended outcomes through a body of work
communicate a clear understanding and knowledge of
sources in a presentation to others
3 Apply formal design
elements in the design
development process
analyse and evaluate formal design elements in own and
others work to achieve and demonstrate an understanding
of intentional effects
present work demonstrating the exploration of formal
elements in design to generate innovative, imaginative and
creative effects
4 Investigate and
understand the principles
of colour and trend
prediction in textiles
source, assimilate and record textile trend information from
secondary sources
present a body of work illustrating the relationship of
seasonal colours and trends to own textile work

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Guidance

Delivery
An integrative assignment will offer a framework for encouraging learners to be experimental
and investigative. This should be supported by tutor-led formal demonstrations, presentations
and critiques.
A regular system of tutorials should be established to provide guidance and feedback to
learners.
Learners should be encouraged to research a range of sources to get an understanding of the
broader contexts in which they work. This will include the analysis and evaluation of their ideas
and those of others through annotating their own work. Through exploration of usual and
unusual materials and media, learners will develop an understanding of broader visual language.
Assessment
Evidence for this unit should mainly be developed through an integrative assignment approach.
Work will normally be presented to tutors and peers, in the form of sketchbooks, ideas books,
drawing and development sheets and moodboards. Learners will communicate and evaluate
their ideas through group discussion and critique.
Links
The work generated in this unit will link Unit 2: Visual Communication and Unit 4: Historical
and Contextual Referencing.
Learners wishing to follow a specialist textile design pathway can further develop work from
this unit through specialist units Unit 11: Design Application in Textiles and Unit 12:
Techniques and Processes in Textiles.
Combining the unit with Unit 20: Design Exploration in Fashion will provide a broader-based
textile/fashion pathway.
Unit 31: Element 1
Unit 32: Element 1.
Resources
Suggested sources for research may include libraries, museums, local and national galleries,
exhibitions, retail and craft outlets, CD-Rom databases and the internet.
Learners will need access to specialist publications, periodicals and journals.

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Support materials
Books
Beaney J and Littlejohn J A Complete Guide to Creative Embroidery (B.T. Batsford, 1997)
Flemmin E R Encyclopaedia of Textiles (Zwemmer, 1958)
Geijer A A History of Textile Art (Sothebys Publications, 1979)
Harris J 5000 Years of Textiles (British Museum Press, 2004)
Meller S and Elfers J Textile Designs (Harry N Abrams, 2002)
Further reading
Colleziona
Elle Decoration
Interiors
International Textiles
Textile View
View on Colour
Vogue
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Unit 11: Design Application in Textiles
Learning hours: 60

Description of unit
This unit aims to harness the creative potential of textiles to develop viable products. It will
enable learners to research, analyse and evaluate a variety of possibilities based on their
understanding of textile techniques and processes.
1 Research and synthesise a broad range of creative source material for a specific theme or
product
2 Select and develop ideas produced from research work to show an understanding of textile
materials, techniques and processes
3 Evaluatea range of possible solutions and plan a way to realise the design
4 Design and make a final product, or range of products, to a set deadline.

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Content

1 Research and synthesise
Creative source material: books, periodicals, observational drawing, other textiles,
photography, electronic media
Trends: colour, styles, design, formal elements, price points
2 Select and develop
Visual studies: drawing, sketch books, maquettes, collage and other media to record and
develop from primary and secondary sources
Experimentation with materials and techniques: technical tests, paper manipulation, textile-
related techniques such as felt, handmade papers, traditional and non-traditional application,
samples
Experimentation with design principles: scale, proportion, colour, repeat, texture
Textile materials, techniques and processes: fibre types, means of colouration, system of
manufacture
3 Plan
Target market: age range, spending capacity, spending patterns/methods of payment, outlet
types, payment terms, presentation
Time management: forward planning, checking/monitoring/revising actions, allowing for
mistakes/technical problems, using previous experience to determine complexity
Resource availability: space, materials, equipment
Final outcome: the outcome will vary according to the project, but may include design
samples, fabric lengths, 3D models, individual fine art pieces, croquis, garment/s
4 Make a final product
Use of equipment/techniques: such as sewing/embroidery machines, weaving, knitting,
printing, macrame, machine and hand techniques, hand tools
Dexterity: manual skills, level of finish, neatness, familiarity with process
Presentation techniques: mounting, finishing, displaying, oral and written skills

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ability to:
1 Research and
synthesise a broad range
of creative source
material for a specific
theme or product
research and evaluate relevant data on trends, information
and/or images from a wide range of source material
present their research to others effectively
2 Select and develop
ideas produced from
research work to show
an understanding of
textile materials,
techniques and processes
use research to develop realistic ideas through textile
materials within the constraints of techniques and processes
select a range of possible ideas and effectively communicate
them to others
3 Evaluatea range of
possible solutions and
plan a way to realise the
design
determine a workable, realistic, creative solution through
evaluation and discussion
plan a logical sequence for realising, presenting and
marketing the design, taking account of available time and
resources
4 Design and make a final
product, or range of
products, to a set
deadline
demonstrate skills and dexterity with materials, equipment,
complete the product to a set deadline and present it
effectively to others

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Guidance

Delivery
This unit should link the creative elements of Unit 10: Design Exploration in Textiles and
assimilate knowledge of textile techniques and processes. The work requires a logical, ordered
approach which does not destroy the pleasure in the creative process. Errors or accidents can
often be harnessed to extend ideas and produce more appropriate or original solutions.
Assessment
Evidence for this unit should mainly be developed through an assignment which is integrated
with other units such as Unit 10: Design Exploration in Textiles and Unit 12: Techniques and
Processes in Textiles.
Learners should present their work in a format which suits the form and nature of the product.
Samples need to be mounted professionally or lengths appropriately displayed. The complexity
of the technique should not be the main focus of assessment but rather how effectively simple
structures can be manipulated to demonstrate design flair and understanding.
Assignments for this unit will normally be set, but the four outcomes do not necessarily have to
be met within the framework of just one assignment. Smaller projects that focus on individual
outcomes may be linked to cover the unit.
Links
It is envisaged that this unit will be delivered in conjunction with Unit 10: Design Exploration
in Textiles. Unit 7: Fashion and Textile Materials Understanding will provide useful supporting
knowledge and could also be integrated through assignments.
Unit 31: Elements 1, 2 and 3
Unit 32: Element 1
Unit 3P: Elements 1 and 2.
Resources
Access to a range of textile materials such as fibres, dyes, yarns, threads, fabrics and pigments is
essential. Equipment should be appropriate to the specialist textile discipline and a minimum
requirement should include:
dyeing: dye baths, boilers, steamers, hydro extractor
weaving: hand looms, warping frames, reed hooks, shuttles
knitting: domestic flat bed machines with a range of gauges, including single and double
bed; machines with jacquard capability
surface pattern: print tables, silk screens, squeegees, backing cloths, dye-mixing facilities

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embellishment: domestic sewing machines, felt-making equipment, paper-making
equipment, beads, threads, ribbons
fashion: domestic sewing machines, overlocking machines, cutting tables, pressing
equipment, mannequins.
Equipment should be provided with discrete studio spaces nearby.
There should also be research facilities including books, periodicals, journals, catalogues, video,
CD-Rom and internet, with particular reference to contemporary fashion and textile
publications. Links with local galleries and museums could also extend the resources.
Support materials
Books
Bawden J The Art and Craft of Fabric Decoration (Mitchell Brezley, 1994)
Beaney J The Art of the Needle (Bracken Books, 1993)
Flemming E Encyclopaedia of Textiles (Zwemmer, 1958)

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Unit 12: Techniques and Processes in
Textiles
Learning hours: 60

Description of unit
This unit introduces learners to the operation of basic textile equipment. It develops technical
skills and a practical appreciation of the techniques required to produce sample fabrics in
printed, knitted, woven, embroidered (embellished) or multimedia textiles.
1 Use textile equipment effectively for sample production
2 Develop and expand understanding of preparatory processes
3 Demonstrate atheoretical and practical knowledge of textile techniques.

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Content

1 Textile equipment
Print: printing screens, mesh gauges, printing blocks, use of squeegee and registration stops,
heat transfer beds, steaming and fixing equipment
Weave: 4- and 8-shaft table looms, component parts of the loom warp let-off
mechanisms, weft insertion methods, warp lifting mechanisms, shafts, healds, pirn winding,
design programming
Knit: domestic knitting machines, component parts of the machine yarn feeding and
tensioning mechanisms, stitch programming, knit, miss, tuck cam systems and their
operation, needle action and loop formation, take-down mechanisms, programming designs
Sewing machines: domestic sewing machines, component parts of the machine yarn
threading and tensioning mechanisms, stitch formation and cloth feeding systems, range of
needles and presser feet and their uses, stitch width and length controls
Yarn winders: hank to cone, cone to hank, simple hank dyeing equipment, pressing and
steaming equipment
Health and safety: operation of equipment within health and safety guidelines
2 Preparatory processes
Printed textiles: design repeats (straight match, half drop, brick), repeat matching and
design cut through for print, colour separation and film (kodatrace) preparation, screen
exposure, fabric dyeing
Woven textiles: yarn dyeing, yarn folding, plying and winding, sizing, warping, drafting and
warp drawing in, pirn winding
Knitted textiles: yarn dyeing, yarn folding, plying and twisting, waxing
Embroidery (embellished) textiles: fabric preparation, printing, painting, dyeing, felting
Context: relevance within the design process
3 Textile techniques
Print: simple two/three-colour repeats, pigment printing, reactive dyes, stencilling,
placement prints
Weave: single cloth structures (plain, twill, matt satin/sateen), simple drafts, peg plans, yarn
counts and cloth calculations
Knit: single and double bed structures (plain, rib, tuck), simple two-colour patterning
(jacquard), lace stitch, open work
Embroidery: felting, free-hand embroidery techniques, appliqu, mixed media work
Interrelationships: between theory and practice, encouraging awareness of parameters

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ability to:
1 Use textile equipment
effectively for sample
production
operate textile machinery and equipment safely and
competently
understand the specific nature of textile equipment and how
it works, and demonstrate this in their own work
analyse and evaluate the technical and creative potential of
different technologies and processes
2 Develop and expand
understanding of
preparatory processes
produce experimental samples on the basis of researching a
range of preparatory processes
adapt and revise work for final outcomes
3 Demonstrate atheoretical
and practical knowledge
of textile techniques
record technical and theoretical information in the
appropriate format
apply theory and understanding to the production of textile
samples

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Guidance

Delivery
This unit can provide opportunities for the learner to develop practical skills and understanding
and develop ideas through linked units.
Learners will need to be encouraged to practise techniques and processes introduced in this unit
to develop their technical skills and understanding. Through experimenting learners, will be
able to apply acquired knowledge and achieve the desired outcomes in their work. This unit will
enable learners to evaluate the technical and creative potential of different technologies and
processes.
Learners must accurately record techniques and processes so that they have an adequate basic
resource from which to develop further skills. Learners will be expected to take an increasingly
experimental approach, developing work from other linked units.
Tutor-led lectures and demonstrations will be supported by practical workshop activities and
individual/group tutorials.
Assessment
This unit covers print, weave, knit and embroidery. Learners will generate evidence for
assessment through their specialisation, particularly by applying their skills and understanding
from this unit to design ideas developed in other linked units.
Work for this unit will need to be presented in the form of technical notebooks and sample
books. Further evidence (for outcome 2) will be generated in assignment and project work
linked with Unit 11: Design Application in Textiles.
Links
This unit combines well with the specialist Unit 11: Design Application in Textiles and learners
can further develop their study through Unit 22: Techniques and Processes in Fashion.
Resources
Centres will need to provide adequate access to the range of equipment and machinery
identified in the content.

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Support materials
Books
Giles C H Laboratory Course in Dyeing (Society of Dyers and Colourists, 1989)
Goerner D Woven Structure and Design (British Textiles Technology Group, 1989)
Harker G Creative Machine Embroidery: A Practical Sourcebook (B.T. Batsford, 2003)
Nabney J Illustrated Handbook of Machine Knitting (B.T. Batsford, 1992)
Spencer D J Knitting Technology (Woodhead Publishing, 2001)
Yates M Textiles: A Handbook for Designers (W.W. Norton, 1996)
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Unit 13: Design Research in Textiles
Learning hours: 60

Description of unit
This unit develops advanced research skills and a wide range of exploratory processes and
materials. It encourages the synthesis of ideas from both direct and conceptual sources to
produce outcomes to satisfy a set design brief.
1 Research and evaluate therole of the client and understand markets to inform textile
solutions
2 Develop and apply knowledge and understanding of colour and trend prediction
3 Synthesise and evaluate information from a range of self-identified sources
4 Develop a critical personal style in creative visual communication.

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Content

1 Understand markets
Markets: market levels, age groups, gender, lifestyles, price brackets, environment,
home/export markets, competition
Role of client: influence on design brief, effect on design parameters, eg fibre content, cloth
construction, colour, repeat size, finishing treatments, costs, product evaluation criteria
2 Colour and trend prediction
Primary sourcing: textile trade fairs, practising designers, crafts people, fibre/fabric
manufacturers
Secondary information from: magazines, journals, promotional material from fibre
producers, professional bodies including cultural influences, global lifestyles, historical
influences, environmental issues
Application: evaluating information relevant to identified sector, assimilating prediction
information accurately
Knowledge: develop a strong awareness and responsiveness to lifestyle trends
3 Synthesise and evaluate
Techniques: synthesis of material from diverse and eclectic sources
Self-initiated sources: to support learners identified outcomes within their specialism and
field of interest, to include both direct and conceptual starting points
Evaluate: individual ideas for creative development in terms of personal response, external
factors
4 Visual communication
Visual communication: use of colour, drawing and mixed media, use of wide range of
traditional and non-traditional materials
Forms of communication: 2D and 3D formats including moodboards, working drawings,
photography, development sheets, samples, mobiles, maquettes
Personal style: considered choice in appropriate format, presentation of ideas, professional
standard of visual communication to meet client requirements

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ability to:
the role of the client and
understand markets to
inform textile solutions
research and analyse markets, identifying specific market
sectors in a written and visual format
relate own work to identified design requirements of
relevant client market sectors demands
communicate through discussion an understanding of
external factors influencing textile designers
2 Expand and apply
knowledge and
understanding of colour
and trend prediction
research and gather information from a variety of sources
and evaluate in relation to own design brief
communicate analysis of colour, trend and lifestyle
information in a confident and professional manner in own
and others work
3 Synthesise and
evaluate information
from a range of self
identified sources
research and evaluate a broad range of sources for design
research to support chosen specialisms
independently synthesise and evaluate written and visual
information to inform an innovative and creative
direction/solution
4 Develop a critical
personal style in creative
visual communication
be versatile in exploring and applying materials and media
to produce innovative and creative ideas
select and use a variety of visual communication formats to
satisfy specific client requirements
display a confident, individual style in communicating
visual ideas to others

Issue 1 April 2005
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Guidance

Delivery
This unit should be integrated with other work and enable the learner to develop a personal style
as part of a brief they initiated. The programme should incorporate a series of seminars,
critiques and tutorials. Learners should engage in discussion with a broad cross-section of
specialist tutors, technical support staff, practising designers, consultants and their peers for
guidance.
Learners will need to be encouraged to identify a potential client for their brief. This could be
achieved via competition work, external liaison, visits or through a live project.
Learners should be encouraged to work independently, identifying and researching a wide range
of derivative and non-derivative sources in both written and visual formats.
Assessment
Learners will decide an appropriate way of presenting work for this unit. This may include
sketchbooks, ideas books, drawings and development sheets, 3D mobiles, maquettes,
photography, low relief work.
A visual analysis of market trends and client needs should be supplemented by a written report.
Links
This unit builds on specialist Unit 10: Design Exploration in Textiles and Unit 11: Design
Application in Textiles.
For learners wishing to follow a specialist textile design pathway, it is envisaged that the unit
will be studied along with Unit 14: Realising a Textile Collection. There is also the opportunity
for links with Unit 6: Critical Study.
Unit 31: Element 1
Unit 3D: Element 1
Unit 3M: Element 1.
Resources
Suggested sources for research may include libraries, museums, local and national galleries,
exhibitions, retail and craft centres, CD-Rom databases, national and international trade fairs,
practising designers, consultants and craftspeople.

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Support materials
Courtaulds Trends
Elle Decoration
Interiors
International Textiles
IWS Trends
Maglieria Italiana
Textile View
Trends Collezioni
View on Colour
Vogue Italia

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Unit 14: Realising a Textile Collection
Learning hours: 60

Description of unit
The unit enables learners to select and use textile media and techniques to realise personal ideas
and concepts as well as work with a commercial focus. The work should demonstrate clearer
design vision and a more creative application of skills. The technical ability and level of
presentation should approach a professional level.
To achieve the unit a learner must:
1 Initiate, research and evaluate suitable source(s) to generate information for chosen textile
specialisms
2 Independently develop ideas through the creative use of media and process
3 Design and manufacture the end product demonstrating dexterity and technical
understanding, and creative and innovative use of process and materials
4 Present the solution in a professional format.

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Content

1 Textile specialisms
Creative stimuli: current affairs, contemporary culture, conceptual ideas, trends, fashion,
historical reference, environmental concerns
Target market: client requirements, gallery requirements, price levels, timescale
Resources: material availability/appropriateness, cost, equipment, technical support
Research: sourcing documents, visual recording, collecting written information, collating
ideas
2 Media and process
Experimentation: paper-based experiments, media development, samples, croquis,
maquettes, technical testing
Development: refine ideas, analyse and edit possible solutions, constructing clear direction,
develop ideas into a visual format suitable for client presentation, work plans
3 Product
End product: a single piece or collection of items suitable for textile specialism
Manufacture: hand production, craft skills, hand tools/equipment, production equipment,
commercial manufacture, recording technical information in conventional format
Dexterity: manual skills, level of finish, neatness, care with process
Technical understanding: combine technical knowledge with practical application, eg more
independent use of equipment/tools, cross-referencing systems and processes
Innovation: combination of techniques, unusual applications of materials, experimentation
with formal elements, exploitation of unexpected outcomes, eg capitalising on chance
4 Professional format
Recording techniques: photography, technical drawing, 2D visual representation
Layout skills: composition, collation of information, visual impact, eg graphics, colouration
Display techniques: mounting, cutting, exhibiting of 2D and 3D items
Client presentation: visual aids, clear verbal structure, concise information, format
appropriate for audience

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103

ability to:
1 Initiate, research and
evaluate suitable
source(s) to generate
information for chosen
textile specialisms
critically analyse information and target market sources to
stimulate creative direction and design decisions
assimilate relevant personal research to inform development
2 Independently develop
ideas through the
creative use of media
and process
integrate knowledge and understanding to generate ideas
through experimentation
consider and judge a range of creative solutions, providing a
positive rationale for the intended outcome
3 Design and manufacture
the end product
demonstrating dexterity
and technical
understanding, and
creative and innovative
use of process and
materials
apply technical understanding appropriately to practically
manufacture a sample/finished product with a high degree
of dexterity
produce innovative and technically competent solutions to a
brief identified by the learner
4 Present the solution in a
professional format
select and use a combination of recording and display
techniques and layout skill to prepare a professional
presentation
display/present work in an appropriate professional manner
and context
communicate solutions confidently to client(s) and peers

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Guidance

Delivery
This unit aims to consolidate technical and creative skills to direct and organise their output.
The learners research should be personal, original and include an awareness of current trends in
their particular field. The market research aspect of the unit could be delivered through learner-
directed research, sponsored projects or interaction with current practitioners. The unit demands
the application of a variety of professional skills and therefore could be linked with other units
in smaller assignments.
Assessment
Learners are expected to produce an innovative final collection supported by thorough market
and visual research. Opportunities for sponsorship should be encouraged through work
experience and industrial links. Visual research, sheets, written reports and sample garments
will need to be exhibited for assessment at a final presentation/exhibition.
Links
Learners should have recent experience of visual recording and experimentation, textile
technical knowledge and its application, and the design process. It is envisaged that Unit 10:
Design Exploration in Textiles and Unit 11: Design Application in Textiles will provide a useful
foundation for this unit. Other units which could provide useful breadth are Unit 7: Fashion and
Textile Materials Understanding and Unit 12: Techniques and Processes in Textiles. This unit
could be delivered independently, but could benefit from being linked with Unit 9: Cultural
Understanding in Fashion, Unit 13: Design Research in Textiles and Unit 16: Textiles
Specialist Techniques and Processes. By integrating several related units larger blocks of time
could be devoted to synthesising design skills.
Unit 33: Element 1
Unit 34: Element 1
Resources
Access to a range of textile materials such as fibres, dyes, yarns, threads, fabrics, pigments is
vital. Equipment should be appropriate to the specialist textile discipline and a minimum
requirement should include:
dyeing: dye baths, boilers, steamers
weaving: hand looms, warping frames, reed hooks, shuttles
knitting: domestic flat bed machines with a range of gauges, including single and double
bed; machines with jacquard capability

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surface pattern: print tables, silk screens, squeegees, backing cloths, dye-mixing facilities
embellishment: domestic sewing machines, felt-making equipment, paper-making
equipment, beads, threads, ribbons
fashion: domestic sewing machines, overlocking machines, cutting tables, pressing
equipment, mannequins.
Equipment should be supported with discrete studio spaces nearby.
The course should be supported by research facilities including books, periodicals, journals and
catalogues with particular reference to contemporary craft and design publications. Links with
local galleries and museums could also extend the resources.
Support materials
Books
Colchester C The New Textiles (Thames & Hudson, 1993)
Koumis M (editor) Art Textiles of the World: Great Britain (Telos Art Publishing, 1999)
Morrell A Contemporary Embroidery: Exciting and Innovative Textile Art (Cassell
Illustrated, 1994)
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Unit 15: Textile Manufacture Production
Operations
Learning hours: 60

Description of unit
This unit aims to give a broad understanding of textile production methods for small- to large-
scale operations. The unit should highlight the differences between production systems, the
impact these systems have on fabrics and which systems are most appropriate for varying
markets.
To achieve the unit a learner must:
1 Research and demonstrate a broad understanding of the geographic, historic and economic
significance of fibre production
2 Describe systems and manufacturing processes relating to natural and man-made fibre and
fabric production
3 Research and evaluate the production and operating methods relevant to the learners
emerging specialism
4 Compare different businesses and their respective production/operation strategies.

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Content

1 Fibre production
Geographic: global distribution, raw materials, eg minerals, oil; climate, growing
conditions, food sources, labour sources
Historic: trade links, eg silk route; population movements, religious persecution, slavery,
impact of expanding empires
Economic: sources of wealth, developing economies, trade agreements, labour, transport,
cost, fibre promotion
2 Manufacturing processes
Natural fibres: sourcing, selecting, cleaning, preparing, blending, spinning, winding/folding
Man-made fibres: sourcing, chemical preparation, extrusion, spinning, curing, texturing,
winding/plying
Fabric production: warping, weaving, knitting, non-woven, lace
Processes: dyeing, finishing, inspection, quality control
3 Production and operating methods
Spinning: hand, continuous filament, woollen, worsted, cotton, conventional, open-end
Weaving: hand loom, floor loom, computer-aided loom, rapier, projectile, air jet, water jet,
tappet, dobby, jacquard
Weft knitting: domestic, commercial, flat bed, circular, computer-linked
Warp knitting: raschel, beard
Non woven: felt, needle punch, bonded, fused, stitch bonding
Printing: block, stencil, screen, eg flat bed, circular; transfer, discharge, devoure,
embossing, flocking
Embroidery: domestic machines, commercial machines
Quality methods: inspection, control, prevention
4 Businesses
Organisation: roles, chains of communication, flexibility, responsiveness
Plant: investment, minimum quantities, depreciation, production capacity
Types of business: sole proprietors, partnerships, private limited companies, public limited
companies
Business structures: manufacturers, processors, converters, vertical, horizontal, small scale,
large scale, bespoke (one off), batch production, flow production
Market focus: national, international, export, retail, wholesale, mail order, haute couture,
contract

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ability to:
1 Research and
demonstrate a broad
understanding of the
geographic, historic and
economic significance of
fibre production
investigate and analyse information from a wide range of
sources
describe the production of a specific fibre or type of fabric
using both historical and contemporary references
2 Describe systems and
manufacturing
processes relating to
natural and man-made
fibre and fabric
production
record and differentiate the key elements of manufacturing
processes
describe the different stages of processing and the quality
control applied during production
the production and
operating methods
relevant to the learners
emerging specialism
make an accurate and informative report of a visit to a
business in the field
analyse the methods used by a working contemporary
designer/maker
4 Compare different
businesses and their
respective
production/operation
strategies
compare and contrast the organisation and plant of different
businesses, making connections between types of business,
business structures and market focus
Research and analyse the characteristics of the production
and operation strategies of different business structures

Issue 1 April 2005
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Guidance

Delivery
Teaching and learning strategies might include lectures, videos, discussion, learner
presentations, essays, visits, research projects, work placement, sponsored projects, group
activities, and team work with a strong focus on learners ability to collect and research their
own information.
Fibre promotion groups, commercial visits and specialist museums will all add diversity and
enjoyment to the learning experience. Research in local outlets can also be used but clear
briefing prior to market research is necessary. Advisory groups, business links and professional
practitioners should be used as widely as possible.
Assessment
Although evidence could be presented in a variety of ways, it is expected that learners will
submit the work in the form of an illustrated report, with a minimum of 2,500 words.
Content will vary depending on the links each individual learner has made, but all learners must
visit at least one manufacturing outlet, and preferably several, to enable better comparison and
evaluation of the systems in use.
Evidence could be collected in technical files or notebooks containing samples and illustrations.
Links
It is advisable that this unit is approached after some previous understanding of methods of
making textiles and textile materials. Useful units at H1 could include Unit 7: Fashion and
Textile Materials Understanding and Unit 12: Techniques and Processes in Textiles. Linking
with Unit 16: Textiles Specialist Techniques and Processes would allow learners to specialise
within the different fabric manufacture and fabric decoration processes.
Resources
It is important that learners are able to handle a range of man-made and natural fibres in both
their raw state and at various stages of processing. Although it is not essential to use commercial
production equipment, learners should visit processing and fabric production establishments to
gain an insight into their functions. The fundamental principles of fibre processing and fabric
production can be taught using hand techniques and domestic equipment. However, learners
wishing to specialise in design may need access to some commercial equipment, especially
CAD. Enhancing research facilities by the use of CD-Rom, internet, audio-visual equipment and
IT is desirable.

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Support materials
Books
Denton M J and Daniels P N Textile Terms and Definitions (The Textile Institute, 2002)
Gohl E P G and Vilensky L D Textile Science: An Explanation of Fibre Properties
(Guildford Press, 1984)
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Unit 16: Textiles Specialist Techniques and
Processes
Learning hours: 60

Description of unit
This unit aims to enable learners to develop specialist techniques and processes in textile design.
It encourages learners in realising sophisticated design ideas to a professional standard in
printed, knitted, woven or embroidered (embellished) textiles.
1 Research a range of textile techniques and processes and produce textile fabrics/artefacts
to a professional standard through their application
2 Understand and use a range of textile machinery effectively for fabric production
3 Demonstrate a thorough understanding of theoretical principles relating to cloth
production and/or textile techniques
4 Evaluate thetextile techniques and processes used.

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Content

1 Textile techniques and processes
Weave: single-cloth weaving using block drafts, warp spacing, double cloths, extra
warp/weft effects, jacquards, experimental hand techniques
Knit: experimental hand techniques, cables, transfer techniques, plating, 3/4 colour
jacquard, ruching, partial knitting, intarsia
Embroidery: open work, cord work, quilting, couching, ruching, experimental hand
techniques
Print: four-colour screen repeat lengths, transfer printing, discharge, devore, overprinting,
flocking, specialist pigment printing
Finishing treatments: steaming, brushing/raising, felting, shrinking techniques, laminating
2 Textile machinery
Machinery: 16 24 shaft floor looms, power looms, industrial hand flat knitting machines,
electronic industrial and domestic machines, industrial sewing machines, specialist
embroidery machines, transfer printing equipment
CAD/CAM: linking computer-aided design into cloth manufacture through computer-linked
looms, knitting machines, packages which aid design and/or production of textile
designs/artefacts
3 Theoretical principles
Fabric theory: knit racking, cabling, hand transfer techniques, blister effects, 3/4 colour
jacquard design, ruching techniques, partial knitting and shaping, intarsia
Weave: double-cloth construction, extra warp and weft, jacquard design, compound/block
drafts, advanced colour and weave effects, cloth analysis
Print: specialist chemicals and recipes for discharge, devore, flocking, technical notation for
fabric production
Embroidery: sculpturing, layering, bubble work, cut work, ruching, machine lace
4 Evaluate
Functional: interior fabrics, upholstery (drapes, cushions, fashion), garments, accessories,
millinery
Non-functional: decorative/fine art textile pieces
Critical analysis: analyse, refine solutions, discuss outcomes, successes and/or failure of
media, materials, techniques, technologies and processes, and compare intentions with final
outcome

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ability to:
1 Research a range of
textile techniques and
processes and produce
textile fabrics/artefacts
to a professional
standard through their
application
research a wide range of textile techniques and processes
evaluate the use of a wide range of textile techniques and
processes for own work
extend individual skills in textile techniques,
experimentation and processes to achieve professional
results in their own work
select appropriate technologies to achieve final outcomes
2 Understand and use a
range of textile
machinery effectively
for fabric production
recognise the potential of CAD and CAM within their
chosen specialisms
operate textile machinery and equipment safely and
competently
challenge the limitations of machinery and equipment to
produce innovative textiles
3 Demonstrate a thorough
understanding of
theoretical principles
relating to cloth
production and/or textile
techniques

confidently interpret and extend theoretical information into
practical outcomes in their specialist area, to a professional
standard
research and analyse fabrics to determine cloth construction
and evaluate textile processes involved in production
record technical information for fabric production in the
appropriate format
4 Evaluate thetextile
used
evaluate the textile techniques used in terms of the final
outcome produced
evaluate the textile processes used in terms of the final
outcome produced

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Guidance

Delivery
An experimental approach will encourage learners to apply their technical skills and knowledge
to achieve innovative design solutions. It is envisaged that learners will extend work from
Unit 13: Design Research in Textiles and Unit 14: Realising a Textile Collection to produce
professional outcomes.
Theoretical elements of the unit will be delivered through tutor-led lectures and demonstrations
supported by practical application through projects or assignments.
Learners will study specialist techniques and processes appropriate to their own interests and
design ideas, alongside an understanding of relevant equipment, machinery and technological
developments. A sound theoretical understanding should be encouraged, enabling learners to
apply techniques and processes creatively to achieve innovative design solutions.
Assessment
This unit covers print, weave, knit and embroidery. However, evidence for assessment will
normally be limited to a chosen specialism.
Evidence for this unit should comprise a body of work generated in response to design ideas,
briefs and personal interests, which may be related to development work in linked units.
Learners should also present technical files including accurate and detailed information on
processes, techniques, technical details for fabric production and fabric samples.
Links
This unit builds on Unit 12: Techniques and Processes in Textiles which provides essential
underpinning skills and knowledge.
It is envisaged that learners will use this unit to support and further develop work from option
units Unit 13: Design Research in Textiles and Unit 14: Realising a Textile Collection.
This unit is appropriate for learners wishing to follow a specialist textile design route.
The CAD and CAM element of the unit is specific to the production of fabric, but would
combine well with Unit 8: CAD/CAM for Fashion and Textiles for learners requiring a strong
technical/IT pathway.
Resources
Learners will need access to adequate facilities for the production of woven, knitted, printed or
embellished textiles to a professional standard (see Content). Facilities offered by the centre can
be supported by developing active links with industrial manufacturers and partners.

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Support materials
Books
Goerner D Woven Structure and Design (British Textile Technology Group, 1989)
Harker G Creative Machine Embroidery: A Practical Sourcebook (BT Batsford, 2003)
OShea M Interior Furnishings (Textile Institute, 1981)
Spencer D J Knitting Technology (Woodhead Publishing, 2001)
Watson W Advanced Textile Design (Ariel Books, 1996)
Yates M Textiles: A Handbook for Designers (WW Norton, 1996)

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Unit 17: Experimental Constructed Textiles
Learning hours: 60

Description of unit
In this unit learners will create innovative constructed textile samples for fashion, interior and
fine art scenarios. Learners will be encouraged to investigate traditional and non-traditional
media and materials, experiment and combine techniques, technologies and processes. They will
be expected to combine, distort and manipulate constructed surfaces and experiment with yarn
and thread qualities to produce a personal collection of constructed textile samples.
1 Research and evaluate a range of constructed textile materials, techniques and processes
2 Identify and collect source materials and carry out preparatory processes
3 Experiment and combine media, materials, techniques, technologies and processes in own
work
4 Analyse, evaluate and refine approaches in own work

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Content

1 Materials, techniques and processes
Properties and characteristics: transparent, opaque, weight, texture, strength, elasticity,
shiny, matt
Traditional: natural and synthetic fabrics, yarns and threads, machine, embroidered,
metallic, tapestry, piping, cord
Non-traditional: plastic, paper, chicken wire, fake fur, found materials, organic, twigs,
pebbles, grasses etc
Non-organic: electricity wires, tubing, polythene foam etc
Weave: various shaft handlooms, card looms, yarn cone and hank winding machines, knots,
wrapped elements, looping, tufts, plain weave, discontinuous weft, distorted weft,
corduroy, leno, manipulation of yarns, gauze weave
Knit: domestic knitting machines, single and double bed structures, plain, rib, tuck, knots,
wrapped elements, looping, tufts, plaited, tassels
Tapestry: high loom, flat tapestry, shaped tapestry, tension differential, slit tapestry,
reconstructed after weaving, looping, tassels, knots, wrapped elements, add extra wraps to
create 3D structures
2 Preparatory processes
Source materials: drawings, paintings, prints, lens-based imagery, computer-generated
imagery, textures, paper structures and appropriate colour reference
Weave: wind warp on warping mill, beaming onto loom, threading, reeding, tying on
Tapestry: wind warp onto frame to desired set
Knit: thread, cast on and set knitting machines
3 Experiment
Materials: different combinations, colours, styles, distressed, conventional
Techniques: traditional and non-traditional
4 Evaluate
Functional: interior fabrics, upholstery (drapes, cushions, fashion), garments, accessories,
millinery
Critical analysis: analyse, refine solutions, discuss outcomes, successes and/or failure of
outcome

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ability to:
1 Research and evaluate a
range of constructed
textile materials,
techniques and
processes
research a wide range of constructed textile materials,
select appropriate constructed textile materials, techniques
and processes for use in own work
2 Identify and collect
source materials and
carry out preparatory
processes
identify and select a wide variety of stimulating visual
material
gather a variety of traditional and non-traditional, synthetic
and natural fabrics/paper/yarns/threads to select and perform
suitable preparatory processes
3 Experiment and
combine media,
materials, techniques,
technologies and
processes in own work
produce innovative samples exploring the working
characteristics and properties of traditional and non-
traditional media and materials
produce innovative samples which combine media and
materials and exploit a variety of woven and/or knitted
and/or tapestry techniques, technologies and processes and
demonstrate a personal, versatile and selective approach in
their application
4 Analyse, evaluate and
refine approaches in own
work
document and comprehensively record how samples have
been produced for future reference
discuss and record the strengths, weaknesses and
opportunities for improvement of the end product
develop end product based on evaluation

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Guidance

Delivery
Experimental constructed textiles will be explored through this unit to enable learners to
broaden their knowledge, skill and understanding of this area. By selecting, combining and
using a range of media, materials, techniques, technologies and processes, learners are able to
consolidate their learning.
Learners will be expected to produce constructed textile samples that put ideas and techniques
into practice. The samples should indicate the projected finished appearance of the textile. It is
proposed that learners have an awareness of the functionality or the non-functionality of the
samples.
Learners will need to be encouraged to document and record technical information for future
reference. It is expected that all aspects relating to health and safety in the workplace will be a
pre-requisite outcome of H1 and H2 unit learning activity.
When evaluating work, learners should be encouraged to discuss and comment on success
and/or failure of media, materials, techniques, technologies and processes to enhance the quality
of outcomes.
Assessment
Work for this unit will be mainly based on learner projects, supported by technical advice and
critiques. It is imperative before starting this unit that learners have researched, gathered and
produced visual source material to work from, in order to achieve an innovative collection of
samples. Learners do not necessarily have to produce work for all the constructed textiles
areas woven, knitted and tapestry. If a learner has a particular interest within one field they
should be encouraged to experiment in greater depth in that area. Learners who are unsure about
which area they wish to specialise in should be encouraged to sample all fields. Exploration may
arise from the needs of a given situation but may also be stimulated by curiosity, extending
personal vocabulary or style, and may result in unexpected, unusual and innovative outcomes.
Links
Unit 6: Critical Study will underpin, broaden and expand the learners knowledge of
constructed textiles.
Unit 32: Elements 1, 2 and 3.

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Resources
Physical resources needed are as follows:
weave: various shaft handlooms, hank winding machines
knit: domestic knitting machines
tapestry: high looms.
Suggested resources for research may include art galleries and museums, exhibitions,
craft/textile magazines, trends and forecasting information.
Support materials
Books
Hillier B The Style of the Century 19001980 (Herbert Press, 1990)
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Unit 18: Experimental Printed Textiles
Learning hours: 60

Description of unit
In this unit, learners will create innovative functional and non-functional textile samples for
fashion, interior and fine art scenarios. Learners will be encouraged to experiment with both
traditional and non-traditional printed textile media, materials, techniques, technologies and
processes. They will be expected to juxtapose and combine colour, images and texture to
produce a personal collection of samples on fabric and paper.
1 Research and evaluate a wide range of printed materials
2 Collect and prepare appropriate source materials
3 Experiment and combine traditional and non-traditional materials, techniques and
4 Analyse, evaluate and refine approaches in own work.

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Content

1 Printed materials
Traditional: fabrics, transparent, opaque, various weights and textures
Papers: hand-made, commercially made, various weights and textures
Non-traditional: plastic, metal, wood
Synthetic: acrylic, acetate, viscose, PVC
Natural: cotton, wool, silk
2 Source materials
Visual: drawings, paintings, prints, lens-based imagery, computer-generated imagery and
appropriate colour reference
Preparatory processes: kodatrace/acetates (positive images), dyeing, preparing dyestuff,
photographically expose screen
Drawing and painting: graphite, pastel, chalk, conte, pencil, coloured pencil, gouache, inks,
acrylic pigments
Dyes/dyestuffs: acid, procian, disperse and direct dyes, chemicals associated with printed
textiles
Techniques and processes: screen printing, hand painting, devore, discharge, mono, procian,
acid, disperse, direct printing
Printing equipment: photo-sensitive emulsion, silk screens, UVA exposure bed
4 Evaluate
Functional: interior fabrics, upholstery (drapes, cushion, fashion), garments, accessories,
millinery
Critically analyse: analyse, refine solutions, discuss outcomes, success and/or failure of
outcome

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ability to:
wide range of printed
materials
research into the characteristics of a wide range of printed
materials
evaluate the use of a wide range of printed materials in own
work
2 Collect and prepare
appropriate source
materials
material
prepare and use a variety of synthetic and natural materials
combining different prepared surfaces and processes
3 Experiment and combine
traditional and non-
traditional materials,
techniques and
produce innovative samples showing experimentation,
combining traditional and non-traditional printed textile
media, materials techniques, technologies and processes
record technical information and select and use recipes for
printing and dyeing fabrics
select and use appropriate methods for fixing and finishing
samples
work
opportunities for improving the end product
develop the end product

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Guidance

Delivery
Experimental constructed textiles will be explored through this unit to enable learners to
using a range of media, materials, techniques, technologies and processes learners are able to
consolidate their learning. Learners will need to be encouraged to document and
comprehensively record technical information about printing and dyeing for future reference.
Learners must be made aware of correct printing recipes and dye methods including the
appropriate methods for fixing and finishing fabrics. It is expected that all aspects relating to
health and safety in the workplace will be a pre-requisite outcome of H1 and H2 unit learning
activity.
of outcomes.
Assessment
Work for this unit will be mainly based on learner projects, supported by technical advice and
critiques.
It is important that before starting this unit learners have researched, gathered and produced
visual source material to work from, in order to achieve an innovative collection of paper and
fabric samples. Exploration may arise from the needs of a given situation but may also be
stimulated by curiosity, extending personal vocabulary or style, and may result in unexpected,
unusual and innovative outcomes.
Links
In addition Unit 6: Critical Study will broaden and expand learners knowledge and
understanding of printed textiles.
Unit 3D: Element 2.
Resources
Physical resources should include an exposure bed, screen printing screens, print bed, and a dye
area.

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Support materials
Books
Colchester C The New Textiles: Trends and Traditions (Thames & Hudson, 1993)
Robinson S A History of Dyed Textiles (Studio Vista, 1969)
Robinson S A History of Printed Textiles (Studio Vista, 1966)
Rothstein N Silk Designs of the 18th Century (Thames & Hudson, 1990)
Slesin S Spanish Style (Random House Value Publications, 1995)
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Unit 19: Experimental Embroidered Textiles
Learning hours: 60

Description of unit
In this unit, learners will create innovative functional and non-functional embroidered samples
for fashion, interior and fine art scenarios. Learners will be encouraged to investigate traditional
and non-traditional media and materials, experiment and combine techniques, technologies and
processes. Learners will be expected to manipulate and combine qualities of fabric, yarns and
threads to produce a personal collection of embroidered samples.
1 Research and evaluate a wide range of embroidered textiles
2 Identify, collect and prepare appropriate source materials
3 Experiment and combine materials, techniques and processes in own work
4 Analyse, evaluate and refine approaches in own work.

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Content

1 Embroidered textiles
Machine embroidered: eg free hand, fraying, experimenting with bobbin tension, pin
tucking, piping, rouleau loops, darts, pleats, button holes, patchwork, appliqu
Hand embroidered: eg hand embroidery, straight stitch, blanket stitch, gathering, smocking
2 Source materials
Visual: eg drawings, paintings, prints, lens-based imagery, computer-generated imagery and
colour swatches, textures, paper structures
Preparatory processes: eg stretch fabric over embroidery frame, thread up and set tension
on sewing machine, select appropriate machine feet, set tension on bobbin
Traditional: eg fabrics natural and synthetic, aquafilm, dissolve-away fabric, bonderweb
Non-traditional: eg plastic, paper, chicken wire, fake fur, found materials
Organic: eg twigs, pebbles, grasses etc
Non-organic: eg electricity tubing, polythene foam etc
Yarns and threads: eg machine, embroidered, metallic, tapestry, piping, cord, ribbon
Properties and characteristics: eg transparent, opaque, weight, texture, strength, elasticity,
shiny, matt
4 Evaluate
Interior fabrics: eg upholstery, drapes, cushions
Fashion: eg garments, accessories, millinery
Non-functional: decorative and fine art textile pieces
Critically analyse: analyse, refine solutions, discuss outcomes, success and/or failure of
outcome

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ability to:
wide range of
embroidered textiles
research into the characteristics of a wide range of
embroidered textiles
evaluate the use of a wide range of embroidered textiles in
own work
2 Identify, collect and
prepare appropriate
source materials
material
gather a variety of synthetic and natural
fabrics/paper/yarns/threads to use
select and perform suitable preparatory processes in order to
embroider
3 Experiment and combine
materials, techniques
and processes in own
work
produce innovative samples which explore, combine and
exploit a variety of embroidered techniques, technologies
and processes using traditional and non-traditional materials
demonstrate a versatile, innovative and selective approach
in the application of media, materials, techniques,
technologies and processes
work
opportunities for improving the end product
develop and present a personal end product based on
evaluative data

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Guidance

Delivery
Experimental embroidered textiles will be explored through this unit to enable learners to
using a range of media, materials, techniques, technologies and processes learners are able to
consolidate their learning.
Learners will be expected to produce embroidered samples, putting ideas and techniques into
practice. These samples should indicate the projected finished appearance of the textile. It is
proposed that learners have an awareness of the functionality and non-functionality of
embroidered samples. Learners will need to be encouraged to document and comprehensively
record technical information and manipulation techniques for future reference. It is expected
that all aspects relating to health and safety in the workplace will be a pre-requisite outcome of
H1 and H2 unit learning activity.
of outcomes.
Assessment
Work for this unit will be mainly based on learner projects supported by technical advice and
critiques.
It is important that before starting this unit learners have researched, gathered and produced
visual source material to work from, in order to achieve an innovative collection of embroidered
samples. Exploration may arise from the needs of a given situation but may also be stimulated
by curiosity, extending personal vocabulary or style, and may result in unexpected, unusual and
innovative outcomes.
Links
Unit 6: Critical Study will underpin, broaden and expand the learners knowledge of
embroidered textiles.
Unit 3D: Element 2.
Resources
Physical resources should include domestic machines for embroidery (eg Berninas) and
sufficient materials to support each learners direction.

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Support materials
Books
Arwas V The Liberty Style (Academy Editions, 1983)
Battersby M The Decorative Twenties (Watson-Guptill Publications, 1988)
British Textile Confederation Textiles in the 1980s (1981)
Colchester C The New Textiles: Trends and Traditions (Thames & Hudson, 1993)
Garner P Contemporary Decorative Arts from 1940 to the Present (Book Sales, 1988)
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Unit 20: Design Exploration in Fashion
Learning hours: 60

Description of unit
This unit aims to encourage the investigation of materials and experimentation with a variety of
media, through personal enquiry and discovery. The unit allows learners to develop research
techniques through exploring and developing design ideas.
1 Explore and experiment with the formal elements of fashion design through illustration
2 Develop and expand visual awareness imaginatively and creatively
3 Analyse and interpret visual research effectively
4 Adapt ideas for creative exploration in work efficiently and imaginatively.

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Content

1 Formal elements
Formal elements: proportion, balance, scale, rhythm, detail, texture, colour
Mark-making techniques and media: own use of various media, traditional and non-
traditional approaches, investigation of artists work
Illustration: figure drawing, life drawing, flats, mood sketches, mark and media use,
rendering fabric, technique, professional illustration, own work, others work
2 Visual awareness
Visual awareness: expressive representations of mood, emotion, texture, movement, market,
occasion
Communication of ideas: storyboards, research notebooks, critical diary, journal,
sketchbooks composition, layout
Market awareness: occasion, gender, fabric awareness, market levels, trend prediction,
colour prediction
3 Visual research
Information sources: historical, contemporary, ethnographic, fashion predictions, trend
information, colour predictions, exhibitions, film, literature, art movements, fabric
trends/developments
Interpretation of information: identifying, classifying, selecting and recording visual
information
Application of information: modify, manipulate, discover, discriminate, visual information
in own work
4 Creative exploration
Application of analysis: fashion elements, visual research, fashion awareness in own work
selection, identification and relation of elements from visual research

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ability to:
1 Explore and experiment
with the formal
elements of fashion
design through
illustration
explore, develop and experiment with the elements of
fashion design using a variety of mark-making techniques,
materials and media safely
research fashion illustration styles and techniques through
personal work and analysing the work of professional
illustrators
visual awareness
imaginatively and
creatively
communicate a variety of moods and emotions in visual
work
develop creative and personal work through the application
of different media and techniques
record evidence of visual awareness by developing
sketchbooks, journals and notebooks
3 Analyse and interpret
visual research
effectively
analyse and interpret records from a variety of sources and
present work in an individual style
manipulate and apply visual information gained from
research to expand and develop own creative ideas
4 Adapt ideas for creative
exploration in work
efficiently and
imaginatively
explore unfamiliar techniques and concepts and apply in
own work
produce a body of work which explores and interprets ideas
for fashion design
combine contrasting ideas from research to explore and
expand ideas into innovative fashion design development

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Guidance

Delivery
An experiential learning approach is required to enable learners to experiment and discover for
themselves visual and creative thinking. Learners will be required to develop a personal style
and demonstrate illustration techniques, gathering and interpreting visual research,
understanding of the formal elements of fashion design and knowledge of health and safety.
Learners will need to be encouraged to research and record the work of artists, fashion designers
and illustrators by exploring their use of media and method.
Learners should be encouraged to evaluate ideas through group critiques.
Assessment
Assignments for this unit will normally be set round a theme or linked to research undertaken
for other units (see Links). Learners should be encouraged to take an increasingly self-directed
approach to their work.
Work for this unit will need to be presented in a format that is appropriate for the form and
nature of the work. It will normally comprise sketchbooks/notebooks and other visual material
conveying mood and emotion through creative use of media.
Links
This unit is linked to Unit 4: Historical and Contextual Referencing, Unit 9: Cultural
Understanding in Fashion and Unit 26: Research and Development for Fashion Design.
However, the emphasis is on developing experimental skills and an understanding of
exploratory techniques.
Resources
magazines, trend information, websites and CD-Rom databases.
Learners should record sources carefully and accurately citing authors, titles of books, articles,
journals and publications and date/place/country of publication.
Support materials
Books
Barnes C Fashion Illustration (Little Brown, 1994)
Drake N Fashion Illustration Today (Thames & Hudson, 1994)
Seaman J Foundation in Fashion Illustration (BT Batsford, 2001)

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Unit 21: Design Application in Fashion
Learning hours: 60

Description of unit
The purpose of this unit is to develop learners understanding and approach to fashion design.
Initially learners will explore the relationship between the designer, marketing and production
processes.
Learners will synthesise visual and market research, analyse the influence of fashion designers
and be able to solve design problems informed by an understanding of market and production
constraints.
Summary of learning outcomes:
1 Objectively analyse and evaluate the work of fashion designers
2 Demonstrate an understanding of design, marketing and production processes within the
fashion industry
3 Synthesise fashion and textile trends, in visual and market research
4 Develop personal creative design skills, conceptual thinking and visual identity.

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Content

1 Fashion designers
Design styles: movements, designers, haute couture, fashion shows
Retail sector trends: shop reports
Fashion designers: fashion houses, haute couture, contemporary
2 Design, marketing and production processes
Interaction: design, marketing and production processes
Roles/functions: designer, design team, relationships with marketing/production
Commercial environment: fashion houses, manufacturers, agents, PR companies, mail order,
trend forecasters
3 Visual and market research
Fashion trend information: specialist journals, magazines, press cuttings, websites, CD-
Roms, fashion shows, trade shows
Market research: target groups, retail outlets, customer profile, behaviour, price points,
market intelligence
4 Conceptual thinking and visual identity
Design skills: structured/unstructured for men, women or children, sportswear, corporate,
functional
Develop ideas: storyboards, sketchbooks, design sheets, methods of presentation, lens-based
media imagery, cultural/historical themes and influences
Visual identity: own style, personal interpretation/image

Issue 1 April 2005
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Outcomes Assessment criteria
ability to:
1 Objectively analyse and
evaluate the work of
fashion designers
research and analyse key design trends and the work of
contemporary fashion designers, fashion houses, retail
sectors and haute couture designers
evaluate the work of fashion designers in terms of style and
impact
2 Demonstrate an
understanding of design,
marketing and
production processes
within the fashion
industry
recognise the role of the designer and the design team and
the commercial environment within which they operate
analyse the interaction of the design, marketing and
production processes
3 Synthesise fashion and
textile trends, in visual
and market research
analyse consumer behaviour, fashion trends and market
intelligence and the target groups of specific retail outlets
produce sketchbooks, storyboards and design sheets that
demonstrate research from a variety of sources
use fashion illustration, design development and design
presentation skills
4 Develop personal
creative design skills,
conceptual thinking
and visual identity
design creatively and work within the constraints imposed
by designing for different markets, customers and functions
and to a variety of design briefs
present design ideas in a professional manner

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Guidance

Delivery
Formal input to extend learners knowledge should include talks by practitioners in the field,
such as designers and manufacturers. Set design briefs to develop studio practice should be
backed up with tutorial support and group critiques. Opportunities exist for live briefs set in
conjunction with external bodies such as regional and national competitions, sponsored projects
and industrial briefs.
Assessment
Work produced in response to a range of set design briefs and written reports will provide
material for assessment. Learners should be encouraged to develop teamworking skills and to
use a range of oral, written and visual skills when presenting design solutions. External visits
and corresponding written reports are key in developing learners understanding of this unit.
Links
This unit links with a variety of units, in particular Unit 7: Fashion and Textile Materials
Understanding, Unit 20: Design Exploration in Fashion, Unit 22: Techniques and Processes in
Fashion and Unit 25: Fashion Environment.
Unit 3M: Element 1.
Resources
Suggested resources include studio space, library facilities, specialist books, journals,
publications, fashion magazines, film, video, slides, photographic, CAD/IT facilities, the
internet, CD-Roms, access to retail outlets, exhibitions, trade shows and fashion shows.
Support materials
Books
Baudot F Christian Lacriox (Fashion Memoir) (Thames & Hudson, 1996)
Baudot F Elsa Schiaparelli (Fashion Memoir) (Thames & Hudson, 1997)
Berge P Yves Saint Laurent (Fashion Memoir) (Thames & Hudson, 1997)
Chenoune F Jean Paul Gaultier (Fashion Memoir) (Thames & Hudson, 1996)
France Pockna M Dior (Fashion Memoir) (Thames & Hudson, 1996)
Ireland P J Fashion Design Drawing and Presentation (BT Batsford, 1989)
Irelan P J Fashion Graphics (BT Batsford, 1997)

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145
Ireland P J Introduction to Fashion Design (BT Batsford, 1992)
Kamitisis L Vionnet (Fashion Memoir) (Thames & Hudson, 1996)
Peacock J 20th Century Fashion (Thames & Hudson, 1993)
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Unit 22: Techniques and Processes in Fashion
Learning hours: 60

Description of unit
This unit provides an introduction to the technical skills required in pattern and garment
production. Learners will learn the fundamental pattern construction processes required and will
apply these to produce patterns for their own design work. Learners will learn about
manufacturing processes and how to apply these to produce garments.
1 Apply pattern construction processes to interpret garment designs effectively
2 Apply garment manufacturing processes to interpret garment designs effectively
3 Use technologies and associated equipment correctly for pattern and garment manufacture
4 Evaluate the use of pattern construction and garment manufacturing processes.

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Content

1 Pattern construction processes
Processes: these will vary according to the garment design, but may include manipulation
(dart and seam placement, fullness and gathers, pleats and yokes), details (collars, cuffs,
openings and fastenings, pockets and waistbands), sleeves (set in and raglan), pattern
marking
2 Garment manufacturing processes
Techniques: these will vary according to the garment designs, but may include seams and
seam finishes, gathers and fullness, openings and fastenings, collars and cuffs, hems, use of
interlinings and trimmings
Range of cloth: woven, knitted, printed, embroidered, natural, man-made
Construction: lay planning, order of work for making up, use of techniques to construct
whole garments
3 Technologies and associated equipment
Use of hand tools: identification and correct use of hand tools for pattern construction and
garment manufacture, eg shears, notchers
Use of manufacturing machinery: lockstitch and overlock machinery, and specialist
machinery where appropriate and available
Pressing equipment: suitable techniques and use of pressing equipment
Health and safety awareness: awareness of hazards, eg steam press; safe use of machinery,
eg fingerguards; appropriate dress, eg no loose clothing or hair
4 Evaluate
Quality: in terms of finish, look, use of material, effectiveness of pattern
End user: meets their needs, meets creative intentions

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ability to:
1 Apply pattern
construction processes
to interpret garment
designs effectively
produce and select accurate patterns which interpret garment
designs using suitable pattern construction processes
apply pattern construction processes effectively
2 Apply garment
manufacturing
processes to interpret
garment designs
effectively
produce samples of different cloths using a variety of
manufacturing processes
produce an efficient and effective plan for cutting out and
making up
select and use suitable garment manufacturing processes to
create a finished garment
3 Use technologies and
associated equipment
correctly for pattern and
garment manufacture
select and use the correct equipment and machinery for the
given task
use accurate and safe working practices with all available
machinery and hand tools
4 Evaluate the use of
pattern construction and
garment manufacturing
processes
evaluate the accuracy of pattern construction
evaluate the effectiveness and quality of garment
manufacture

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Guidance

Delivery
Problem solving, lateral thinking and application of solutions to different contexts are to be
encouraged, while keeping within the confines of neatness and accuracy. It is envisaged that
design solutions from units Unit 20: Design Exploration in Fashion and Unit 21: Design
Application in Fashion will be taken through to this unit for manufacture. Discussion with
tutors will help learners to select and apply the most suitable methods for both pattern
construction and garment manufacture and will enable learners to begin to assimilate whole
garments from the individual methods and processes they use.
Assessment
In this unit the learner is expected to produce a collection of patterns and processes based on
their individual interests and design ideas. After studying the preliminaries, learners need to be
encouraged to tackle a wide range of design ideas, utilising some of the pattern and garment-
making processes listed in Content. They will need to explore using a variety of fabrics, while
taking into account external factors which may affect choice eg client-based work,
availability of cloth, changing fashions in both look and fabric, and new technological
developments. Processes mentioned in Content but not covered by the range of garments, can be
produced as samples. This unit should not generate large amounts of work in pattern cutting or
manufacturing processes. For example learners will need to demonstrate skill in flat and roll
collars but not necessarily provide samples in all variations.
Links
It is envisaged that this unit will link to Unit 20: Design Exploration in Fashion and Unit 21:
Design Application in Fashion. It could also combine well with Unit 7: Fashion and Textile
Materials Understanding.
Resources
Centres need to provide adequate facilities for garment manufacture for all learners. Minimum
requirements must include lockstitch and overlock machines, a coverstitch machine and suitable
industrial-standard pressing equipment. Centres also need to provide a full range of standard
block patterns for learners to use.
Many excellent pattern drafting and garment manufacture textbooks are on the market, for
example the Pattern Cutting books by Winifred Aldrich (Mills & Boon).

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Support materials
Books
Armstrong H Pattern Making for Fashion Design (Prentice Hall, 2003)
Barnes C Fashion Illustration (Little, Brown and Company, 1994)
Campbell H Designing Patterns: A Fresh Approach to Pattern Cutting (Nelson Thornes,
1980)
Ireland P J Introduction to Fashion Design (BT Batsford, 1992)
Ireland P J Fashion Design Drawing and Presentation (BT Batsford, 1989)
Ireland P J Fashion Graphics (BT Batsford, 1997)
Peacock J 20th Century Fashion (Thames & Hudson, 1993)
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Unit 23: Production Techniques
Learning hours: 60

Description of unit
This unit will introduce learners to a range of industrial equipment used in the clothing industry
and enable them to develop techniques required for garment manufacture. The unit provides
essential skills and understanding of the basic principles required to produce sample garments.
Summary of outcomes
1 Apply understanding of industrial equipment to develop manufacturing skills
2 Construct an accurate calico toile for an identified garment
3 Produce a well-finished garment accurately and effectively
4 Evaluate use of industrial equipment and the finished garment.

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Content

1 Industrial equipment
Machinery: sewing machines, lock stitch and overlock machinery, Hoffman press
Hand tools: steam iron, velvet board, pressing bucks, dress stand
Techniques: seams, seam finishes, darts, gathers and fullness, openings and fastenings,
collars and cuffs, use of interlinings and trimmings
Adjustment and basic maintenance: needles, thread, stitch type and size, tension, speed
Health and safety: correct use according to manufacturers guidelines, relevant legislation
2 Calico toile
Factors affecting finish: seam allowance, seam and dart alignment, sleeve setting
Fitting: ease, adjusting darts and fullness, length, necklines, armholes, details
3 Garment
Manufacturing sequence: will vary according to the garment style but should take account
of laying and cutting, seaming, seam finishing, under pressing, trimming and finishing,
quality inspection
4 Evaluate
Quality: of manufacture, finish, fitting
Use of equipment: machinery, hand tools, techniques and health and safety

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ability to:
1 Apply understanding of
industrial equipment to
develop manufacturing
skills
select and use machinery, hand tools and techniques suitable
for identified purposes
adjust and maintain industrial equipment to ensure an
acceptable quality of finish
create and present a collection of samples that show the
potential/limitations of the application of a range of
manufacturing equipment and techniques
contribute to a safe working environment
2 Construct an accurate
calico toile for an
identified garment
cut appropriate pieces accurately following a lay plan
identify a suitable sequence of processes to construct a toile
from working design
construct a toile
3 Produce a well-finished
garment accurately and
effectively
draw up a plan based on a logical breakdown of
manufacturing sequences using appropriate equipment and
skills to achieve a quality finish
produce a well-finished garment accurately and effectively
4 Evaluate use of
industrial equipment and
the finished garment
evaluate how well industrial equipment is used to construct
a toile and achieve a quality finish to the garment
evaluate the finished garment

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Guidance

Delivery
Demonstration and practice will form the basis of this unit. Learners will need to develop skills
and build confidence in using a full range of industrial equipment.
This unit will give learners the opportunity to gain machine skills through practice and
producing samples. Samples should be mounted and kept for future reference. Learners should
be encouraged to experiment and produce toiles for various areas of design, building up a good
file of reference.
Assessment
For outcome 1 work should be presented in the form of technical notes and sample files. After
completing a series of set exercises to cover the basic principles, learners should be encouraged
to carry out increasingly self-directed explorations of the potential of equipment and techniques.
Work for outcomes 2 and 3 may be integrated through a set brief and/or from assignment and
project work on linked design units. Briefs should encourage learners to explore more
sophisticated production techniques as well as styles requiring more fitting.
Links
This unit links with the related technical units Unit 22: Techniques and Processes in Fashion
and Unit 24: Pattern Drafting. It also provides essential underpinning skills and understanding
for Unit 29: Garment Manufacture. The emphasis in this unit is on developing specific technical
skills required in making-up garments.
Resources
Industrial equipment and adequate space will be required for all learners, to meet the
requirements listed in the Content section of this unit.
Support materials
Book
Stylios G Textile Objective Measurement and Automation in Garment Manufacture (Ellis
Horwood, 1991)

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Unit 24: Pattern Drafting
Learning hours: 60

Description of unit
This unit will introduce learners to the principles of pattern drafting through block construction
and pattern manipulation. Having completed this unit successfully, learners will have the basic
skills required to progress to creating patterns from their own and others working drawings.
1 Create a set of basic blocks
2 Develop and expand understanding of dart and seam manipulation
3 Produce a full scale pattern from a working drawing
4 Evaluate the full scale pattern.
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Content

1 Basic blocks
Basic blocks: eg bodice, skirt, trousers, set in one-piece sleeve
Tools and equipment: for cutting, eg table, shears, notchers, hole punch; for measuring, eg
rule, curved rule, calculator; for marking, eg set square, scale squares, grading square,
curves, tracing wheel, pens, pencils, chalk, paper, card; for holding, eg weights, pattern
hooks
2 Dart and seam
Darts and seams in one quarter or one fifth scale: skirts, eg straight, panel, A-line, flared,
selection of pleats, yokes; bodice, eg low-cut front, buttoned/shirt front, bust dart in vertical
seams; sleeve (straight, shirt, semi-fitted, short, flared, puffed)
Details: eg collars, cuffs, openings and fastenings, waistbands, pockets
Silhouettes and fitting: eg fitted, semi-fitted, loose
3 Scale pattern
Full scale pattern: the name of each piece, centre back and front, the number of pieces to be
cut, folds, balance works/notches, seam allowances, construction lines, grain lines, pattern
size, cutting instructions
Lay plan: grain, economical use of fabric, matching fabric/pattern features, eg one-way
naps, stripes
4 Evaluate
Quality: usability of plan and lay plan
Effectiveness: optimum use of fabric, technical, eg darts, collars, cuffs; as use for lay plan

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ability to:
1 Create a set of basic
blocks
select and use tools and equipment with due regard for
safety
apply understanding of standard sizing systems to produce
an accurate set of blocks
understanding of dart
and seam manipulation
explore positions for darts to give shape for bust/shoulder
blades
investigate the potential of darts in seams and fullness for
creating loose and close-fitting styles
investigate the pattern requirements for a range of details in
identified styles
investigate openings in skirts and bodices in terms of style
and function
produce a range of one-quarter or one-fifth scale patterns
showing a variety of style developments
3 Produce a full scale
pattern from a working
drawing
apply understanding of the principles of pattern cutting
effectively
draft a full scale pattern and lay plan effectively
4 Evaluate the full scale
pattern
evaluate the full scale pattern and lay plan in terms of
usability and use of fabric
evaluate use of instructions in each pattern piece

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Guidance

Delivery
This unit should be delivered by demonstration and practical application. Learners should be
encouraged to explore their ideas as well as covering the basic principles. They should also be
encouraged to feel that the processes are easy to apply as this is usually a new learning
experience for them, but can be made exciting.
This unit should enable learners to develop the basic principles of pattern drafting and create a
set of basic blocks. Each block will be produced by working from written instructions and
diagrams with technical support. Learners will need to be taught the use of specialist equipment
and given sufficient opportunity to develop accuracy and precision in measuring, marking out
and cutting. Learners should assess the accuracy of their blocks by fitting them against a
template. They should be made aware of how important a set of accurate blocks is to the
creation of full scale patterns for garment manufacture.
Assessment
Work for outcomes 1 and 2 will need to be presented in the form of a set of basic blocks
supported by technical notebooks and sample books recording explorations carried out to a one-
quarter or one-fifth scale. The full-scale flat pattern required for outcome 3 may result from set
briefs and/or from assignments and project work for linked design units. Briefs should
encourage learners to explore more sophisticated manipulation and fitting principles to a range
of garments derived from their set of basic blocks.
Links
This unit links with the related technical units Unit 22: Techniques and Processes in Fashion
and Unit 23: Production Techniques. It also provides essential underpinning skills and
understanding for Unit 28: Pattern Construction. The emphasis in this unit is on developing
specific technical skills required in pattern cutting.
Unit 32: Element 1
Unit 33: Element 1.
Resources
Pattern-cutting facilities and adequate space will be required for all learners, to meet the
requirements listed in the Content section of this unit.
Many excellent pattern drafting textbooks exist on the market.

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Support materials
Books
1980)
Sealey M R Principles of Pattern Drafting and Design (Longman, 1983)
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Unit 25: Fashion Environment
Learning hours: 60

Description of unit
This unit gives the learner an understanding of the relationship between fashion marketing and
design and the importance of these two elements to business strategy and as a means to
competitive advantage in an industry characterised by change. The unit will introduce fashion
marketing theory and practice and their relevance to the fashion industry.
1 Analyse and interpret the basic principles of marketing in a fashion context
2 Gain awareness of the environmental factors which influence the fashion industry's
marketing policies
3 Investigate, analyse and evaluate marketing strategies adopted by the industry
4 Apply the principles of fashion marketing planning.

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Content

1 Marketing
Definitions: the role of the designer, the role of the marketeer, market research
Segmentation theory: geographic segmentation, benefit segmentation,
psychographic/lifestyle segmentation, behaviour segmentation, gap analysis, positioning,
the marketing mix
Targeting: mass market, selective multi-segment marketing, niche markets
Positioning: casual style, semi-casual, formal, price level, design image, product quality,
marketing mix
Market research: visual/design trends, statistical data, fashion press, journals, forecasting
agencies
2 Environmental factors
Macro factors: political, social, cultural, technological, ethical
Fashion market understanding: size, structure, street fashion, mass market, designer wear,
haute couture, fashion forecasters, manufacturers, wholesalers/retailers, consumers,
competitors, internal strengths/weaknesses, external opportunities/threats (SWOT)
3 Marketing strategies
Product life cycles: fashion fad, fashion classic, fashion diffusion process, mid-season
collections
Fashion marketing objectives: strategic choice, marketing tactics, marketing strategy
Competitive forces: analysing competition, price wars, existing players, new players,
product innovation, distribution strategies
4 Marketing planning
Main components: structure, timescale, fashion calendar, marketing objectives, SWOT,
market research, marketing strategy, marketing mix elements, trend/sales forecasting,
resourcing

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ability to:
1 Analyse and interpret
the basic principles of
marketing in a fashion
context
research and explain how fashion marketing relates to the
design function and draw conclusions from market research
data available to the fashion marketeer
apply segmentation theory to select a target market and
develop an appropriate market mix
2 Gain awareness of the
environmental factors
which influence the
fashion industry's
marketing policies
research, evaluate and describe the size and structure of the
fashion market in a given context, analysing the external
and internal factors which influence the fashion
environment
research and evaluate a gap in a segment of the fashion
market
3 Investigate, analyse and
evaluate marketing
strategies adopted by
the industry
research and evaluate the role and importance of the
marketing mix elements used in the fashion industry
apply knowledge of the product life cycles by identifying
the relationship to new product development
investigate the competitive forces and marketing objectives
within selected fashion market segments
4 Apply the principles of
fashion marketing
planning
analyse and evaluate the marketing planning process
adopted by others
independently produce a marketing plan for a fashion
company or for oneself, identifying the critical factors for
success within the industry

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Guidance

Delivery
Tutors can introduce the theoretical concepts and strategies through lectures/seminars and
practice followed by a high level of personal initiative and enquiry by learners. Formal delivery
of theory and visual content will be interspersed with tutorial sessions on a group or individual
basis. The use of case studies would assist group dynamics and provide a stimulating framework
for role play and team work. Investigation of the size and structure of the fashion market for
outcome 2 should be within a given context, eg Europe, emerging global markets.
Assessment
Learners will be required to produce reports/essays and notebooks which draw together research
findings and given information. They should be encouraged to read magazines, newspapers and
journals to help contextualise their learning. The use of case studies and visits could facilitate
this process.
The marketing plan for outcome 4 could be a vehicle for decisions about the learners final
collection of garments and subsequent promotional activity; alternatively it could be done for an
existing company.
Links
This unit can be delivered as a stand-alone unit although an understanding of it could usefully
inform work in design units, for example Unit 21: Design Application in Fashion.
The outcomes in this unit equip learners for progression to further HE study or employment.
Unit 3D: Element 1
Unit 3M: Element 1.
Resources
Appropriate research facilities should be made available to facilitate this unit.
These may include various CD-Roms, internet access, Mintel Retail Intelligence, Euromonitor,
Design and Applied Arts Index, specialist publications and journals, specialist texts and case
studies for applying certain theoretical aspects of this unit.

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Support materials
Books
Easey M (editor) Fashion Marketing (Blackwell Science, 2001)
Popcorn F The Popcorn Report: Revolutionary Trend Predictions for Marketing in the 1990s
(Arrow, 1993)
Further reading
Drapers Record
Marketing
Marketing Week

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Unit 26: Research and Development for
Fashion Design
Learning hours: 60

Description of unit
This unit builds on previous work in Unit 20: Design Exploration in Fashion to further develop
creative and visual awareness through critical investigation, research, personal enquiry and
discovery. Learners will be encouraged to show initiative and perception through personal
expression and enquiry to develop creative potential and personal style.
1 Develop and extend understanding of the design process
2 Summarise and present research findings in a personal style
3 Extend and apply skills in creative analysis
4 Synthesise and evaluate research and experimentation.

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Content

1 Design process
Research: through personal enquiry, discovery, perception, initiative, compiling and
collating from fashion prediction and trend information, magazines, the internet
Development: combining, compiling, categorising, relating, contrasting, experimenting,
sampling, developing detail, manipulating formal elements
Solution: design ideas, illustrations, storyboards, mood sketches
2 Research findings
Individual approach: working from own discoveries to produce innovative design ideas,
expressing own ideas confidently, individual approach, response to visual stimuli
Summarise: evaluate, discover, extract stimuli, record findings, relate found images to own
mark-making, sketchbook development, prediction and trend analysis
Present: verbal and visual presentations of findings, layout and composition, sketchbooks,
notebooks, story/mood/theme boards, design solutions
3 Creative analysis
Examining and recording: drawing, observing, note making, comparing, contrasting,
changing media/scale/detail/materials/methods, reproducing, reconstructing, categorising,
explaining, combining
Interpretation: formulating ideas, reaching conclusions, structuring criticism, generating
ideas
4 Experimentation
Synthesis and evaluation: formulise new designs, make value judgements based on self-
defined criteria
Adaptation and organisation: combining methods and materials to devise outcomes, visual
research as an expressive tool

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Outcomes Assessment criteria
ability to:
1 Develop and extend
understanding of the
design process
generate ideas for development through experimental work,
demonstrating understanding of the design process
selectively develop and exploit experimental work and
design detail through to final solution
2 Summarise and present
research findings in a
personal style
analyse and summarise current fashion prediction and trend
information to inform work
research, record and demonstrate a critical approach from a
variety of sources, presenting work in an individual style
3 Extend and apply skills
in creative analysis
graduate and record development ideas to enhance an
innovative approach to design and illustration
manipulate visual information gained from research to
expand and develop creative ideas
4 Synthesise and evaluate
research and
experimentation
select, combine, explore and expand contrasting ideas from
research to inform innovative fashion design development
adopt unusual approaches to developing work which shows
creative potential and personal expression

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Guidance

Delivery
Critical investigation and experimental learning are the approaches which allow learners to
develop in this unit. Developing individuality and personal style is fundamental to successfully
achieving the outcomes and assessment criteria. Learners will be required to develop a personal
style by exploring the design process through projects written to specific briefs which can
combine with or support project briefs for Unit 27: Realising a Fashion Collection. Group and
individual critiques and presentations of work should be encouraged.
Learners will need to be encouraged to research unfamiliar as well as familiar sources and to
experiment.
Learners should be encouraged to work independently, analysing and evaluating their own
discoveries and design solutions.
Assessment
Design development is explored in this unit and is intended to be delivered alongside Unit 27:
Realising a Fashion Collection, to provide the creative input to the fashion collection produced
in that unit.
Learners should present their work in an appropriate format, covering a range of communication
methods. Learners should be able to discuss and evaluate their ideas with tutors and their peers
using appropriate language.
Links
This unit will combine well with Unit 27: Realising a Fashion Collection.
Unit 33: Elements 1, 2 and 3.
Resources
magazines, news media, trend information, websites, CD-Rom databases.
Learners should record sources carefully and accurately, citing authors, titles of books, articles,
journals and publications and date/place/country of publication.
Support materials
Books
Barnes C Fashion Illustration (Little, Brown and Company, 1994)

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Unit 27: Realising a Fashion Collection
Learning hours: 60

Description of unit
In this unit, learners will have the opportunity to design and realise their own fashion collection.
This gives learners an appreciation of the role of the designer and an understanding of different
market sectors, production methods and their related constraints. The unit integrates a variety of
complex skills and knowledge to realise innovative and complex designs.
Summary of outcomes
1 Design an innovativecollection to a self-identified theme
2 Develop a range of garments using information from fashion predictions and trends to
inform design solutions
3 Demonstrate synthesis of knowledge, skills and understanding to realise designs
4 Present, analyse and evaluatetheir own work.

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Content

1 Collection
Requirements: individual theme, specified target market, market awareness, design
identity/concept
2 Fashion predictions and trends
Research data: fashion trends, consumer behaviours, scale of production, visual research,
fabric sourcing, colour trends and predictions
Sources: specialist journals, magazines and media, websites, CD-Roms, questionnaires,
fashion shows, trade shows, museums, galleries, exhibitions, fabric suppliers
Fitness for purpose: market constraints, design, weavability, make
3 Realise designs
Realisation process: sample garments, prototypes, design development, sketchbooks,
illustration, design sheets, presentation
Practical factors: production methods, ideas appropriate to choice of fabrics and market,
garment costing, method of manufacture
4 Present
Presentation methods: critiques, displays, exhibitions, fashion show
Recording methods: design portfolio, digital, eg CD-Rom, website; photographic, audio-
visual

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ability to:
1 Design an innovative
collection to a self-
identified theme
create designs and design garments using an individual
theme and concept to a high level of design awareness and
innovation
undertake, evaluate and use detailed visual research
2 Develop a range of
garments using
information from
fashion predictions and
trends to inform design
solutions
undertake detailed research and synthesise trend information
from a wide variety of sources to inform design solutions
select and use fabrics based on their fitness for purpose
3 Demonstrate synthesis
of knowledge, skills and
understanding to realise
designs
integrate a variety of complex skills and knowledge to
realise innovative and complex designs
create designs which have a clear identity and which show a
high degree of initiative and independence
realise and present designs with a clear understanding of
technique, process and materials
4 Present, analyse and
evaluatetheir own work
research, evaluate and apply appropriate methods of
presenting and recording final design solutions
contextualise the chosen theme/collection to aid
presentation
identify the design sources and influences which contributed
to the collection
evaluate the final collection in relation to differing target
markets, and identify potential for improvement
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Guidance

Delivery
The theme of the final collection should be identified by learners within centre-devised
guidelines. Learners should be supported by tutorial guidance and technical support. Design
work and toiles should be presented at group critiques for discussion and evaluation at key
points during the year, with an end of year/unit final exhibition/fashion show as the main focus
of the unit.
Assessment
Learners are expected to realise an innovative final collection supported by thorough market and
visual research. Opportunities for sponsorship of fabrics and trimmings should be encouraged
through work experience and industrial links. Visual research, design sheets, written reports and
sample garments will need to be exhibited for assessment at a final exhibition/fashion show.
Links
It is envisaged that the skills and understanding in one or more of the following units would be
developed prior to completing this unit: Unit 20: Design Exploration in Fashion, Unit 21:
Design Application in Fashion, Unit 22: Techniques and Processes in Fashion and Unit 25:
Fashion Environment.
Unit 3D: Elements 1 and 2
Resources
Suggested resources include studio space, library and research facilities, specialist books,
journals, publications, fashion magazines, websites, film, video, photography, slides, CAD/IT
facilities, exhibitions, trade shows, fashion shows, sewing/manufacturing facilities, textile
materials and trimmings suppliers.
Support materials
Book
J enkyn-J ones S Fashion Design (Laurence King, 2002)

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Unit 28: Pattern Construction
Learning hours: 60

Description of unit
This unit provides opportunities to develop the more complex understanding required to
construct patterns from working drawings and design sketches. Learners will also study
processes of pattern grading and apply them to a variety of styles.
1 Develop creative and fluent pattern construction skills
2 Investigate, understand and apply skills to accurately provide pattern grading solutions
3 Use pattern construction tools, equipment and technology with safety and confidence
4 Evaluate own use of pattern construction.

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Content

1 Pattern construction
Methods: flat pattern cutting, modelling on the stand
Applications: solving design problems in womenswear, investigating childrens garments,
investigating mens garments
Design solutions: these will vary according to the application but may include sleeve
adaptations (dolman, kimono, batwing), openings (button stands, fly fronts), styling (yokes,
pleats, asymmetric lines), silhouettes and fitting (jersey, stretch)
2 Pattern grading
Standard pattern: grading up sizes, grading down sizes
3 Tools, equipment and technology
Techniques by hand: scissors, shears, tracing wheels, powered cutting equipment
Computer applications: lay planning, pattern grading, costing
Health and safety awareness: safe working practices, relevant legislation
4 Evaluate
Use of technique: fluency, familiarity, capability, ability to control the finished outcome,
ability to use materials effectively
Pattern construction: in terms of the pattern produced, how long it took to produce, how
effectively the pattern communicates the finished garment and in terms of the finished
garment itself

Issue 1 April 2005
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ability to:
1 Develop creative and
fluent pattern
construction skills
diagnose and use the most suitable methods to solve
identified design problems
produce patterns for a capsule collection that show accurate
interpretation of designs, relevant information and cutting
instructions
2 Investigate, understand
and apply skills to
accurately provide
pattern grading
solutions
produce a set of graded patterns for a simple garment with a
set of rules explaining the process for sizing up and down
and providing information needed by cutters
ensure that notches and seam alignment for all sizes of
grades are accurate
3 Use pattern construction
tools, equipment and
technology with safety
and confidence
produce neat, accurate patterns with smooth-cut edges
maintain a safe working environment at all times
construct accurate costing sheets and lay plans showing
effective use of fabric and grading rules using appropriate
software
4 Evaluate own use of
pattern construction
evaluate own pattern construction skills and use of pattern
construction equipment
evaluate production of graded patterns

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Guidance

Delivery
It is envisaged that design solutions from Unit 26: Research and Development for Fashion
Design and Unit 27: Realising a Fashion Collection may be taken through to this unit for
manufacture. Formal delivery and workshops demonstrations may be used, as well as individual
and group critiques. Discussion with tutors will enable learners to select and apply the pattern
construction methods which best suit their needs.
Assessment
Assignments for this unit can be integrated with the design units, enabling learners to reach their
own conclusions and develop an individual range of garments. To meet the requirements of the
unit learners will produce a capsule collection and will develop an understanding of grading
principles. The collection may be designed by the learner, or patterns could be part of a range
for an industrial partner.
Actual processes covered will depend on the designs/patterns involved. The set of graded
patterns for a simple garment for outcome 2 may form part of the collection or be undertaken as
a separate assignment. Costing and lay planning evidence for outcome 3 should be presented
using an industry standard format. Processes not covered through the production of the
collection can be submitted in sample form, but should be of good quality and well presented.
Links
This unit can be usefully integrated with Unit 29: Garment Manufacture.
This unit is linked to Unit 22: Techniques and Processes in Fashion and Unit 24: Pattern
Drafting which provide underpinning skills and understanding.
Unit 3D: Elements 1, 2 and 3
Unit W: Element 3.
Resources
Centres need to provide adequate facilities for pattern construction for all learners, eg space,
paper, rulers, graders, set squares, dress stands etc. Learners also need access to computer
software for pattern construction and grading, either on or off the premises.

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Support materials
Books
1980)
Sealey M R Principles of Pattern Drafting and Design (Longman, 1983)
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Unit 29: Garment Manufacture
Learning hours: 60

Description of unit
This unit gives learners the opportunity to further develop greater understanding of
manufacturing processes and experience in the use of industrial equipment to produce garments
to sample quality.
To achieve this unit the learner must:
1 Develop garment manufacturing skills to sample quality
2 Demonstrate dexterity in the safe use of equipment and technologies
3 Create a capsule collection of sample garments
4 Evaluate capsule collection and use of garment manufacturing equipment and technologies.

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Content

1 Garment manufacturing
Cloth: easy to handle, difficult to handle, eg stretch/elastomeric, leather and suede, pile
fabrics
Techniques: straightforward, complex, eg fly fronts, collar and revere, lining, top stitching,
pleats
2 Equipment and technologies
Industrial equipment: overlock machines, cover stitch machine, buttonhole, Hoffman press
Processes: lode stitch, threading, changing needle, needle up/down, backstitch, stitching,
starting, stopping
Health and safety: awareness of Factories Act, COSHH (Control of Substances Hazardous
to Health)
3 Capsule collection
Designs: will vary but may include childrenswear, menswear or womenswear
Planning: breakdown of processes, logical sequence, due regard for safety, replicability
4 Evaluate
Quality: techniques, processes, designs
Effectiveness: use of cloth, industrial equipment, planning

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ability to:
1 Develop garment
manufacturing skills to
sample quality
select and apply suitable techniques for working with
different cloth types and produce samples which are
accurate and of high quality
research, evaluate and apply the most suitable processes to
solve manufacturing problems
2 Demonstrate dexterity in
the safe use of
equipment and
technologies
use appropriate industrial equipment and technologies safely
and correctly to suit the task in hand
apply good and safe working practice when using cutting,
making and pressing equipment
3 Create a capsule
collection of sample
garments
plan sample garments by working realistically from patterns
and design sketches
make sample garments effectively
4 Evaluate capsule
collection and use of
garment manufacturing
equipment and
technologies
evaluate capsule collection in terms of effectiveness
evaluate the effectiveness of use of manufacturing
equipment and technologies

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Guidance

Delivery
Problem solving, lateral thinking and applying solutions to different contexts are all to be
encouraged. It is envisaged that design and patterns from linked units will be taken through to
completion via this unit. Learners will be working individually, but group critiques can be
included to illustrate useful areas for discussion. Further discussion with tutors will enable
learners to select and apply the most suitable methods for garment manufacture and will enable
learners to put together a collection or a range from the individual components they create.
Assessment
Assignments for this unit can be seamlessly integrated with the design units and pattern
construction units, enabling learners to produce an individual capsule collection. Garments
could be based on their own collection, or could be part of a range for an industrial partner.
The actual processes covered will depend on design work produced, but innovative solutions are
to be encouraged. Processes mentioned in Content but not covered by the range of garments can
be used to produce samples.
Actual fabrics used will also depend on the designs produced, but learners should be encouraged
to tackle a range of difficult fabrics, depending on the look they want to achieve. Selecting the
best fabric for a design is of paramount importance.
It is expected that learners will be proactive in researching recent developments in
manufacturing.
Links
This unit can be integrated with Unit 28: Pattern Construction.
It extends Unit 22: Techniques and Processes in Fashion and Unit 23: Production Techniques,
both of which provide underpinning skills and knowledge.
This unit may also be linked to Unit 26: Research and Development for Fashion Design and
Unit 27: Realising a Fashion Collection.
Unit W: Element 3

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Resources
Centres need to provide all learners with adequate facilities, equipment and technology for
garment manufacture to cover all the needs listed under Content.
Support materials
Book
Stylios G Textile Objective Measurement and Automation in Garment Manufacture (Ellis
Horwood, 1991)
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Unit 30: Clothing Manufacture Production
Operations
Learning hours: 60

Description of unit
This unit enables learners to investigate the manufacturing systems and processes in current use
in the clothing industry, and to investigate the systems used for quality control. The outcomes
for this unit should be met through information gathering and a written report.
1 Research and understand thesystems currently used in the clothing industry for both
pattern and garment production
2 Research the costing and purchasing systems used in the clothing industry
3 Analyse the merits of the different systems
4 Produce a report on their findings independently and effectively.

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Content

1 Systems
Industry: small-scale, mass production, European, non-European
Cutting: lay planning, spreading, cutting and preparation, using different fabrics
Sewing: handling and mechanical systems for assembly, line balancing, pressing, using
different fabrics
Method study: work study, work measurement, time standards, recording mechanisms
Quality control: reporting on fabric, machinery, workers, materials, systematic examination,
faults analysis, prevention
Pre-manufacture: stock rotation, fabric care, handling and storage equipment
Post-manufacture: bagging and boxing, distribution systems
2 Costing and purchasing systems
Costing and purchasing: first and sealed samples, suppliers and standards
3 Merits
Advantages and disadvantages: to consumer, to business, to employee/worker
Factors: costs, speed, efficiency, quality of product/service
4 Report
Report format: extended written, use of illustrations, presentation of data

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ability to:
1 Research and understand
thesystems currently
used in the clothing
industry for both pattern
and garment production
research and evaluate accurate information from both
primary and secondary sources
research and evaluate storage, warehousing and distribution
systems in contrasting clothing industries
2 Research the costing
and purchasing
systems used in the
clothing industry
research systems used for costing and purchasing in
contrasting clothing industries
evaluate systems used for costing and purchasing used in
contrasting clothing industries
3 Analyse the merits of
the different systems
compare and contrast the merits of the different systems in
current use in the clothing industry
evaluate and critically compare the use of systems in
different contexts, summarising the benefits
4 Produce a report on
their findings
independently and
effectively
structure and suitably present the report to provide a clear,
accurate and coherent account of current systems used in the
clothing industry

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Guidance

Delivery
It is expected that there will be some formal delivery at the start to give learners a grounding in
the processes and activities that they will encounter on visits and in their enquiries. Tutors will
need to monitor research and written skills, and give guidance on how learners should produce
an extended study.
However, studies will be personalised to enable learners to research particular areas of interest,
especially when this could lead to employment possibilities.
The purpose of this unit is to give learners an in-depth understanding of the clothing
manufacturing industry. It is not a practical, hands-on unit, but learners should be encouraged to
make links with a variety of companies to visit and gain first-hand knowledge of working
practices. If learners cant make visits they will need to get their information from textbooks and
trade literature.
Assessment
Although evidence could be presented in a variety of ways, it is expected that learners will
submit the work in the form of an illustrated written report, with a minimum of 2,500 words.
Content will vary depending on the links each individual learner has made with other units, but
all learners must visit at least one manufacturing outlet, and preferably several, to enable better
comparison and evaluation of the systems for cutting and sewing (assembly).
Links
There are no pre-requisites to this unit.
Although the unit can be studied in isolation, links can be made to other units, for example
Unit 8: CAD/CAM for Fashion and Textiles.
Unit 3M: Elements 1 and 2.
Resources
Learners need to make written contact and visits to manufacturing centres. Further research will
require access to a library for books, periodicals, magazines; internet access is also encouraged.
Trade literature relating to the content of the unit will prove valuable in research.
To produce the report learners will need access to word processors, laser/ink jet printers etc.

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Support materials
Books
Chuter A J Introduction to Clothing Production Management (Blackwell Science, 1995)
Cooklin G Introduction to Clothing Manufacture (Blackwell Science, 1991)
Tyler D J Materials Management in Clothing Production (Blackwell Science, 1991)

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Unit 31: Fashion Promotion
Learning hours: 60

Description of unit
This unit provides the learner with an understanding of the essential elements of fashion
promotion, enabling them to evaluate their effectiveness and apply knowledge to develop a
personal promotional strategy.
1 Demonstrate an understanding of fashion communication theory, the promotional mix and
promotional planning
2 Research, analyse and evaluate promotion strategies adopted by fashion companies
3 Develop a personal promotion strategy in relation to a fashion collection
4 Evaluate own promotion strategy.

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Content

1 Fashion communication theory
Factors influencing the fashion promotion mix: strategic, distribution, consumer, product,
price and promotional methods
Concepts: theory of fashion communication, a communications model, advertising, sales
promotion, public relations, personal selling
Promotional planning: techniques, setting measurable objectives, co-ordination with other
marketing activities
Planning constraints: cost effectiveness, campaign timescale, evaluation and control
2 Evaluate promotion strategies
Analysis of strategies: successful, non-successful companies, comparisons between
competition, visual analysis of fashion media
3 Promotion strategy
Campaign requirements: public relations, role of the fashion media/relevant visual
solutions, selecting and targeting media, press releases, press packs, advertising
4 Evaluate
Analysis of own strategy: identify strengths and weaknesses in relation to fashion collection,
identify strengths and weaknesses in relation to promotion strategies of fashion companies

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ability to:
1 Demonstrate an
understanding of
fashion communication
theory, the promotional
mix and promotional
planning
investigate the particular combination of promotional
methods and media used by an organisation or individual to
achieve fashion marketing communication goals
research, evaluate and develop a framework to minimise the
risks of ineffective fashion marketing communications
research, evaluate and explain the role of the fashion media
in leading opinion
2 Research, analyse and
evaluate promotion
strategies adopted by
fashion companies
analyse and demonstrate an understanding of a variety of
fashion promotion strategies
research and evaluate the creative use of materials and
technologies to produce a successful promotional campaign
assemble a written and visual archive of fashion
promotional material for present and for future reference
3 Develop a personal
promotion strategy in
relation to a fashion
collection
establish and manage a favourable image through pre-
planned communication with the customer
plan and organise visual solutions for a promotional strategy
and identified campaign requirements
produce a press release and a press pack targeting fashion
media, trade customers, potential employers and sponsors
4 Evaluate own
promotion strategy
evaluate visual solutions in terms of effectiveness
evaluate overall promotion strategy in terms of effectiveness

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Guidance

Delivery
Learners will need an introduction to concepts and strategies through a combination of theory
and practice, with a strong emphasis on creative and visual aspects. Learners will need to
demonstrate a high level of personal initiative and enquiry that will be presented to peers and
tutors at various stages of the unit. Formal lectures and seminars should be used to deliver the
theoretical knowledge of fashion promotion interspersed with individual tutorials to guide the
learners personal exploration.
It is important that learners are encouraged and facilitated to access a wide range of materials;
the internet in particular is becoming increasingly informative through specialist search engines
and company websites.
Assessment
Research and development throughout this unit will help learners achieve a breadth and depth of
visual thinking and creativity in relation to the promotion of fashion. Evidence will take the
form of reports, case study evaluations, a short essay (1,500 words) and written/visual research
in notebook form. Evidence produced for outcomes should consist of a pack promoting the
learner and their fashion collection or promoting an external company collection.
Links
This unit links with Unit 25: Fashion Environment and provides understanding that can inform
design work. The outcomes associated with this unit will equip learners for progression to
further HE study or employment.
Unit 3D: Element 1.
Resources
Appropriate research facilities should be made available to achieve this unit. These may include
fashion/lifestyle magazines, specialist publications and journals, internet access, fashion
companies reports and promotional packs and specialist texts to utilise the application of certain
theoretical aspects of this unit.
Support materials
Book
Easey M (editor) Fashion Marketing (Blackwell Science, 2001)

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Magazines/periodicals
Creative Review
Drapers Record
Marketing
Marketing Week
Menswear
PR Week

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Unit 32: Costume Design Concept
Learning hours: 60

Description of unit
This unit aims to develop the understanding and vocational skills required to develop costume
design concepts.
Learners will develop an understanding of the design process through project-based work from
the directors brief, script analysis processes, analysing constraints, collaborating with creative
team and producing historical research and sketchbook work. The practical aspects of this unit
will be largely developed through project-based work.
1 Understand the role of the costume designer and the importance of collaboration with
the creative team
2 Analyse the play (or text) and apply research techniques to develop design concepts
3 Generate visual and historical research appropriate to the script analysis, directorial or
project brief
4 Generate and develop draft design concepts for presentation.
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Content

1 Role of the costume designer and the importance of collaboration
Role as part of the creative team: negotiating and meeting the requirements of the brief,
liaise with production team and performers, costume lists, charts, development of portfolio,
working to budgets and schedules
2 Analyse the play (or text) and apply research techniques
Analysis: record the feeling/mood, themes, historical/contemporary locations, subtexts to
establish visual style and/or quality; identify character indicators, performer requirements,
cast size, constraints of performance space, practicality of costume changes and
performance style and meaning
3 Generate visual research
Exploration of ideas: brain storming ideas collaboratively with creative team, explore
visually and verbally aspects of colour schemes, shape, texture (relate to script analysis)
Visual skills: drawing and mix media skills, colour work, sketchbook concepts, research and
mood sheets
Gather and record visual/historical research from primary and secondary sources:
libraries, galleries, newspaper archives, artworks, furniture, museums, paintings,
photographs, internet
Contextual references: relate research to cultural/social aspects and values, label and
organise research, annotate research sheets, explain relationship of research to script and
character analysis, highlight areas for further in-depth research
4 Generate and develop draft design concepts
Design generation forms: design concepts and sketchbooks, visuals of various characters,
collages, mood boards, paintings, colour/texture, effects of lighting and awareness of set
constraints
Presentation and analysis of draft costume design concepts: relate research, draft design
concepts to script analysis, discuss and agree designs with creative team, designs to be
developed in Unit 33: Costume Realisation

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the ability to:
1 Understand the role of the
costume designer and the
importance of collaboration
with the creative team
establish a clear understanding of directorial intent,
acting space, character, production style and
constraints
collaborate with members of the creative team to
establish good communication techniques to achieve
a production style and total visual effect
analyse and highlight potential design problems and
constraints, adhering to safe working practices
work to deadlines agreed by creative team
demonstrate understanding of a range of characters,
periods and environments
2 Analyse the play (or text)
and apply research
techniques to develop design
concepts
analyse and record overall script information to
convey mood, atmosphere, theme, subtexts, style
and genre
analyse and record scene-by-scene details of acting
and costuming requirements
analyse issues related to total visual effect and
record potential design problems/constraints
3 Generate visual and
historical research
appropriate to the script
analysis, directorial or project
brief
brainstorm own and others ideas relating to the
script analysis
gather, record and organise a wide variety of visual
research from primary and secondary sources
select and record relevant contextual references,
highlighting subjects for further
investigation/research
explore production/making techniques related to the
design projects
utilise colour, texture, materials and technical
information related to design projects
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the ability to:
4 Generate and develop draft
design concepts for
presentation
produce a range of annotated draft designs, devise
simple appropriate costume changes (where
necessary)
record and develop draft designs in relation to the
research and analysis
explore and make material selection, analysing
durability, surface finishing and effects of lighting
produce final draft designs suitable for presentation
to the creative team and director
evaluate design proposals and analyse potential
refinements

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Guidance

Delivery
Delivery should be largely project based and practical. Ideally, assignments should be supported
by lectures, demonstrations and seminars dealing with issues related to the development of
design concepts and processes, which broaden the learners response to the conceptual and
aesthetic problems posed by the projects.
The unit should be a balance of theory and practice but with the assessment focused on the
generation of ideas and design process to the interim stage. The unit should be a mixture of
teamwork and individual assignment with tutor support. Some of the projects may be integrated
into the work of other units. This unit is based around project work that explores different styles
of costume design. The learner should seek to experiment and broaden the approaches to design
concepts. As the unit progresses, the learner should build up a portfolio of designs. If the unit is
taken in collaboration with Unit 33: Costume Realisation and Unit 34: Costume Production
then these designs can be made into actual costumes. Wherever possible the designs should be
integrated into performance.
The unit should be delivered through a mixture of project, lecture/demonstration and simulation.
Assessment
Learners should produce a portfolio of work related to specific design briefs. These should
include work at the initial stages of research and development. This should show the range and
variety of styles explored as well as evidence of research and development of initial ideas. A
mix of working methods should be included in this portfolio. The process of the work of the
creative team may be recorded in written, audio or visual form. Evidence of the ability to
analyse the process of design should be evident.
Links
This unit has direct links with Unit 33: Costume Realisation, Unit 34: Costume Production and
Unit 35: Millinery and Headdresses.
Resources
Access to design/studio space or a similar area is essential. The area should be equipped with
power and appropriate design equipment. Access to an area with theatre lighting would be
useful. Primary and secondary sources may be found in libraries, galleries, museums, on the
internet, CD-Roms, specialist publications, exhibitions and specialist collections such as the
Victoria and Albert Museum, The Theatre Museum, and Snowshill Manor. Learners must
record sources and cite them where referenced.
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Support materials
Books
Bradfield N Costume in Detail: Womens Dress 17301930 (Eric Dobby Publishing Ltd,
1995)
The Costumers Handbook (Spectrum Books)
Motley Designing & Making Stage Costumes (Random House USA Inc, 1992)
Tompkins J Stage Costumes (Pitman, 1978)
Waugh N The Cut of Mens Clothes 16001900 (Routledge, 1991)
Waugh N The Cut of Womens Clothes 16001930 (Routledge, 2000)

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Unit 33: Costume Realisation
Learning hours: 60

Description of unit
This unit aims to develop the understanding, vocational skills and practice of costume design.
The process involves development of initial ideas, sketchbook work and production of samples
towards costume construction. Learners will consider accessories including headgear and
footwear in their designs. This unit is largely developed through project-based work.
1 Develop draft costume designs to final solutions
2 Translate final designs to working costumes
3 Develop and utilise sampling skills in preparation for construction of costume designs
4 Present and analyse final costume designs.
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Content

1 Designs to final solutions
Present final designs: description of colour/material/character details, comparison of final
design to original brief
2 Translate designs to working costumes
Translation: of prepared and final design concepts to patterns
Construction methods: incorporating cutting, sewing, painting, dyeing, and fitting
Hire and acquisition: alteration adaptation
Selection of accessories: support items, headgear, wigs, footwear
Working to agreed budget: monitoring budget
3 Develop sampling skills
Develop skills in construction and finish: fabric treatment, dyeing, printing, painting,
distressing, adaptation of existing costume, laundering and cleaning, dressing and fitting
Selection of material and storage: logging of items
4 Present and analyse final costume designs
Interpretations of the design brief, negotiating and developing designs: sketchbook,
materials, colour, construction, use, character, integration with other design aspects eg
lighting
Finished designs: presentation of final designs with working and constructional notes; full
description with colour/material/character indicators, comparison of final design to original
brief, evaluation of practical application

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the ability to:
1 Develop draft costume
designs to final solutions
assume the role of the costume designer as part of
the creative team employing the use of interpersonal
skills to negotiate clear meaning for working on
design concepts
develop an aesthetic understanding
work to a production schedule and to budget taking
into account safety factors in costume manufacture
2 Translate final designs to
working costumes
use research concepts and sources, historical and
contemporary material
make a collection of design materials and technical
information related to design projects
explore making techniques related to the design
projects
3 Develop and utilise sampling
skills in preparation for
construction of costume
designs
explore ideas in combination with the design team
and director
utilise colour, texture, materials, employ different
techniques of construction, and express character
identify and utilise modelling and accessories
4 Present and analyse final
costume designs
producefinished designs, sketchbooks, working
notebooks, working methods for construction
make material selection and explore surface finish
present final designs, analyse and show relation of
design to brief

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Guidance

Delivery
This unit is based around project work that explores different styles of costume design. Learners
should seek to experiment and broaden the approaches to design concepts. As the unit
progresses, the learner should build up a portfolio of designs. If the unit is taken in collaboration
with Unit 34: Costume Production then these designs can be made into actual costumes.
Wherever possible the designs should be integrated into performance.
The unit will be delivered through a mixture of project, lecture/demonstration and simulation.
Assessment
Evidence should be presented in a portfolio of 2D and 3D design work. This should show the
range and variety of styles explored as well as evidence of research and of the development of
working ideas. The unit deals mainly with the development of the response to a brief and as
such should emphasise the processes involved in this. Finished designs can be assessed in
conjunction with notebooks.
Links
This unit has direct links with Unit 32: Costume Design Concept, Unit 34: Costume Production
and Unit 35: Millinery and Headdresses.
Unit 3R: Elements 1 and 2.
Resources
Access to wardrobe facilities and art studio space or a similar area is essential. The area should
be equipped with power and appropriate design equipment. The wardrobe area should contain
material samples and basic making facilities. Access to an area with theatre lighting would be
useful. Primary and secondary sources may be found in libraries, galleries, museums, and
specialist collections such as the Victoria and Albert Museum, The Theatre Museum, and
Snowshill Manor. Learners must record sources and cite them where referenced.
Support materials
Books
Arnold J A Handbook of Costume (S G Phillips, 1980)
Arnold J Patterns of Fashion 1560-1620 (Macmillan, 1985)
Arnold J Patterns of Fashion 1660-1860 (London Wace & Co, 1964)
Arnold J Patterns of Fashion 1860-1940 (London Wace & Co, 1967)
Arnold J Queen Elizabeths Wardrobe Unlocked (Maney Publishing, 1988)

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Ashelford J A Visual History of Costume (London Batsford, 1983)
Boucher F History of Costume in the West (Thames & Hudson, 1987)
Bradfield N Costume in Detail: Womens Dress 17301930 (Eric Dobby Publishing Ltd,
1995)
Covey E and Ingham R Costumers Handbook (Prentice-Hall, 1980)
Hunnisett J Period Costume for Stage and Screen (Players Press, 1991)
Strong R and Ivor G et al Designing for the Dancer (Elron Press, 1981)
Waugh N Corsets and Crinolines (Routledge, 1981)
Waugh N The Cut of Mens Clothes 16001900 (Routledge, 1991)
Waugh N The Cut of Womens Clothes 16001930 (Routledge, 2000)

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Unit 34: Costume Production
Learning hours: 60

Description of unit
This unit develops the process of costume construction from design to use and storage. It will
develop skills in costume construction, adaptation, and alteration. The unit is also concerned
with the day-to-day management and running of a wardrobe department during the run of a
production. Learners will learn and develop manual and machine-based skills used in the
realisation of costume designs.
1 Translate the designs to working theatre costumes made for performance
2 Develop and utilise skills in the construction and finishing of costume designs
3 Take a lead or team role in a wardrobe team contributing to a public performance
4 Manage the running of a wardrobe in day-to-day non-performance time operations.
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Content

1 Translate the designs
Translation: of prepared and final design concepts to patterns
Construction methods: incorporating cutting, sewing, painting, dyeing and fitting
Hire and acquisition: alteration, adaptation
Selection of accessories: support items, headgear, wigs, footwear
Working to agreed budget: monitoring budget
2 Develop and utilise skills
Develop skills in construction and finish: fabric treatment, dyeing, printing, painting,
distressing, adaptation of existing costume, laundering and cleaning, dressing and fitting
Selection of material and storage: logging of items
3 Take a lead or team role in a wardrobe team
Participate: buying, hiring, storage, retrieval and maintenance, organising meetings,
maintaining records and schedules for the operations of the team
Support the performance company or event team: support the process of making, fitting and
use of costumes, manage post-show work in the wardrobe in clear-up phase, work to budget
4 Manage the running of a wardrobe
Manage day-to-day operations: hiring, cleaning, storage, maintenance, acquisition,
cataloguing, collaborate on use of stock items in public use, maintain safe practice

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the ability to:
1 Translate the designs to
working theatre costumes
made for performance
analyse methods of construction and the stages
needed to translate final designs to finished articles
utilise appropriate techniques of construction and
alteration
work with designer, design team and the model in
creating the finished article
2 Develop and utilise skills in
the construction and finishing
of costume designs
develop skills in cutting, sewing, painting, dyeing
and fitting
select appropriate materials and maintain costumes
through cleaning
organise the storage and logging of wardrobe and
costume products and materials
3 Take a lead or team role in
a wardrobe team
contributing to a public
performance
assume a lead or team role in a wardrobe/costume-
making team, and maintain effective team links with
the whole production event
work to a budget and to schedule for the selected
project
4 Manage the running of a
wardrobe in day-to-day non-
performance time operations
log, hire, clean and maintain wardrobe stock
maintain safe working practices
catalogue wardrobe stock and assess general
condition of items

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Guidance

Delivery
The unit is a mixture of skills development, and practice and performance event-based projects.
The learners must be provided with opportunities to practise and acquire appropriate skills. The
work of each learner should be supported by the development of an individual portfolio. Where
possible, the designs will be integrated with performance.
Assessment
Evidence should be presented as examples of finished work based on sound constructional
techniques. Learners should gather a portfolio of evidence of examples of work either
completed or at stages illustrative of different techniques. Learners evidence should be either
the actual garments or a verified pictorial record. Items of costume should, where possible, be
modelled live either at an arranged event or in performance. Supporting evidence of the ability
to analyse the process of construction and operation will be required.
Links
This unit has direct links with Unit 32: Costume Design Concept, Unit 33: Costume Realisation
and Unit 35: Millinery and Headdresses.
Unit 3M: Elements 1, 2, 3 and 4
Unit W: Elements 1, 2 and 3.
Resources
Access to a wardrobe-making area and store is essential. They should be equipped with power
and appropriate areas for cutting, sewing by hand and by machine, painting, dyeing and
cleaning. There should also be facilities suitable for fitting and for safe storage. Access to a
theatre space with stage lights is important. The process of material selection and acquisition is
a significant part of this unit. Learners should use specialist museum archives to further their
understanding of construction and fabric. The recording of sources and references is important.
Support materials
Books
Bradfield N Costume in Detail: Womens Dress 1730-1930 (Eric Dobby Publishing Ltd,
1995)
Covey E and Ingham R Costumers Handbook (Prentice-Hall, 1980)
Strong R and Ivor G et al Designing for the Dancer (Elron Press, 1981)
Waugh N The Cut of Mens Clothes 1600-1900 (Routledge, 1991)
Waugh N The Cut of Womens Clothes 1600-1930 (Routledge, 2000)

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Unit 35: Millinery and Headdresses
Learning hours: 60

Description of unit
In this unit learners will have the opportunity to design and realise their own headwear. They
should explore traditional hat-making skills and contemporary methods to gain the skills and
knowledge to realise innovative designs. The unit has been written to allow centres to adapt the
theme of headwear into a specialist area such as fashion, textiles or costume.
1 Analyse and evaluate traditional millinery methods and associated equipment
2 Explore contemporary building materials, techniques and media for headdresses
3 Investigate and research historical and contemporary millinery and headwear and
develop a range of design ideas
4 Analyse and evaluate millinery techniques and apply themto realise designs.

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Content

1 Traditional millinery methods and associated equipment
Traditional building techniques: blocking by hand on wooden hat blocks to fit a particular
client, taking clients measurements, using a variety of traditional materials, straw, net, felt,
buckram etc experimenting with shaping and stiffing in traditional and experimental ways,
developing a level of technical ability for a professional finish
Fabric hats: segment flat pattern cutting for fabric hats
Health and safety: awareness of safety, chemicals for stiffing and hazards, steaming
2 Materials, techniques and media
Exploration of contemporary materials and building techniques: experimenting with a
variety of materials and media in an innovative way, pushing the boundaries of tradition,
exploring paper, card, plastic, wire, elastic, boning etc
Colour, pattern, texture: different textures can be created for the surface through
experimenting with fabrics and mixed media
3 Historical and contemporary millinery and headwear
Investigate and research: look at historical and modern millinery and headdresses in film
and theatre for musicals, plays etc carnival headdresses, fashion shows, prestigious events
such as Ascot, hats for bridal wear, mourning hats, hat designers
Develop design ideas: create innovative and original design ideas inspired by research and
sample investigations
4 Millinery techniques
Building skills: work should be evaluated to use appropriate techniques, processes and
materials with samples of the final design
Presentation: the final outcome should be to a professional standard and individually
presented

Issue 1 April 2005
219

ability to:
1 Analyse and evaluate
traditional millinery
methods and associated
equipment
analyse and experiment with traditional building techniques
and traditional equipment
explore the possibilities of structure, shape and form through
shaping and stiffing
use traditional materials to build and distort
2 Explore contemporary
building materials,
techniques and media
for headdresses
explore different building techniques to create shape and
structure
produce a creative response through the exploration and
manipulation of materials and media
investigate surface quality
3 Investigate and research
historical and
contemporary millinery
and headwear and
develop a range of design
ideas
produce independent research into millinery and headdresses
to allow a student to personalise their investigations to suit
their inspiration and theme
produce original design ideas that connect to fashion,
costume or textiles and meet the particular market
constraints of the chosen area
4 Analyse and evaluate
millinery techniques
and apply themto realise
designs
apply appropriate techniques, processes and materials with
trial samples relating to the design
produce a final outcome to a professional standard
present work through a class critique

Issue 1 April 2005
220
Guidance

Delivery
Learners should be encouraged to choose individual pathways linking their millinery to either a
fashion, textile or costume outcome. Learners will be required to write a personal brief to
explain their design field and complete personal research into this area of millinery/headwear.
Studio time should involve workshops which will give learners knowledge of specialist
techniques and starting points.
This can lead to an experimental approach which should enable learners to discover original
ways of producing their outcomes.
Assessment
Assignments for this unit will focus around personal briefs and will be learner led. Learners
should be encouraged to link their brief to their chosen field, eg a capsule collection of fashion
hats, headdresses for a musical production, a series of textiles hats for an exhibition etc.
Evidence will be recorded in their sketchbooks/journals with an accompanying collection of
sample headpieces and their final outcome.
Links
This unit has direct links with Unit 32: Costume Design Concept, Unit 33: Costume Realisation
and Unit 34: Costume Production.
Resources
Specialist resources will be necessary and studio space should be provided. Equipment may
include shaped blocks, iron, pressing pads, millinery wire and stiffeners such as feltene for
traditional methods of blocking felt, straw hoods, wire brims with the use of mixed media paper,
plastics, buckram, boning, and card.
Resources for research may include the internet, the library, fashion magazines, fashion shows,
media coverage of events such as Ascot, weddings, royalty, Hollywood and films, folk and
historical images, exhibitions.
Support materials
Books
Albrizio A Classic Millinery Techniques (Lark Books, 2002)
Boucher F History of Costume in the West (Thames & Hudson, 1987)

Issue 1 April 2005
221
Gan S Visionaires Fashion 2001 (Laurance King, 1999)
Ginsburg M The Hat: Treads and Traditions (London, Studio Editions, 1990)
Hopkin S A Century of Hats (Aurum Press, 1999)

Issue 1 April 2005
222

Issue 1 April 2005
223
Annex A
QCA codes
The QCA National Qualifications Framework (NQF) code is known as a Qualification
Accreditation Number (QAN). Each unit within a qualification will also have a QCA NQF unit
code.
The QCA qualification and unit codes will appear on the learners final certification
documentation.
The QANs for qualifications in this publication are:
100/3892/9 Edexcel Level 5 BTEC Higher National Certificate in Fashion and Textiles
100/3893/0 Edexcel Level 5 BTEC Higher National Diploma in Fashion and Textiles

Issue 1 April 2005
224

Issue 1 April 2005
225
Annex B
Mapping against NVQ in Design Level 3
The following grid maps the knowledge covered in the NVQ in Design Level 3 against the underpinning knowledge of the BTEC Higher National
Diploma/Certificate in Fashion and Textiles.

HND/C titles

NVQ unit titles
U
n
i
t

1
:

D
r
a
w
i
n
g

T
e
c
h
n
i
q
u
e
s

a
n
d

A
p
p
r
o
a
c
h
e
s

U
n
i
t

2
:

V
i
s
u
a
l

C
o
m
m
u
n
i
c
a
t
i
o
n

U
n
i
t

3
:

P
r
o
f
e
s
s
i
o
n
a
l

S
t
u
d
i
e
s

U
n
i
t

4
:

H
i
s
t
o
r
i
c
a
l

a
n
d

C
o
n
t
e
x
t
u
a
l

R
e
f
e
r
e
n
c
i
n
g

U
n
i
t

5
:

P
r
o
f
e
s
s
i
o
n
a
l

P
r
a
c
t
i
c
e

a
n
d

D
e
v
e
l
o
p
m
e
n
t

U
n
i
t

6
:

C
r
i
t
i
c
a
l

S
t
u
d
y

U
n
i
t

7
:

F
a
s
h
i
o
n

a
n
d

T
e
x
t
i
l
e

M
a
t
e
r
i
a
l
s

U
n
d
e
r
s
t
a
n
d
i
n
g

U
n
i
t

8
:

C
A
D
/
C
A
M

f
o
r

F
a
s
h
i
o
n

a
n
d

T
e
x
t
i
l
e
s

U
n
i
t

9
:

C
u
l
t
u
r
a
l

U
n
d
e
r
s
t
a
n
d
i
n
g

i
n

F
a
s
h
i
o
n

U
n
i
t

1
0
:

D
e
s
i
g
n

E
x
p
l
o
r
a
t
i
o
n

i
n

T
e
x
t
i
l
e
s

U
n
i
t

1
1
:

D
e
s
i
g
n

A
p
p
l
i
c
a
t
i
o
n

i
n

T
e
x
t
i
l
e
s

U
n
i
t

1
2
:

T
e
c
h
n
i
q
u
e
s

a
n
d

P
r
o
c
e
s
s
e
s

i
n

T
e
x
t
i
l
e
s

U
n
i
t

1
3
:

D
e
s
i
g
n

R
e
s
e
a
r
c
h

i
n

T
e
x
t
i
l
e
s

U
n
i
t

1
4
:

R
e
a
l
i
s
i
n
g

a

T
e
x
t
i
l
e

C
o
l
l
e
c
t
i
o
n

U
n
i
t

1
5
:

T
e
x
t
i
l
e

M
a
n
u
f
a
c
t
u
r
e

P
r
o
d
u
c
t
i
o
n

O
p
e
r
a
t
i
o
n
s

U
n
i
t

1
6
:

T
e
x
t
i
l
e
s

S
p
e
c
i
a
l
i
s
t

T
e
c
h
n
i
q
u
e
s

a
n
d

P
r
o
c
e
s
s
e
s

U
n
i
t

1
7
:

E
x
p
e
r
i
m
e
n
t
a
l

C
o
n
s
t
r
u
c
t
e
d

T
e
x
t
i
l
e
s

U
n
i
t

1
8
:

E
x
p
e
r
i
m
e
n
t
a
l

P
r
i
n
t
e
d

T
e
x
t
i
l
e
s

U
n
i
t

1
9
:

E
x
p
e
r
i
m
e
n
t
a
l

E
m
b
r
o
i
d
e
r
e
d

T
e
x
t
i
l
e
s

U
n
i
t

2
0
:

D
e
s
i
g
n

E
x
p
l
o
r
a
t
i
o
n

i
n

F
a
s
h
i
o
n

31: Clarify briefs and
research information
3 3 3 3 3 3 3
32: Develop design ideas
using materials, processes
and technology
3 3 3 3 3 3 3 3 3 3 3 3 3
33: Develop and present
suitable design responses
3 3
34: Produce and present
detailed design proposals
3 3
3D: Research design trends
and developments in
materials and technology
3 3 3 3 3 3 3 3 3
3M: Plan and manage design
work
3 3
Issue 1 April 2005
226

HND/C titles

NVQ unit titles
U
n
i
t

1
:

D
r
a
w
i
n
g

T
e
c
h
n
i
q
u
e
s

a
n
d

A
p
p
r
o
a
c
h
e
s

U
n
i
t

2
:

V
i
s
u
a
l

C
o
m
m
u
n
i
c
a
t
i
o
n

U
n
i
t

3
:

P
r
o
f
e
s
s
i
o
n
a
l

S
t
u
d
i
e
s

U
n
i
t

4
:

H
i
s
t
o
r
i
c
a
l

a
n
d

C
o
n
t
e
x
t
u
a
l

R
e
f
e
r
e
n
c
i
n
g

U
n
i
t

5
:

P
r
o
f
e
s
s
i
o
n
a
l

P
r
a
c
t
i
c
e

a
n
d

D
e
v
e
l
o
p
m
e
n
t

U
n
i
t

6
:

C
r
i
t
i
c
a
l

S
t
u
d
y

U
n
i
t

7
:

F
a
s
h
i
o
n

a
n
d

T
e
x
t
i
l
e

M
a
t
e
r
i
a
l
s

U
n
d
e
r
s
t
a
n
d
i
n
g

U
n
i
t

8
:

C
A
D
/
C
A
M

f
o
r

F
a
s
h
i
o
n

a
n
d

T
e
x
t
i
l
e
s

U
n
i
t

9
:

C
u
l
t
u
r
a
l

U
n
d
e
r
s
t
a
n
d
i
n
g

i
n

F
a
s
h
i
o
n

U
n
i
t

1
0
:

D
e
s
i
g
n

E
x
p
l
o
r
a
t
i
o
n

i
n

T
e
x
t
i
l
e
s

U
n
i
t

1
1
:

D
e
s
i
g
n

A
p
p
l
i
c
a
t
i
o
n

i
n

T
e
x
t
i
l
e
s

U
n
i
t

1
2
:

T
e
c
h
n
i
q
u
e
s

a
n
d

P
r
o
c
e
s
s
e
s

i
n

T
e
x
t
i
l
e
s

U
n
i
t

1
3
:

D
e
s
i
g
n

R
e
s
e
a
r
c
h

i
n

T
e
x
t
i
l
e
s

U
n
i
t

1
4
:

R
e
a
l
i
s
i
n
g

a

T
e
x
t
i
l
e

C
o
l
l
e
c
t
i
o
n

U
n
i
t

1
5
:

T
e
x
t
i
l
e

M
a
n
u
f
a
c
t
u
r
e

P
r
o
d
u
c
t
i
o
n

O
p
e
r
a
t
i
o
n
s

U
n
i
t

1
6
:

T
e
x
t
i
l
e
s

S
p
e
c
i
a
l
i
s
t

T
e
c
h
n
i
q
u
e
s

a
n
d

P
r
o
c
e
s
s
e
s

U
n
i
t

1
7
:

E
x
p
e
r
i
m
e
n
t
a
l

C
o
n
s
t
r
u
c
t
e
d

T
e
x
t
i
l
e
s

U
n
i
t

1
8
:

E
x
p
e
r
i
m
e
n
t
a
l

P
r
i
n
t
e
d

T
e
x
t
i
l
e
s

U
n
i
t

1
9
:
E
x
p
e
r
i
m
e
n
t
a
l

E
m
b
r
o
i
d
e
r
e
d

T
e
x
t
i
l
e
s

U
n
i
t

2
0
:

D
e
s
i
g
n

E
x
p
l
o
r
a
t
i
o
n

i
n

F
a
s
h
i
o
n

W: Create and maintain safe
and effective working
relationships
3 3
3P: Realise design prototypes 3 3
3R: Plan and contribute to the
realisation of final design
or design product(s)

F: Undertake freelance work
S: Sell and promote designs
and design services

Issue 1 April 2005
227

HND/C titles

NVQ unit titles
U
n
i
t

2
1
:

D
e
s
i
g
n

A
p
p
l
i
c
a
t
i
o
n

i
n

F
a
s
h
i
o
n

U
n
i
t

2
2
:

T
e
c
h
n
i
q
u
e
s

a
n
d

P
r
o
c
e
s
s
e
s

i
n

F
a
s
h
i
o
n

U
n
i
t

2
3
:

P
r
o
d
u
c
t
i
o
n

T
e
c
h
n
i
q
u
e
s

U
n
i
t

2
4
:

P
a
t
t
e
r
n

D
r
a
f
t
i
n
g

U
n
i
t

2
5
:

F
a
s
h
i
o
n

E
n
v
i
r
o
n
m
e
n
t

U
n
i
t

2
6
:

R
e
s
e
a
r
c
h

a
n
d

D
e
v
e
l
o
p
m
e
n
t

f
o
r

F
a
s
h
i
o
n

D
e
s
i
g
n

U
n
i
t

2
7
:

R
e
a
l
i
s
i
n
g

a

F
a
s
h
i
o
n

C
o
l
l
e
c
t
i
o
n

U
n
i
t

2
8
:

P
a
t
t
e
r
n

C
o
n
s
t
r
u
c
t
i
o
n

U
n
i
t

2
9
:

G
a
r
m
e
n
t

M
a
n
u
f
a
c
t
u
r
e

U
n
i
t

3
0
:

C
l
o
t
h
i
n
g

M
a
n
u
f
a
c
t
u
r
e

P
r
o
d
u
c
t
i
o
n

O
p
e
r
a
t
i
o
n
s

U
n
i
t

3
1
:

F
a
s
h
i
o
n

P
r
o
m
o
t
i
o
n

U
n
i
t

3
2
:

C
o
s
t
u
m
e

D
e
s
i
g
n

C
o
n
c
e
p
t

U
n
i
t

3
3
:

C
o
s
t
u
m
e

R
e
a
l
i
s
a
t
i
o
n

U
n
i
t

3
4
:

C
o
s
t
u
m
e

P
r
o
d
u
c
t
i
o
n

U
n
i
t

3
5
:

M
i
l
l
i
n
e
r
y

a
n
d

H
e
a
d
d
r
e
s
s
e
s

31: Clarify briefs and
research information
3 3 3 3 3
32: Develop design ideas
using materials, processes
and technology
3 3 3 3 3 3
33: Develop and present
suitable design responses
3 3 3 3
34: Produce and present
detailed design proposals
3 3 3
3D: Research design trends
and developments in
materials and technology
3 3 3 3 3 3 3
3M: Plan and manage design
work
3 3 3 3
Issue 1 April 2005
228

HND/C titles

NVQ unit titles
U
n
i
t

2
1
:

D
e
s
i
g
n

A
p
p
l
i
c
a
t
i
o
n

i
n

F
a
s
h
i
o
n

U
n
i
t

2
2
:

T
e
c
h
n
i
q
u
e
s

a
n
d

P
r
o
c
e
s
s
e
s

i
n

F
a
s
h
i
o
n

U
n
i
t

2
3
:

P
r
o
d
u
c
t
i
o
n

T
e
c
h
n
i
q
u
e
s

U
n
i
t

2
4
:

P
a
t
t
e
r
n

D
r
a
f
t
i
n
g

U
n
i
t

2
5
:

F
a
s
h
i
o
n

E
n
v
i
r
o
n
m
e
n
t

U
n
i
t

2
6
:

R
e
s
e
a
r
c
h

a
n
d

D
e
v
e
l
o
p
m
e
n
t

f
o
r

F
a
s
h
i
o
n

D
e
s
i
g
n

U
n
i
t

2
7
:

R
e
a
l
i
s
i
n
g

a

F
a
s
h
i
o
n

C
o
l
l
e
c
t
i
o
n

U
n
i
t

2
8
:

P
a
t
t
e
r
n

C
o
n
s
t
r
u
c
t
i
o
n

U
n
i
t

2
9
:

G
a
r
m
e
n
t

M
a
n
u
f
a
c
t
u
r
e

U
n
i
t

3
0
:

C
l
o
t
h
i
n
g

M
a
n
u
f
a
c
t
u
r
e

P
r
o
d
u
c
t
i
o
n

O
p
e
r
a
t
i
o
n
s

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3
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C
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D
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3
3
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W: Create and maintain safe
and effective working
relationships
3 3 3
3P: Realise design prototypes 3 3
3R: Plan and contribute to the
realisation of final design
or design product(s)
3
F: Undertake freelance work
S: Sell and promote designs
and design services

Issue 1 April 2005
229
Annex C
Wider curriculum mapping
All units have health and safety dimensions. The programme has a strong practical emphasis so
the issues related to health and safety may occur naturally in external and internal assessment.
Learners must be made aware of this issue. Some specialist units have specialist health and
safety features.
Design units will need to take into account safe workshop practice and COSHH standards.
Wider social, cultural and European issues may be explored. Specialist units may provide
opportunities to explore these factors as single units or in combination. Listed below are some
potential areas for exploration.
Cultural and social issues core units
Unit 3: Professional
Studies
This unit would provide the opportunity to explore issues of
employment and equal rights. The rights and responsibilities of
workers in cultural industries will feature as part of the content of
this unit. Issues related to Europe-wide employment contexts may
provide a theme.
Unit 4: Historical and
Contextual Referencing
Issues may be raised in this unit dependent on theme. European art
and non-European art may be appropriate source material to be
explored. World art forms may also provide material.
Unit 6: Critical Study This unit offers the opportunity for learners following a design
based approach to explore the wider visual arts context in research
and development of production ideas.
Unit 9: Cultural
Understanding in Fashion
This unit may offer the potential for an overview of the cultural,
ethical and moral context of the development of design. This may
best be delivered through a case study approach.
Unit 11: Design
Application in Textiles
This is a practical unit which presents the opportunity for the
exploration of cultural and social themes related to the chosen
theme.
Issue 1 April 2005
230

Issue 1 April 2005
231
Annex D
BTEC Higher Nationals in Fashion and Textiles
This Qualification Requirement should be read in conjunction with the overarching guidance
from Edexcel.
Rationale
BTEC Higher Nationals in Fashion and Textiles should be developed to focus on:
Fashion and Textiles, Fashion and Textiles (Fashion) and Fashion and Textiles (Textiles)
equipping learners with the knowledge, and understanding and skills required for success in
current and future employment or for progression to an undergraduate degree
equipping learners with transferable skills that will enable them to meet changing
circumstances, whether these arise from a shift in their own sphere of employment,
promotion to management roles or from general changes in professional practices or
technological advances
the role of the fashion and textiles designer and their relationship within the business in
which they work and how their role and that of their business fits within the overall
structure of the graphic communications industry
providing opportunities for learners to focus on the development of the higher-level skills in
a fashion and textiles context
providing opportunities for centres to devise programmes of study that meet local or
specialist needs.
Aims of the qualification
BTEC Higher National Diplomas in Fashion and Textiles should meet the needs of the above
rationale by:
providing an educational foundation for a range of creative, technical and management
careers in fashion and textiles
providing specialist studies directly relevant to pathways of fashion and textiles in which
learners intend to seek employment
enabling learners to make an immediate contribution in employment
providing flexibility, knowledge, skills and motivation as a basis for future studies and
career development
developing learners abilities in fashion and textiles through effective use and combination
of the knowledge and skills gained in different parts of the qualification
developing a range of skills and techniques, personal qualities and attitudes essential for
successful performance in professional working life.

Issue 1 April 2005
232
Mandatory curriculum
Drawing techniques in fashion and textiles: learners should experiment with drawing
techniques and approaches in order to broaden their understanding of visual language.
Visual language: learners should investigate the use of visual language in the fashion and
textiles industries and how it is used to communicate with the intended audience. This
investigation should be used to inform the production of their own work.
Professional studies: learners should relate practical studies in fashion and textiles design to a
professional context.
Context: learners should study cultural history that informs current thought and debate within
fashion and textiles. The emphasis should be on research and study skills and on learners
acquiring source material and knowledge.
Professional practice and development: learners should be provided with the knowledge, skill
and understanding necessary to produce a coherent and presentable portfolio of work.
Critical study: learners should be provided with the knowledge, skill and understanding
necessary to define and research an historical context and relate it to the present.
Optional curriculum
Optional specialist routes through the qualification can be developed in the following context.
Fashion: where learners investigate the fashion industry and fashion markets, learn to design
and produce fashion garments and products, investigate fashion techniques and processes,
realise a fashion collection and explore clothing manufacture production operations.
Textiles: where learners investigate the surface pattern and textiles industry, learn to design and
produce surface pattern designs and textiles products, investigate textiles specialist techniques
and processes and explore textiles manufacture production operations.
Professional body recognition
BTEC Higher Nationals in Fashion and Textiles have been developed with career progression
and recognition by professional bodies in mind. It is essential that learners gain the maximum
benefit from their programme of study.
Links to National Standards
There is the opportunity for programmes in fashion and textiles to provide some of the
underpinning knowledge, understanding and skills for the Level 3 NVQ in Design.
Entry prerequisites
Edexcels policy regarding access to its qualifications is that:
the qualifications should be available to everyone who is capable of reaching the required
standards
the qualifications should be free from any barriers that restrict access and progression
there should be equal opportunities for all wishing to access the qualifications.

Issue 1 April 2005
233
Centres are required to recruit learners to BTEC qualifications with integrity. This will include
ensuring that applicants have appropriate information and advice about the qualifications and
that the qualification will meet their needs. Centres should take appropriate steps to assess each
applicants potential and make a professional judgement about their ability to successfully
complete the programme of study and achieve the qualification. This assessment will need to
take account of the support available to the learner within the centre during their programme of
study and any specific support that might be necessary to allow the learner to access the
assessment for the qualification. Centres should also show regard for Edexcels policy on
learners with particular requirements.
Centres will need to review the profile of qualifications and/or experience held by applicants,
considering whether this profile shows an ability to progress to a Level 5 qualification. For
learners who have recently been in education, the entry profile is likely to include one of the
following:
a BTEC National Certificate or Diploma in Design or Art and Design
an AVCE/Advanced GNVQ in an appropriate vocational area
a GCE Advanced level profile which demonstrates strong performance in a relevant subject
or an adequate performance in more than one GCE subject. This profile is likely to be
supported by GCSE grades at A* to C
other related Level 3 qualifications
an Access to Higher Education Certificate awarded by an approved further education
institution
related work experience.
Mature learners may present a more varied profile of achievement that is likely to include
extensive work experience (paid and/or unpaid) and/or achievement of a range of professional
qualifications in their work sector.
Higher-level skills and abilities
Learners will be expected to develop the following skills during the programme of study:
synthesis of a range of concepts, knowledge and skills relating to fashion and textiles
application of complex theories to practical realistic work situations in the fashion and
textiles sector
independence of approach to study and the generation of fashion and textiles evidence
ability to engage with complex and/or unpredictable situations in fashion and textiles
contexts
ability to take responsibility to manage and direct their own and others activities
insight and judgement in relation to the margins and consequences of error
research and investigative skills
responsiveness to change and ability to multi task
ability to innovate and work in a creative way.

690rl06040305\LT\PD\HIGHER NATIONALS\BH015805 HN IN FASHION AND TEXTILES L5.DOC.1--242/3

Further copies of this publication are available from
Edexcel Publications, Adamsway, Mansfield, Notts, NG18 4FN

Telephone: 01623 467467
Fax: 01623 450481
Email: publications@linneydirect.com

Publications Code BH015805 April 2005

For more information on Edexcel and BTEC qualifications please contact
Customer Services on 0870 240 9800
or http://enquiries.edexcel.org.uk
or visit our website: www.edexcel.org.uk

Edexcel Limited. Registered in England and Wales No. 4496750
Registered Office: One90 High Holborn, London WC1V 7BH

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