Everything you need for your as textiles technology

EVERYTHING YOU NEED
FOR YOUR AS TEXTILES
TECHNOLOGY EXAM
2014/15

Contents:
Fibre types:
Source and classification of the main fibre groups Students should know the
qualities of the fibres and understand how they affect the end use.
Natural fibres
• Plant/cellulose: cotton, linen, ramie – eg high absorbency, tendency to crease,
good strength, cool to wear.
• Animal/protein: wool, silk, hair, eg are absorbent, thermally insulating, can be
difficult to care for especially wool because of the scales. Generally considered to
be high quality fibres.
• Cellulosic fibres: cotton, linen, ramie, viscose share common features, such as
high absorbency, poor resistance to shrinking and creasing, low thermal insulation
qualities. Protein fibres have fairly similar properties, such as high absorbency,
good thermal insulation.
Manufactured fibres
• Regenerated fibres: eg viscose, acetate, modal; these are weak fibres but the
continuous filaments make them soft to wear, they are highly absorbent and
crease badly. Outline knowledge of the process only – detail and chemical
formulae not required. Manufacturing should include reference to source, not
chemical formulae, and basic knowledge of manufacture, eg carding of natural
staple fibres before they are spun into yarns, wet spinning of regenerated fibres,
melt spinning of synthetics gives very fine smooth continuous filaments.
• Synthetic: (including microfibres): eg nylon, polyester, acrylic. These fibres are
very strong, totally non-absorbent, smooth, lightweight, do not crease and are
thermoplastic so can be heat-set. Elastomerics, eg Lycra, have high levels of
stretch and snap-back qualities.
• PVC (Polyvinyl chloride) fabrics are waterproof, have good chemical and biological
resistance and have a shine. PVC is often used to make imitation leather fabrics.
Materials and Components:
• Commercial names of fibres and fabrics: Be aware of popular
names of natural, man-made and synthetic fibres and fabrics,
including Tactel®, Lyocell®, Tencel®, Lycra®, Polar Fleece® and
Trevira®. Students should know which fibres they are made from
and understand that the fibres have often been modified, or
engineered from the standard form of the fibre to make them
better suited to their typical end-uses.

Contents:
Materials and Components:Yarns
• Carding, spinning: Understand that fibres need to be made into yarns in
order to hold them together so they can be manufactured into woven and
knitted fabrics. Carding is necessary to align staple fibres (including
filament fibres that have been cut down to staple lengths) before they can
be spun together. The importance of twist in relation to strength and bulk of
the yarn.
• Yarn types: Knowledge of basic yarn types and how they influence the
qualities of the fabrics made from them, eg staple yarns are made from
staple fibres and filament fibres cut down to staple form. Filament yarns are
made from continuous fibres; the main differences between single and
plied yarns, textured and bulked yarns – the reasons why yarns need to be
textured and the use of thermoplastic qualities to add crinkles. Fancy yarns,
eg boucle, slub, chenille, metallised yarns.
• Blending and mixing of fibres: Basic knowledge of how fibres are
combined together to make yarns; staple fibre blends including
understanding that filament fibres need to be cut to staple lengths in order
to mix them with other staple fibres, twisting together of different filament
fibres to give multi-filament yarns, basic knowledge of core spun yarns
which include elastomeric fibre.
• Fabric manufacture Knowledge of the structure of the main construction
methods and the differences between them. Students should be able to
draw/describe and recognise the main structures. Understanding of the
qualities given to the fabrics by the construction methods, including names
and typical end-uses of a range of different fabrics, some examples are
given below.
Woven
• Plain (Tabby) weave: Fabrics include calico, canvas, chambray, chiffon,
chintz, flannel, lawn, muslin, organdie, poplin, sheeting, shirting, taffeta,
voile, winceyette.
• Twill weaves: Fabrics include cavalry twill, denim, dog’s-tooth check, drill,
gabardine, herringbone tweeds, serge, and tartan.
• Satin weaves: Fabrics include satin, sateen, duchesse satin, satin-back
crepe, heavy bridal satins, lighter weight satins for linings and lingerie.
• Pile weaves: eg cut pile. Fabrics include velvet, needlecord, and corduroy.
• Loop pile: Fabrics include terry towelling. The fabrics listed above are
some of the more common examples for each construction method. There
is no expectation that all of them will be covered and teachers may choose
to include other examples as appropriate.
• Special effects achieved with coloured yarns, eg checks and stripes,
gingham, tartan. Madras; Seersucker and blister effects; broderie anglais.
Jacquard patterns, brocade. Effects with blended fibres, eg crinkle and
permanent creasing, metallic fibres, fibres which absorb dye differently to
give multi-coloured fabric. Bouclé and crepe fabrics which use special
yarns to give the desired effects in the fabrics.
• Basic knowledge of how these effects are achieved, eg a simple gingham
check fabric is made by arranging the warp threads in the loom in
alternating white and colour blocks; the weft threads are woven in the same
alternating white/colour blocks resulting in a white/colour square check
pattern.

Contents
• Knitted
• Weft knits: Fabrics include hand and machine knits, single
jerseys (stockinette), double jerseys (interlock), rib knits, polyester
fleece (has an extra yarn knitted into it and the fabric is then
brushed on both sides to give a soft dense nap), Jacquard knits
(complex patterns with different coloured yarns).
• Warp knits: Fabrics include tricot, velour.
Non-wovens
• Production of felts and bonded fabrics. Importance of scales of
wool fibre in producing wool felt.
• Understanding that non-wovens are produced directly from fibres.
Outline knowledge of web
• production and bonding methods to make fabrics.
• Typical applications for bonded and felted fabrics including
implications of a lack of strength and
• grain.
• New developments involving non-woven fabrics, eg flame
retardant fabrics, the use of carbon
• fibres for military and filtration fabrics, fabrics used for insulation
and decoration of car interiors,
• Tyvek used in buildings, fabrics impregnated with beneficial
chemicals such as those used in
• bandages and wound dressings.
• These examples are included to exemplify some different uses for
non-woven fabrics; the list is not
• intended to be prescriptive or exhaustive.
Smart materials created to provide specific properties
Students need to understand what is meant by a smart material and be aware
of a range of typical
applications, eg heat reactive, fabrics developed for health and safety
applications, performance
fabrics.
Fabric finishes
Knowledge of the effects of finishes and the reasons they are needed in
relation to the
fibre/fabric properties and end use of the product. Types of finish in
common use.
Detailed knowledge of the chemicals involved and methods of application is
not required.
Typical finishes include brushing, calendering, flame retardancy (Proban,
Pyrovatex used on cotton
fabrics), water resistance, non-iron/crease resistance, stain resistance
(Teflon®), shrink resistance
and heat setting (to give permanent pleats or crinkles, non-crease, and non-
shrink).
Surface decoration
Dyeing; domestic and industrial methods (vat, discharge and resist, eg tie-dye,
batik), stages at
which dye is applied (fibre, yarn, fabric, finished product), dye fastness –
different types and why
they are needed. Outline knowledge only; eg when resist dyeing the fabric is
printed with
chemicals which prevent dye being taken up in the chemically treated areas.

Contents
Product components
Students should have knowledge of a variety of components and their appropriateness
for a range of products in relation to the end-user, fabric and design considerations.
Fastenings
Including buttons with buttonholes/loops, zips, poppers, clips, buckles, clasps, Velcro,
D-rings, hooks and eyes, fabric and ribbon ties. Reasons why they are used and
typical applications.
Trims
Including braids, ribbons, piping, edgings, petersham, bindings, fringing, lace, beads,
sequins, diamantes, motifs. Reasons why they are used and typical applications.
Threads
Including sewing threads (eg polyester and cotton machine thread, buttonhole thread),
embroidery threads (eg stranded embroidery, Madeira/viscose machine embroidery),
special effect threads (eg metallic, glow-in-the-dark, multi-coloured). Choice and
application according to desired effect/end product.
Working properties of fibres and fabrics
Knowledge and understanding of the properties of fibres and fabrics and their physical
characteristics in relation to their choice for various design solutions. Students should
have an understanding of basic principles underlying many fabric qualities, eg trapped
air acts as an insulator, air supports combustion, smooth fibres and fabrics reflect light
better than those with texture, fabrics containing non-absorbent fibres can wick
moisture if there are air spaces, synthetic fibres are thermoplastic so can be heat-set.
Students need to have an understanding that the fibre content and yarn/fabric
construction play a part in the overall qualities of the fabric.
Fibre properties
Strength, extensibility, elasticity, fineness, electrostatic charge, lustre, thermal
insulation, flammability, moisture absorption, shrinkage.
Students should be able to make reference to typical fibres and implications for end-
use. This is a development of knowledge about fibre types and is about applying
knowledge to end-use.
Fabric qualities
Strength, durability, elasticity, flammability, thermal qualities, creasing, absorption,
stretch, formability, handle, drape, weight, pattern repeat, directional pile, nap, texture,
lustre. This includes reference to fabric construction as well as fibre/yarn content.
Testing of materials
Experience of basic testing to determine appropriate properties in relation to chosen
end use, eg flammability, crease resistance, shrink resistance, colour fastness,
strength, pilling. Awareness of fabric testing undertaken in industry – outline
knowledge only. Awareness that fabrics are tested before their selection for a
particular application. An example of this might be the use of special machines which
can repeatedly and consistently rub a fabric to check how quickly it wears into a hole
or starts to pill.
Manipulating and combining materials
Understand the need to combine materials and have outline knowledge of the main
methods used.
Mixtures, blends and laminates
Fibre content, properties of fabric in relation to different fibre content and percentages.
Typical blends and applications. Reasons for use including applications for specific
products. Laminates, eg Gore-Tex®, Sympatex®. Basic understanding of how they
work, eg laminates such as Gore-Tex® are membrane systems with two or more
layers held together with adhesive or thermoplastic fibres. They are able to prevent
water and wind from penetrating whilst allowing perspiration to escape. They are used
for outdoor clothing, particularly for extreme conditions. Lace fabrics are often backed
by a woven fabric to give them stability – these are also laminated fabrics.
Combining materials
Interfacings (eg as used to strengthen, stiffen, shape, prevent stretching of main
fabric), underlinings (eg as used to strengthen, reduce transparency, thicken main
fabric), linings (eg as used to add warmth, cover construction, aid wear, decorate
products), interlinings (eg as used to aid insulation of product). Types and applications
in relation to fabric weight and construction, and end use of product, eg a non-woven
iron-on interfacing gives a crisp finish on the collar of a shirt, polyester satin linings are
slippery so help the wearer put on and remove a jacket.

Contents
Design and Market Influence:
History of design
Study to include some of the major developments of design throughout the
nineteenth and twentieth centuries. Some examples include Op-art, art
nouveau, Pop-art, Bauhaus, psychedelic, minimalism, effects of ethics and
environment, punk but centres are free to choose other major design
developments from the 19th and 20th centuries. Students should have an
awareness of how various developments affected fashion and textile design.
Understanding of influences on aesthetic attitudes to style and fashion up to
the present day. The most important examples include the impact of women’s
emancipation, world events such as war, rise of youth cultures and
disaffection, technological developments, music and media, royalty and
celebrities, leisure activities, ethical and environmental considerations.
Students should have some knowledge of how some of these influences have
impacted on fashion – this will be a foundation for study of fashion influences
at A2 level.
Product evolution and product analysis
A study of manufactured products to illustrate the way in which the demands
of a product have evolved as a result of new materials and technologies.
Some examples include the introduction of regenerated and synthetic fibres
during 20th century, development of fabric finishes and smart materials, new
methods of manufacturing clothing and textile materials, including mass
production as opposed to bespoke, automated manufacture including CAD
and CAM, new decorative techniques such as laser printing, developments in
the care of textiles. Students should consider how textiles and products have
developed during the 20th and 21st centuries in order to fully understand
where current products have come from. Schools/colleges are free to choose
other important developments. Appraisal of functional, aesthetic, technical and
economic considerations in the design and manufacture of products, eg
analysis of a range of existing products to consider the design, materials used,
requirements of typical end users, manufacturing methods, care of the
product, ethical issues. Consideration of aspects of physical surroundings as
shaped by designers, craftsmen and technologists. For example, interior
textiles in the home and public buildings.
Design in practice
Design methodology
Analysis, research, inspiration, idea generation, illustration, modelling,
planning, evaluating and testing. Much of this will form the basis of coursework
activities but students should also have formal knowledge of these design
methodologies for Unit 1. It may include the use of trend forecasts, sales
figures, moodboards, a study of existing products, the use of templates, using
prototypes, samples and models to test and evaluate ideas, planning of work
including the manufacture of products, testing and analysing finished
outcomes and suggesting appropriate modifications and developments.
The role of the designer
An understanding of the varying roles of the commercial designer, eg
responsibilities in relation to the client and end user of a product, budget,
health and safety constraints, opportunities for innovative ideas. Exploring
different approaches to designing. Understanding of manufacturing constraints
on product design. An awareness of the environmental issues in relation to the
design of textile products. Social and moral implications of product design.
Design sources
Candidates should be able to respond to a variety of stimuli drawing from
direct observation of natural and man-made forms, secondary sources in
relation to specified design briefs.
Aiding the design process
Use of inspirational moodboards, designer sketchbooks. Analysing working
and aesthetic characteristics of a range of materials and surface decoration
techniques. Understand industrial process used to produce these effects.
Recognising design faults in existing products, eg through the analysis of
existing products and the application of theoretical knowledge from Section A.

Contents
Market research
Client profiling, identifying target market, consumer and product research, eg
opinion polls and questionnaires. Printing (screen, roller, transfer, ink jet,
stencilling). Outline knowledge of how they work; eg screen printing uses
mesh screens through which the dye paste is pushed. A different screen is
prepared for each colour in the design. Rotary screen printing and flat screen
printing are variations of the same process. Embroidery (hand and machine),
quilting (construction of quilted fabrics, reasons for use).
The marketing function
Customer identification. An awareness of the use of new technology in the
marketing of textile products. This should include developments throughout
the 20th and 21st century including the rise of fashion magazines, radio and
television advertising, the internet, mobile phone applications, special
promotions. Product costing, calculation and profit. Presentation of
colourways.
Product life cycles
Understanding the expected life cycle of products, eg in relation to intended
use, fashion seasons, cost.
Copyright protection
The issue of copyright, patenting and their importance to the designer and
manufacturer. Students should be aware of what is meant by copyright and
patenting and implications for designers but do not need detailed knowledge of
the copyright laws.
Communication methods
Students should be able to communicate the detail and form of products,
environments and systems so that they may be manufactured. They should be
able to identify and use appropriate means to communicate ideas, design
proposals and evaluations to a range of audiences, including clients and
potential users of the product, eg presentation boards, fashion illustration,
interior sketches, swatches, colourways. This terminology is used by
professional designers and should be understood by students.
Illustration
Selection and use of appropriate 2D/3D techniques, eg sketching,
drawing, use of mixed media, collage.
Enhancement
Rendering – use of line/tone/colour/form. Texture – to represent
materials, surface finishes and applied decoration Presentation –
two-dimensional and three-dimensional products.
Information drawing
Quantitative – graphs, pie charts, bar charts, pictograms
Organisational and topological – flow charts, sequential/schematic.
Modelling
Using three-dimensional form – mock-ups, prototypes, scale
models.
Use of ICT
Selection and use of CAD, word processing/DTP, spreadsheets,
databases and modelling software.
Design in the human context
Human needs
Designing to meet physiological, psychological and sociological
needs of various groups of people, eg young, elderly, and physically
handicapped in different environments and communities.
Human factors
Ergonomic and anthropometric influences and constraints. The
relationship between people, products and the environment.

Contents
Health and safety
Risk assessment in relation to the design and manufacture of products. Safety
standards imposed by The British Standards Institution (BSI), recommended
by the Department of Trade and Industry (DTI) for product design. The work of
the BSI in providing advice on the safety and other standards for a wide range
of products. Students should have outline knowledge of the existence of
different standards (eg with regard to the sizing of standard bedding, testing
for colourfastness) but are not required to have knowledge of individual
standards, for example, BS7907, 1997 relating to the safe design and
manufacture of children’s clothing. Knowledge of the basic legal
requirements relating to the flammability of textiles used for children’s
nightwear, for furnishing products in public buildings, seating in the home, and
the design requirements for children’s clothing. Recommendations for health
and safety at work for employees and the implications for the employer. For
information, the 4 main effects of The Health and Safety at work Act (1974)
are;
1. It makes employers criminally liable for failure to meet regulations.
2. It set up the Health and Safety Executive (HSE) which is responsible for
checking that the Act is being followed. HSE and local authority inspectors
visit workplaces to make sure that health and safety regulations are being
followed.
3. It gives employees the right to be represented on health and safety matters.
4. It places an obligation on employees to use safety equipment. The Act
requires businesses to make a risk assessment of their activities. The
company must appoint a Health and Safety officer who will check the
workplace for possible risks, and put into place the necessary procedures
and/or equipment to reduce risks for employees. Many chemicals are used in
the textile industry, and these may be dangerous to health if not stored and
used correctly. The Control of Substances Hazardous to Health (COSHH)
Regulations (1994) form part of the risk assessment. All workplaces should
appoint a person to be in charge of first aid and should have a clearly marked
and well stocked first aid kit.
Applications/material areas
Apparel fabrics to satisfy basic clothing requirements, eg protection,
adornment, fashion, utility, sportswear (performance sport and
leisurewear), footwear, accessories. Household fabrics, eg table/bed linen,
furnishing accessories, furnishings, floorings. Industrial textiles, eg fire
protective wear, components for vehicles/machines, automotive fabrics,
tents, awnings, harnesses, medical textiles. Students should understand
that textile materials are used in a wide variety of products and be able to
refer to various materials in relation to the needs of the end user.
Environmental concerns
Use of natural resources, materials utilisation, conservation, waste
disposal/management, pollution in broad terms, recycling. Green
technology, environmental problems. Students should have knowledge
and understanding of the issues relating to the source (eg natural fibres
compared with man-made fibres), manufacture and processing of fibres,
fabrics and products (eg use of polluting machinery, water use, dyes,
chemical finishes, energy use), transport (eg use of fossil fuels/nuclear
energy, pollution from CO2/nuclear waste, impact on infrastructures), use
and care (eg use of water, energy, detergents, chemicals to wash or dry
clean, dry, bleach, iron products), and disposal of textile products.
Students should be aware of developments aimed at minimising the
environmental effects of textile manufacture and use.

Contents
Industrial and Commercial Practice:
Manufacturing systems
One-off (also called bespoke or job production), batch, mass/line production
(sometimes called progressive bundle), vertical, in-house production.
Understanding of the differences between them, the sort of products made
using each system, the advantages and disadvantages. Pre-manufactured
components, manufacturing specifications. Response to market demands (eg
information collected through EPOS) Manufacturing sub-systems (sub
assembly as a separate line of manufacture for certain parts of a product).
Just in time production (JIT) – includes stock control, manufacture of goods as
and when needed, delivery of goods to retailer as needed.
ICT application
Knowledge and understanding of CAD/CAM for designing and manufacturing
processes, fabric production, pattern production, embroidery, and garment
manufacture. Advantages and disadvantages of using CAD and CAM. CAD
(Computer Aided Design); design of fabrics, products, colourways, product
modelling pattern construction. Students should be able to give specific
examples of where CAD could be used, eg when developing a print pattern for
fabric, virtual modelling and prototyping. CAM (Computer Aided Manufacture);
understanding of fabric manufacture, lay planning, computer controlled cutting,
sewing, pressing, decoration. Students should be able to refer to specific
processes used in the manufacture of textile products, eg automated
buttonholing, the making and sewing of pockets, automated seam stitching.
ICT used in the integration of manufacture (CIM). Students should understand
that ICT is used to link the systems so that different automated systems can
talk to each other and work together.
Pattern drafting
Basic pattern/template drafting, including the knowledge and use of technical
terms (basic block, labelling and notching, balance marks, seam allowance
and ease). Students should be able to work from a set of basic block patterns
(bodice front and back, sleeve, skirt and trouser front and back), developed for
individual measurements or from commercial basic blocks. Principles of
grading.
Basic adaptation to create unique individual styles – manipulation of the
basic templates to develop patterns as required. Moving of darts to create
new fullness or shaping, creating yokes. The raglan, kimono and princess
developments are not required.
Product manufacture
Fabric preparation, lay planning, marking and cutting out, methods of
joining, shaping, finishing of edges, selection of construction techniques
appropriate to the fabric being used and the product being made. Much of
this knowledge will be developed through coursework activities and
students should be given opportunities to work with a wide range of
different products and materials. Areas not covered through coursework
activities will need to be taught elsewhere. Pressing – use of correct tools,
eg iron, pressing cloth, needleboard for pile fabrics. Labelling and
packaging; their functions, information typically found on labels including
that required by law, and Quality Assurance symbols, eg wool mark, 100%
cotton logo, Tencel logo, Teflon fabric finish logo. Environmental impact of
packaging. To plan appropriate methods and processes for the
manufacture of chosen products, including amendments and adaptations of
prototypes and the use of industrial manufacturing processes.
Product maintenance
Care and maintenance of products. Information shown on care labels,
including symbols used. Students should be able to recognise symbols in
current use and understand what they mean. Relationship between care
recommendations and fibre/fabric properties. This involves application of
fibre and fabric knowledge to the recommended care.

Environmental concerns
An awareness of the environmental issues in relation to fibre/fabric production
and the dyeing of fabrics and piece goods, eg energy use, use and disposal of
dyes, water use.
Health and safety
Risk assessment and health and safety issues related to the manufacture of
textile products. For example, safety for the textile workers, such as the use of
specific Personal Protective Equipment (PPE), guards on machines, lighting
and ventilation in the factory.
Systems and control
Quality assurance and quality control
The concept of quality assurance as an over-arching system of which quality
control is a part. Quality control checks throughout the manufacturing process.
This should include the different stages of manufacture when quality might be
checked, specific examples of what the checker would be looking for,
implications of not checking quality. Systems diagrams – input, process,
output. Loop feedback systems which ensure quality. For example, faulty
stitching of seams can be due to faulty machine settings or inadequate training
of machinists. Regular QC checks help identify the specific workstation
producing the inferior stitching and the underlying problem can them be
rectified. Awareness of quality and finish in the manufacture of own products.
Contents
Industrial and Commercial Practice:

Section 1

Knowledge and Understanding Audit…
Go through the list of knowledge you
need to learn for your exam. Rank
from 1-5 on how well you know the
topic.
1-2: is Very confident and could
answer questions already.
3-4: is needs a re-cap and then could
have a go at answering questions.
5: is I can’t remember a thing and
would freak if I had to answer a
question!

What do you know about fibres already?
1. In groups,
brainstorm all of the
information you can
remember about
fibres.
2. Now write down as
many questions or
queries you have about
the topic.
What do you fell you still
need to learn?

The basics…
Manufactured
Fibres
Natural Fibres

http://www.fibersource.com/f-tutor/q-guide.htm
Commercial names of Fibres

What do these all have in common?

They all use Smart Fabric Technology

Aim:
To understand the creation and
developments of modern materials,
smart fabrics and performance
textiles
1
2
3
4
Smart
materials
provide specific
properties
What are the
benefits and
disadvantages of
modern and
smart textiles?
The BIG ?
Have an awareness of
a range of smart
fabrics
Know the commercial
names of a range of smart
fabrics
Understand the uses
of a range of smart
fabrics
Know a range of finishes
used for certain functions

Definition:
Modern and smart fabrics are
designed to maximise
characteristics such as
lightness, breathability,
waterproofing etc, or to react to
heat or light. They are usually
manufactured using
microfibres.

It will be impossible to learn and remember all of the smart and modern
fabrics developed to date but there are some key contenders you should
remember for your exam.
There are many areas of
development within Textiles and
they spread to a wide range of
industries
• Sportswear
• Fashion
• Medicine
• Military
• Agriculture
• Aerospace
• Police
• Transport
• Protective wear
• Interiors
• + many many more
You should already be aware of
some commercial names of smart
fabrics…
Can you name any?
? ? ? ? ?

• Sportswear
• Fashion
• Medicine
• Military
• Agriculture
• Aerospace
• Police
• Transport
• Protective wear
• Interiors
• + many many more

Kevla
r
Tence
l
Nome
x
Many developments today rely on blends so it is difficult to
ignore products which include Lycra. This would be
acceptable to discuss in an exam answer as long as you
reference other smart fabrics with it.

Some key definitions
Modern Materials
This includes regenerated cellulose
fibres Lyocell and Tencel, the synthetics
fibres Kevlar and Nomex as well as
Chlorofibre (PVC), Fluorofibre (PTFE)
and Polyolefin (polypropylene).
These fibres have been engineered to
produce fabrics with special properties.
Fibres can also be developed using
blended
Smart Fabrics
They provide added characteristics
such as breathable, waterproof and
windproof.
Some smart fabrics are said to be
‘intelligent’ because they respond to the
needs of the user and the environment.
Can often incorporate microelectronics.
Performance Textiles
Textiles which relate to a products
performance in a specific end-use.
Performance textiles include products
used for outdoor pursuits or sport.
Industrial Textiles
Manufactured to meet specific
technical requirements. Used for
functional end-use in industry, either as
part of an industrial process or
incorporated into industrial products.
Technical Textiles
Mainly for technical performance and
finctional properties rather than
aesthetics. Used for protective clothing,
upholstery, furnishings, buildings, civil
engineering, sports, leisure, agricultural,
medicine and health care.

The main reason for
fabric innovation
includes;
Aesthetics – handle, drape,
softness, lustre, weight, texture,
pattern
Performance – easy-care, stretch,
shape retention, durability,
waterproofing
Spinning and weaving – blended
yarns (lyocell/lycra) or microfibres
Finishing – bio-stoning denim, using
resin treatments, peach skin effects
Garment Finishing – non-iron, easy-
care
When developing new smart materials a range of considerations have to be
taken into account.
For example; garments – aesthetics, versatility, fashion and performance-in-
use

Task:
You have been asked to
design a range of
protective clothing for
the workers on a new
building site.
You need to
consider the
specification points
for the wearer as
well as the employer
For the user, the safety wear
must be:
For the employer, the
product must:

For the user, the safety wear
must be:
• Highly visible
• Flexible
• Comfortable to wear
• Easy fastening
• Durable
• Waterproof
• Lightweight
• Non-flammable
• Resistant to real – life
wear conditions (soiling,
extreme heats etc)
• Attractive in style and
colour
For the employer, the
product must:
• Meet safety and
performance requirements
to the British and EU
Legislation
• Carry the CE mark
• Provide life long functional
performance and be easy
to maintain
• Withstand industrial
washing at extreme
temperatures
• Be high quality
• Value for money
• Available in a range of
sizes
• Provide a quality design

Lyocell Generic name for a high performance staple
viscose fibre produced from renewable
sources of wood pulp.
It is environmentally friendly because it
recycles non-toxic solvent amine oxide.
Products made from Lyocell can also be
recycled after use by incinerating, landfilled or
digested in sewage.
In anaerobic digestion (sewage farm) the
fibre degrades completely in eight days to
leave only water and carbon dioxide. This is
then used to power the sewage plant.

Lyocell
Characteristics
Fibrillation
The ability for fibres to split to give micro-fine
surface hairs. Can be manufactured to suit
different needs.
Surface effects
A variety of finishes can be applied ; dyeing,
milling (rolling fabric to create a denser
handle), sueding, sanding and brushing
Strength
Lyocell is stronger than other cellulose fibres
including cotton and out-performs many
types of polyester
Absorbency
Lyocell is easy-care, dyes well, has good
‘wicking’ properties so is breathable
Disposal
Totally biodegradable and can be
recycled
Versatile fibre which can be used on
it’s own or blended

Lyocell End uses
Technical Textiles
• Protective clothing
• Workwear
• Coated fabrics
• Sewing threads
• Tents
• felts
Nonwovens
• Medical wipes and dressings
• Wet wipes
• Leather substitutes
• Filters
• interlinings
Special Papers
• Tea bags
• Air/smoke/oil/coffee filters
• Map papers
• Printing papers
• High-strength envelopes

Tencel
Brand name for a high performance
viscose fibre, made from 100%
regenerated cellulose from trees in
managed forests.
Similar to Lyocell in the way it is
manufactured
It is:
• Stronger than cotton when wet and
dry
• Easy-care with very low shrinkage
• Durable, luxurious and practical
• Very absorbent and breathable
• Totally biodegradable and recyclable
When blended with
fibres such as wool,
linen, cotton or elestane
Tencel provides
enhanced softness,
lustre, drape for
clothing.
It can be woven or
knitted and easily dyed
or finished.
The fact that it fibrillates
(splits) means it can
look completely different
ie looks like tough
denim but feel like
velvet

Aramid
Generic name for a family of
synthetic polymer fibres
made from petro-chemicals.
Expensive high tech aramid fibres can be engineered to
produce woven, knitted, non-woven or cabled technical
textiles, which provides high strength and heat
resistance

Kevlar Brand name for a family of
aramid fibres which are high
strength, lightweight, flame
and chemical-resistant,
flexible and comfortable.
An important synthetic fibre because it’s
unique properties make it suitable for a
wide variety of industrial uses.
5 times stronger than steel of an equivalent
weight.
Flexible, comfortable and chemical-
resistant making it suitable for a range of
protective wear.
End uses:
• Bullet proof vests
• High risk activity
equipment – hot air
ballooning
• High-tension cables
and ropes for
bridges
• Gloves to protect
against cuts and
injuries
• Strong, lightweight
skis, helmets, tennis
racquets
• Tyres, car hoses,
aircraft structures
and boats
https://www.youtube.com/watch?v=J1KGF
onmZzQ

Nomex Brand name for a family of
aramid fibres that are high
temperature resistant.
They have a unique combination of heat and flame resistance, durability,
anti-static, low shrinkage, easy-care, comfort and aesthetic qualities.
Resistant to most industrial oils, solvents and chemicals.
Can be dyed easily and used for protection in iundustry for the Police, and
armed forces, fire fighters and high risk sports.
In motor sports Nomex is used for protective overals, underwear and head
cover.
https://www.youtube.com/watch?v=S0G6y
MFN0RE

Polyvinylchloride PVC
Made from petro
chemicals
Can be manufactured
as filament or spun
fibres
Can be manufactured
as a coating
Advantages:
Strong
Flexible
Durable
Breathable
Easy-care
Waterproof
Insulator
Thermoplastic
Can be blended
End uses
Raincoats, shower curtains, floor
coverings, architectural tyextiles,
underwear, jumpers, hats, scarves, gloves,
active wear, fleece
Disadvantage:
Non-renewable resource

Polytetrafluoroethylene PTFE)
Generic name for synthetic fluorofibre,
made from petochemicals
Hydrophobic – Water
hating
Used in high tech fabrics such as
Gore-Tex
Oleophobic – Oil hating

Teflon Brand name for a high-
performance fabric-care
product made from PTFE.
It protects fabrics and leather
against water, stains and oil-
based spills.
Teflon works by surrounding
each fibre with an invisible
barrier so the fabric doesn’t
attract soiling or soak up wet
stains.
Safe, gentle, effective, water-
based and CFC free so it
doesn’t harm the environment.
Teflon coated fabrics
are windproof,
waterproof, stain-
resistant, breathable
and easy-care.
Developed as
part of the
American space
programme
http://video.nationalgeographic.com/video/i
-didnt-know-that/idkt-teflon

Goretex
Brand name for smart
microporous membrane
made from a composite of
oil-hating substance and
PTFE
https://www.youtube.com/watch?v=5dqKe2
IuNZs
https://www.youtube.com/watch?v=F9LoE
Mkl700
https://www.youtube.com/watch?v=5pH2J
VseKms

What will I learn today?
• Source and classification of main fibre groups
• Understand the commercial names of fibres and fabrics
• Know different types of yarns and processes used

Classification of fibres
Source Properties Finishing
used
Blends Typical
fabrics
End uses Aftercare
Task:
Use the internet to complete this chart
with information to use as a revision tool.
Include commercial names too.
Stick in the samples of some of the
fabrics.
Complete for H/W

What is the definition of a
yarn?
A yarn is defined as a fine continuous length of fibres or fillaments, with
or without twist.
To be useful, yarns need to be strong enough to be made into fabric.
Fibres are generally produced by the process of spinning in to a variety
of of different yarn types;
Single, ply, cabled, corespun or a fancy yarn

Twist…
Twist is put into yarns during
spinning to make them stronger,
so they are suitable for weaving
and knitting.
Yarns can be spun clockwise (Z
twist) and Anti clockwise (S twist)
Fabrics made from spun yarn are
usually Z twist in the warp and S
twist in the weft.
Light reflects in opposite
directions creating a striped
effect.

Task:
Investigate the different types of twisted
yarns, recording appearance, texture,
functions and products it could be used
for.
Give visual examples to prompt you
when revising.

A2 – Outside reading and research on:
• Inorganic
• Special woven effects including –
plaids, tartans, brocades, doublecloth,
pique, checks, madras and checks.
• Knitted stuctures – plain, single, double
jersey, pique, rib knits, jaqcuard knits,
locknit, lace and net construction.

What will I learn today?
• Understand how different fabrics are created using
different techniques and processes
• Identify different finishes used on fabrics and their
purpose
• Understand the importance of function of different fabrics
and their end use

Task:
Examine a selection of fabric samples.
1. Pull off a few of the warp and weft yarns
2. Cut two of the yarns to the same length and count
the number of twists in each.
3. Feel the yarns and describe their properties.
4. Untwist the yarns and describe their structure. See
if you can pull out a single fibre – is it a staple or
filament?
5. Try to decide if any of the yarns are made from
blended fibres – do all of the fibres look the same?
Make a record of your findings in your book.

Weave
Plain weave – the most used weave construction, provising endless design
variations through using plain, thick and thin, coloured and fancy yarns.
It is hardwearing, strong and firm and used for lots of different types of fabric.
Calico – low cost cotton fabric made in different weights and lengths. Often used
for toiles and experimental work.
Voile – is light weight and sheer made from cotton, silk, rayon, nylon. Used for
blouses, dresses, childrens’ wear and curtains.
There are many more different types of fabric which is produced using a plain
weave. Investigate as many different types as you can, using your samples as
examples.
Sketch the design of the weave to identify what it is.

Weave
Twill Weave – produces diagonal lines in the fabric, which usually run bottom left
to top right on the fabric face.
Weaving twills in different directions produces fabrics with different patterns for
example; herringbone or chevron
Twill weave drapes well and is one of the most used weave constructions for
denim and gabardine.
Twill is used for products such as trousers, jackets, suits and curtains.
Viyella is a 2/2 twill fabric woven from wool/cotton blend fibres in the warp and
weft. 55% wool, 45% cotton and can be plain, checked or stripe.

Weave
Satin Weave – warp faced, which makes it strong warpwise and drapes well.
Has a smooth and shiny face and the weft shows only on the back.
Used for curtain linings, evening wear, upholstery, ribbons and trims, depending
on the fibre, for example; Cotton, polyester/cotton, acetate, polyester or silk.
Sateen – weft faced so that the warp shows only on the back. Often used for a
base for more complex weave constructions such as a crepe.
Damask – more expensive mercerised cotton, which is sometimes used for
tablecloths. The pattern is made by interchanging satin and sateen weave.

Plain Weave Twill Weave
Satin Weave

What might I be asked in the exam?

Cotton is a strong fabric which would
last a long time when worn by
children. Cotton is also easy care and
can be machine washed easily.
Towelling is textured giving the
garment a warm and comfortable
handle.
What Grade would you give this answer?

Silk chiffon is a fine fabric which is translucent. A
French seam could be used on the seams to create
a neat finish. The fabric is delicate and would need
care taken when cleaning.
How many marks would you give this answer?

Now compare the two answers to see how they
compare?

Weave
Task-
Now investigate and research the
following weave structures in the same
way;
• Crepe fabric
• Jacquard
• Pile weaves
• Needlecord and corduroy
• Terry towelling
• Fabric Mixture
• Colour woven Fabrics
Record the design, handle, properties and explain the end uses for the
fabric.

Non – Woven Fabrics
Non - Woven
Felts Bonded webbs
Wool felt Needle felt
Adhesive
Bonded
Thermally
Bonded
Solvent
Bonded

Research Felt and Bonded webbs.
Record the design, handle, properties and explain the
end uses for the fabric.

Aim:
Have a knowledge of
commercial and hand
methods of finishing
processes in Textiles
The BIG ?
What suitable method of
printing could you use for
a women’s cotton
blouse?
1. Be able to name and describe at
least 1 commercial method of dyeing
and printing
2. Understand a range of surface
decorative techniques
3. Have an understanding of a variety
of finishes used in the textiles industry
H/W: Due Mrs
Temples lesson
‘Answer the
exam practice
questions’

Dyein
g
Fabrics often need to be washed, bleached
and dyed before being transformed into
textiles products
Before the fabric is dyed it
is mercerised, which
means the yarns treated
to improve the strength,
lustre and receptivity to
dye.
Commercial dyeing
Fabric can be continuous dyed or
batch dyed.
Continuous Dyeing -
https://www.youtube.com/watch?v
=3Oau0QvCwOk
Batch Dyeing
Fabrics are dyed to order in large batches according to the
colours required.
Batch dyeing is used for fabrics that have to change in colour
due to high turnaround in fashion.

Now
experiment
dyeing your
own piece of
fabric
You will need:
Gloves
Calico fabric
Water based dyes
Newspaper
Drying rack

Printing
There are different types of printing;
Block Printing
Screen printing
Industrial flat-bed screen printing
Rotary screen printing
Block printing
Created using metal or wooden
blocks, one used for each colour.
The background shapes are cut
away to leave a raised design on
the block (think of potato printing).
Dye is applied and stamped onto
the fabric.
It is a slow process and used by
mainly specialist craft industries.
Screen Printing
(machine)
Created by printing a pattern on to
fabric by using a stencil held in
place by a screen.
Each screen prints out the design
in one colour.
Once printed the design must be
fixed with steam or dry heat.
Manual screen printing is created
by hand and is a longer process
and used for bespoke or small
runs.
http://www.bbc.co.uk/learningzone/clips/ind
ian-block-printing/917.html

Manual Screen printing
http://www.youtube.com/watch?v=6c_7AP
7n7GA
https://www.youtube.com/watch?v=yhH6eo
CbXPQ

Industrial Flat-bed screen
printing
https://www.youtube.com/watch?v=H0BS
Wp9BnTE
Fabric is moved through a machine on a conveyor belt and
printed repeating very quickly.
https://www.youtube.com/watch?v=FCarX
RadOnk

Rotary screen printing
This is created by using CAD and roller squeeges. One
roller is used for each colour, making it a very fast and
effective continuous printing method. Suitable for
furnishing and clothing fabrics.
https://www.youtube.com/watc
h?v=R04Dbm3ZRAE

Surface decoration
In pairs/groups, create a list of
all of the surface decoration
techniques you can think of
with a brief explanation of
what they mean.

Surface decoration
Applique
Reverse
Applique
Patchwork
Quilting
Machine
Embroidery

Surface decoration
Hand
embroidery
CAD/CAM
embroidery
Beading
Shisha
Mirrorwork

Surface decoration
Resist – tie
dyeing
Resist – Batik

Task:
Create a design for a children’s wall hanging
which uses at least 4 of the decorative
techniques described in the lesson.
Use annotations to explain the techniques and
how you have used them in your design.
Complete for
homework – due
in next lesson.

HAND AND
COMMERCIAL
PROCCESSES
AS Textiles

• Understand, in depth, the preparing, Processing and
Combining of materials
• Be able to explain the properties of different processes
and the reasons for use
• Have a good understanding of which processes are
suitable on a variety of fabrics
What you will learn in this presentation

• Most widely produced and used natural fibre
• Cotton plants need a tropical environment and climate to
grow in
• Harvested by hand or by cotton harvesting machines
• The fibres are separated from the seeds by a process
called GINNING
• The separated fibres are called LINT
Cotton Production

• The whole fleece is shorn from the sheep using electric
shears
• Its then graded into qualities of fineness, crimp, length,
impurities and colour
• About 40% is the sheeps grease LANOLIN, dirt and
burs it is removed by gently scouring
• Vegetable matter is removed by using sulphuric acid
• The fibres are then spun into fine, smooth yarn using the
WORSTED process or into more coarse bulky yarns
using the woollen process
Wool Production

• Woollen yarns are coarse, hairy, irregular, rustic
appearance made from shorter staple fibres
• Worsted yarns are smooth, uniform, regular, fine and
lustrous made from longer types of staple fibres
Wool Production

• Viscose is produced by using chemicals that cannot be recovered or re-
used.
• The raw material for VISCOSE is CELLULOSE extracted from
eucalyptus, pine or beech wood chips
• The cellulose is purified, bleached, pressed into sheets and dissolved in
sodium hydroxide
• It is then pressed again, shredded and aged
• CARBON DISULPHIDE converts the cellulose into a fluid honey like
liquid which extruded through a spinneret into a spinning bath
• The cellulose solidifies and is drawn into filaments
• Washed to remove the chemicals and lubricated for supleness, dried and
wound onto spools as a filament viscose
• Staple fibres are made by cutting the filaments into shorter lengths
Regenerated Fibre Production

• 3 similar processes which all use a reservoir to hold the
synthetic polymer, a metering pump, a spinneret, a fluid in
which the filaments are formed and a take – up
mechanism which draws the filaments ready for winding
• The spinneret size and shape together with the spinning
and drawing processes determine the diameter of the
filament.
Synthetic Fibre Production

• Compare the manufacture of regenerated and synthetic
fibres, noting any similarities and differences
• Explain why woollen and worsted yarns have different
properties
Task…

• Used to improve the properties and appearance of
the fibre type
• It can make it more cost effective to manufacture
• E.g. polycotton – the polyester provides crease-
resistance and the cotton is absorbent
• They can give added comfort to a fabric
Blended Fibres
Task –
Suggest two different fibre blends suitable for workwear, justifying your
choice
Discuss the benefits for a suiting fabric, of using a
polyester/elastane/woolen blend

• Finishing is part of a quality assurance system to
ensure that textiles:
1. Meet quality requirements
2. Are fault-free and clean
3. Match the manufacturing specification
4. Are safe for users
5. Are fit for the intended purpose
Finishing Processes for Function and
Decoration

• Gives quality and added value to a product
• Physical finishes provide aesthetic characteristics such
as handle or drape
• Chemical finishes enhance functional or performance
characteristics, such as waterproofing
There are 4 classes of finishing;
1. Permanent – chemical finish such as flame resistance
2. Durable, lasting the life of the product, like permanent
pleating
3. Semi durable, lasting several launderings, like shower
proof
4. Temporary removed by laundering, like pressing or
calendaring
Reasons for finishing

1. Cotton fabrics can be singed to remove short fibres
protruding from the fabric. Makes the fabric smoother and
reduces pilling
2. Scouring is a wash treatment to remove natural fats and
waxes, dirt and oil. Washing also relaxes the fabric
3. Shrinking is a mechanical treatment to achieve dimensional
stability so fabric wont shrink later on
4. Bleaching cellulose fabrics is a chemical process using
hydrogen peroxide to destroy the natural colour for dyeing
5. Mercerising is a chemical process used for cotton yarn or
fabric held under tension in a solution of caustic soda.
causes fibres to swell and become rounder making textiles
stronger and more lustrous
Preparation

Colouration Task
Investigate the following techniques, creating a
revision tool to share in class.
• Dyeing
• Tie-dyeing
• Batik
• Printing

Raising
This is a technique used for brushing fabric, passing
fabric over rollers covered in fine flexible wire
brushes. This lifts the fibres from the fabric to form a
soft fibrous surface called a NAP
IMAGE page 100
Finishing Processes - Mechanical
(physical)

Calendering
Fabric is passed between heated heavy
rollers under pressure – a bit like ironing
It;
• Smooth the surface
• Improves lustre and shine
• Water marked fabrics – moire
• Embossed patterns

• Scan page 101
Chemical finishing

Laminating
Combing two layers together, one must be a textile fabric
They are bonded by adhesives or by thermoplastic quality
of one or other material
Iron on vilene van be bonded to another fabric to stiffen
Gore-tex can be laminated to any other fabric for use in all
weather wear
Foam can be laminated to upholstery

• Give three reasons why it is important to finish fabrics
• Explain the difference between physical and chemical
finishing with examples of how and why they are used
Task…

• video
Printing at Liberties

• Applique
• Batik
• Silk painting
• Tie-dyeing
• Printing
• Embroidery
• Quilting
• patchwork
Decorative and Stitch techniques
Create a portfolio of
samples to help you
remember the
techniques and
processes

Fibre Properties and Fabric
Characteristics

MANIPULATINGANDCOMBINING MATERIALS

Using newspaper, create 5
different manipulated
techniques which could be
transferred to fabric

Investigation..
Create a style book which investigates and
researches different types of fabric
manipulation.
Think about;
• Fabric choices
• Techniques
• Functions
• Properties
• Uses
• Links to trends/designers/eras

Practical task…
Use your investigation research booklet to
experiment recreating some of the
techniques you have found.
Use newspaper and scraps of fabric to
experiment with the samples.
Document your samples with
photographs or stick them into your
books

Section 2

HTTP://VINTAGEFASHIO
NGUILD.ORG/FASHION-
TIMELINE/

FashionthroughtheEras
Be able to identify different fashion from
historical eras.
Make links between periods of fashion and
past & present designers.
Be able to discuss confidently in an exam
question, justifying your answers/opinions
with examples.

Punk – 1980’s
Marie Antoinette –
Film culture
Marie Antoinette
Bustles
Volume
Tartan
Corsetry
1800’s
influence

Research into a chosen era. Make links
between past and present designers
and how different time periods have
influenced their collections.
You can also discuss how culture,
media, music etc has also influenced
their designs.
• Show lots of examples with annotations.
• You could even sketch out some designs yourself.
• Try to link the research with your current coursework
so you could use along side.
• Be creative in your presentation!
Use the website
to help you get
started.

Product evolution and product analysis

PRODUCT
ANALYSIS
Strengths Weaknesses
Opportunities Threats

Purpose?
A starting point for a new
design. It provides information
about existing products to
help develop new and
improved ones to the market.

Reasons to Analyse
• Properties of materials used in existing products
• Quality of design and manufacture of the product
• Fitness – for – purpose
• Why it’s selling/not selling
• How well a product meets requirements
• Develop new product designs based on changed or new
British/international standards
• Develop product design specifications and design ideas
for new products

Factors to consider…
• Aesthetic characteristics – drape and handle
• Functional requirements – strength or water resistant
• Scale of production – justify
• Cost of fabrics and components in relation to quality
• Availability of a continuous supply for high volume
production – quality control
Product Analysis gives the design the ability to make
informed decisions when analysing a textile product.

What questions
should I ask?
What is the fibre content?
What is the fabric structure?
Has a finish been applied during
manufacture to enhance the
properties?

Task:
Choose a product to analyse
and create a report which
would help you to create a
detailed design specification for
a new product.
Remember to look at:
• Aesthetic characteristics – drape and
handle
• Functional requirements – strength or
water resistant
• Scale of production – justify
• Cost of fabrics and components in
relation to quality
• Availability of a continuous supply for
high volume production – quality
control
Remember!
A design
specification is a
detailed list of
criteria which your
new product should
meet.

Fabrics Used:
Blends
Strengths/weaknesses
Reasons for use
Aesthetic appeal
Fabric Characteristics:
Suitability
Possible alternatives
Strengths weaknesses
Trims and
Components:
Functions
Aesthetics
Strengths/weaknesses
Scale of Production:
One off
Batch
Mass production
Justifications
Suitability
Alternatives with
justifications
Cost implications:
Fabrics
Trims
Components
Pros/cons
Alternatives
Production costs
Care label:
Easy/high maintenance
Cost
Justifications
Alternatives
Environmental Issues:
Processes used
Manufacture
Sustainable fabrics
Organic
Fair trade
etc
Details of the product:
Construction methods
Suitability
Alternatives
Functional purpose
Aesthetics
Conclusion:
A summary of your
findings to help with
writing a design
specification for a new
product.

Task
You have been asked to write an essay/article for a fashion
magazine about ‘The work of past and present textile designers’.
The article must be 500words or more.
Discuss/explain:
• How it’s related to textile and fashion products
• To include design movements
• Influences on product design
• Trends
• Street culture
• Music
• Media
• World events
• Have an understanding of the developments of fashion in clothing,
accessories and furnishings.
• Appreciate the influence and contribution of leading fashion and textile
designers.

Copyright protection
The doorstop design is copyrighted. Why is this important?
...............................................................................................
...............................................................................................
...............................................................................................
...............................................................................................
...............................................................................................
..................................................................................... (2
marks)
Aim:
At the end of this
section you will be
able to answer this
question.

Section 3
Industrial and Commercial
Practice:

Manufacturing systems
The doorstop is in the shape of a caravan. The
manufacturer wants to extend the range of these doorstops
to include different forms of transport.
Using this page and the next page, show how you could
modify the basic design shown on page 13 to make
another doorstop in the range. Include information about
fabrics, components and decorative techniques to be used.
8marks
Aim:
By the end of this
section you will be
able to answer this
question.

Question
The skirt will be commercially manufactured using a sub-
assembly system.
Explain the reasons why sub-assembly systems are used
in industrial manufacture.
6marks

FOCUS:
THE WAYS IN WHICH TEXTILE
PRODUCTS ARE
MANUFACTURED IN INDUSTRY.

Processes and Manufacture
Content
• The production systems and their processes.
• The range of hand tools, equipment and machines used
in textile production.
• CAD/CAM
• Production Flowcharts
• Quality Control and Quality Assurance

The production systems and their
processes
There are three main types of production system.
•One-off
•Batch
•Mass
Objectives
•Understand what is meant by one-
off, batch, and mass production.
•Understand line production and
subassembly systems
•Consider cost implications when
selecting method of production

One-off
• One-off production is designing and making a single
textile product to a client's specification. The garment
design is developed from a basic block pattern, with a
prototype made from inexpensive fabric to test the
drape, fit and assembly of the garment.

One-off
Haute-couture fashion: models at London Fashion Week
Task
•Look in magazines and cut out
pictures to make a collection of
designer outfits from catwalk shows.
Why are these garments made by
one-off production? How much do
these clothes and accessories cost
to buy?

Batch Production
• Batch production is manufacturing set quantities
of a textile product to order. The prototype is
made up in a medium size from the intended
fabric. The prototype is checked for quality of
design and manufacture, then put into production
in a range of standard sizes. The quantity of
products can vary from a set of four cushions
made by a designer-maker, to 20,000 jumpers
made for a department store.

Mass production
• Mass production is industrial-scale manufacture of large
quantities of products, usually on a production line. Mass
production is suitable for products that seldom need to be
redesigned and are needed in very large numbers, eg
socks or jeans.

Production system Product market Design and production Skill level and cost
One-off Made-to-measure, eg suit, wedding dress;
Made-to-measure garments are made to
fit the measurements of an
individual client; the garment
design is developed from a basic
block pattern and a toile is
made to test the fabric drape, the
fit and order of assembly
Very high-level skills in design and
manufacture; high-cost materials;
high labour costs
One-off
Haute Couture, eg made by fashion
houses
Fashion designers such as John Galliano
design Haute Couture garments
for individual clients
Very high-level skills in design and
manufacture; high-cost material
and labour costs
Batch production
Ready-to-wear (RTW) designer label, eg
Designers at Debenhams
Garments are designed to fit a range of
standard sizes and shapes.
Garment patterns are developed
from a basic block using CAD. A
sample garment is made up in a
medium size, from the intended
fabric. Once the design has been
approved it is put into production
in a range of standard sizes. They
are sold through up-market
retailers.
High-level design, pattern making and
sampling skills; cost-effective
materials and lower manufacturing
costs
Mass production Mass-market retailers, eg Top Shop
Similar production methods to batch
production: garments produced in
limited range of sizes;
standardised production methods
are used to produce a wide range
of styles. Most fashion products
are batch produced in large
batches eg 20,000. Some classic
products like jeans are mass
produced for a world market.
High-level design, pattern making and
sampling skills; cost-effective
materials; products often made
overseas where labour costs are
low

Systems and sub-systems
In a production system, a number of different
designing and manufacturing processes or sub-
systems take place at the same time. Examples of
sub-systems are:
• Lay-planning is the laying out of pattern pieces of
a fabric to work out the quantity and cost of
material required for a product.
• Costing is working out how much each product
costs in terms of including materials, labour, rent
and energy costs.

Just-in-time stock control (JIT)
This is a cost effective method of ordering components
and sub-assemblies to arrive just before they are needed.
Stock storage time is reduced but any mistakes and
deliveries will hold production up.
Summary
•Hand-crafted, exclusive products are made individually using the one-off production system.
•For a fixed number of identical products, batch production is cost effective.
•Mass production usually includes production lines
•Subassemblies are made separately before they are joined to the main product.

The range of hand tools, equipment and machines
used in textile production.
Objectives
•Have an understanding of the
variety of machines used in
textile manufacture
•Appreciate the difference
between sewing and the
embroidery machines.
Plotter/Cutting machines
Computers are used for producing Lay plans which work
out exactly where to place each pattern piece to best use
the fabric. Remember wasted fabric is wasted money!
A plotter would mark out the pattern pieces and any
construction instructions such as darts.
A CAM cutting machine automatically cuts out the pieces
following the lay plan. It cuts the fabric quickly and
accurately using vertical knives, high pressure water jets or
lasers. Many layers can be cut out at once which means
less labour costs and more efficiency
A Band saw can be used by a skilled operator. It is used for
cutting through multiple layers of fabric quickly. Metal
chain mail gloves are worn to protect the workers hands.

Sewing machines.
These range from simple machines to ones that do specialist tasks
such as buttonholes, overlocking fabric edges or CAD CAM machines
that stitch out motifs
• · Lockstitch –Used for sewing seams (Straight stitch)
• · Over locker—Stitches, cuts and finishes seams in one process
• · Seam cover—Used for sewing belt loops
• · Automatic buttonhole—Used for sewing buttonholes
• · CAD/CAM—Multihead embroidery machine

Hand tools and equipment
Tools & equipment for
• Designing, colouring and embellishing
• Measuring and marking
• Cutting
• Heating and pressing
Identify and make a list of all the tools and equipment in your
textiles classroom
Summary
•Appropriate tools and equipment should be selected, used correctly and safely, and stored in the
designated place.
•A wide variety of tools and equipment are required when designing and making
•Efficient and accurate use of tools and equipment will help ensure that high-quality products are
made.

Industrial Machinery
Below are some of the main types
of machines used in the
manufacture of textile products.
Objectives
•Have an understanding of the variety of machines used in textile manufacture
•Appreciate the difference between sewing and the embroidery machines.
Digital jet printer Knitting machine Band saw Multi-head
embroidery machine
Machinery can be
operated by hand, be
semi-automatic fully
automatic and can
also be computer
controlled

Summary
•Machines speed up the process of making and can be used to ensure high-quality products
•Many machines have fast moving parts and sharp needles. Great care must be taken to follow
safety rules to avoid injury while operating such a machine.
•Machinery can be operated by hand, semi-automatic or fully automatic and can also be computer
controlled.
Industrial sewing machines
In industry a range of different sewing machines are used for stitching seams,
embroidery, buttonholes etc. The main ones are listed in the table below:
Industrial machine
Method of control Joining process Used for
Lockstitch Electric Lockstitch Straight seams
Lockstitch Electric Zigzag stitch
Stretchy knits; finishing
edges
Overlocker Electric
Stitches, cuts and finishes
seams in one process
Non-fraying seams;
stretchy seams
Seamcover Electric Flat seam
Knitted hems; belt loops
on jeans
Linking Electronic; CAM
Joins knitted fabric stitch
by stitch
Knitted seams
Automatic buttonhole Electronic; CAM Lockstitch; chainstitch Buttonholes
Computer Numerically
Controlled (CNC)
Computer software;
Electronic; CAM
Lockstitch; zigzag;
embroidery
Making collars; labels;
logos; embroidery

Exam Tips
• Make sure that you understand the different roles of
clients, designers, manufacturers and users.
• You need to know what a production plan and work
schedule are - and the difference between them.
• Make sure that you know the difference between one-
off, batch and mass production.

Production Plan
Production planning
• Production plans and work schedules are important
planning tools in batch and mass production.
• The production plan should set out information about all
the stages of production, so that every product is made to
the same quality. See example below:

Each production plan should include the following stages:
• The preparation stage details the amount of
materials to buy-in, preparation of garment
patterns, templates and lay plans.
• The processing stage details the fabric spreading,
cutting, labelling and bundling of the fabric pieces.
• The assembly stage contains instructions for
fusing, joining and pressing the separate product
parts.
• The finishing stage gives instructions for
decorative/functional finishing and final pressing.
• The packaging stage explains how to label, hang,
fold, and cover the product ready for transport to
the retailer.
Some manufacturers use computer software to handle the detailed information in the
production plan. Any changes made to the plan are quickly available to each member of the
production team

Work schedule
A work schedule sets out instructions about the order of
assembly, the stitch type, the processes to be used, the
time each process will take and the seam allowance.
See the example of a work schedule below:

Work schedule below for a skirt
Order of
assembly
Stitch type Process Process time
in minutes
Seam
allowance
1 Lockstitch Stitch pockets 2.00 1.00cm
2 Lockstitch Stitch pockets to
front
2.00 1.00cm
3 Overlock Join back seam 1.00 1.00cm
4 Lockstitch Insert zip 2.00 0.20cm
5 Overlock Join side seams 1.50 1.00cm
6 Lockstitch Join waistband to
top
2.50 0.60cm
7 Blind
hemming
Turn up hem 1.50 0.20cm
N/A N/A Total process time 12.50 N/A

ICT application
Aim:
By the end of this
section you will be
able to answer this
question.

CAD
• USING COMPUTERS TO DESIGN AND PRESENT
• Computers are used by designers for:
• Writing documents and creating display boards, including
artwork, text, spreadsheets, graphs and tables
• Putting together slide show presentations
• Digital photography and video making
• Designing and sampling
• Supplementing drawing and colouring with use of
specialist fashion software, e.g. Speed Step.
Objectives
•Understand the benefits of using computers in manufacturing.
•Appreciate the link between CAD & CAM

PROGRAMMES USED BY DESIGNERS
These include:
• Microsoft Office - Word, Excel, PowerPoint, Publisher
• Drawing packages – Paint, Adobe illustrator, CorelDraw
• Image editing – Photoshop
• Specialist Fashion software, e.g. Speed Step

DRAWING USING SOFTWARE
• Drawing software can be used to design, illustrate and show working
drawings. Drawn lines and shapes or photographic images can be
imported and edited, or scanned to manipulate and develop ideas.
Collections with a range of coordinating products can be developed
from one initial idea.
• With some specialist software it is possible to get a 3D impression of
the design by rotating the design and seeing it from different
viewpoints. The designer can use the computer to simulate draping
and shadowing to create a realistic image of the design. Also, ideas
for different colourways can be tested and a variety of printed,
knitted or woven fabric designs can be trialled on screen, to see the
effect of each different combination of colour and texture.

USE OF ICT FOR PRESENTATION
The designer can present ideas to the client on screen or
printed on to presentation boards, or via e-mail, and then
quickly modify them according to client feedback.
Promotional material developed from design work can be
adapted for use on websites, business stationery and
advertising and marketing materials, such as point of sale
literature and display posters. Computers make this
development of related design work a quicker process

DESIGNING AND SAMPLING USING COMPUTERS
• Computers can be used to pass detailed design information to machinery
quickly so that samples can be made during the design and development
stages, often without the designers even leaving their workstations.
• Designers can use computers to design new woven or knitted fabrics on
screen and then show the new fabric in use on a drawn model, on screen or
on printed copy.
• Printed fabric design developed on screen can be digitally printed on to actual
fabric for sampling.
• Embroidered motifs and patterns can be designed on the computer and then
stitched directly onto fabric.
• A design process that previously took weeks or months can now take less
than 24hrs. The images on colour monitors and those reproduced by colour
printers are so realistic that they can be used to present ideas to fashion
buyers. In the past buyers have demanded to see and touch actual sample
garments, before deciding to place orders, but with the new computer
technology they now have the confidence to buy from screened or printed
presentations.

ICT and CAM
ICT and computer-aided manufacture (CAM)
• ICT and CAM play a vital role in modern textiles production. For
example, they enable :
• designs to be sent electronically to the print manufacturer and stored
on computer to ease repeat printing orders.
• colours to be matched to the design, dyes weighed and dispensed
and the fabric printed automatically
• ICT makes possible the just-in-time ordering of materials and
components so they arrive at the factory as they are needed, ie just-
in-time for production to start.
• ICT enables companies to transmit information between plants, and
manufacture on a global scale
Objectives
•Understand the benefits of using computers in manufacturing.
•Appreciate the link between CAD & CAM

Summary
•Computers can be used to increase efficiency and accuracy in manufacturing
•Costs can be reduced if efficiency is increased
•Health and safety of workers can be monitored and working conditions made safer using
computers
•Flexibility is increased as changes in production can be made more rapidly
Mass-produced clothing: jeans in a clothes shop window

CNC
• Computer-numerical control
• Computer-aided manufacturing
involves the use of CNC
machines for printing, cutting,
joining and many other textiles
processes. CNC-automated
machines can repeat processes
with accuracy and reliability, and
are easily re-programmed when
changes to design or production
run are needed. The graphic
shows some of the uses of CNC
machines.

CIM
Computer-integrated manufacturing (CIM) systems
integrate or link CAD and CAM systems. These combined
systems link design development, production planning
and manufacturing systems together. Companies that use
CIM are able to design a product in one country and
manufacture it overseas where labour costs are lower.

Pattern drafting
Aim:
By the end of this
section you will be
able to answer this
question.
For this question you need to refer to Figures 1 – 6
on the insert sheet.
In the space below, show how the templates (Figures
1 and 2) can be adapted to make a pattern for the
fashion skirt (Figures 3, 4, 5 and 6).
8marks
Lesley Cresswell
Pages: 106 - 107

Pattern drafting
Figure 3 Front of fashion skirt
Figure 4 Back of fashion skirt

Pattern Drafting
• Basic pattern/template drafting, including the knowledge and use of technical
terms (basic block, labelling and notching, balance marks, seam allowance
and ease). Students should be able to work from a set of basic block patterns
(bodice front and back, sleeve, skirt and trouser front and back), developed
for individual measurements or from commercial basic blocks. Principles of
grading.
Task:
Use the pattern pieces to identify the key terms and explain their
functions.
Sketch out the pattern pieces as a revision tool.

Useful websites
• http://www.taunton.com/threads/pages/nmt037_31.asp
• http://www.idiotsguides.com/hobbies-and-
crafts/sewing/sewing-basics-how-to-read-and-interpret-
pattern/
• https://textilesgillies.files.wordpress.com/2012/03/producti
on__assembly_helpsheets.pdf
• https://www.youtube.com/watch?v=mTIp0b-RzPc

Label the pattern pieces using the key
terms and symbols

Product manufacture Aim:
By the end of this
section you will be
able to answer this
question.
Lesley Cresswell
Pages:28-49

Product manufacture
• Fabric preparation, lay planning, marking and cutting out, methods of joining,
shaping, finishing of edges, selection of construction techniques appropriate to
the fabric being used and the product being made.
• Much of this knowledge will be developed through coursework activities and
students should be given opportunities to work with a wide range of different
products and materials.
• Areas not covered through coursework activities will need to be taught elsewhere.
• Pressing – use of correct tools, eg iron, pressing cloth, needleboard for pile
fabrics.
• Labelling and packaging; their functions, information typically found on labels
including that required by law, and Quality Assurance symbols, eg wool mark,
100% cotton logo, Tencel logo, Teflon fabric finish logo.
• Environmental impact of packaging.
• To plan appropriate methods and processes for the manufacture of chosen
products, including amendments and adaptations of prototypes and the use of
industrial manufacturing processes.

Digital
Lay Plan's that suit your every need.
Gradeplan takes great pride in offering a lay planning service that is not only
highly effective in saving you fabric, but is relevant to the ever changing and
challenging demands of today's UK high street. More and more stripes,
checks, border prints, placement prints and laces are being used, all of which
require an engineered lay plan to ensure the finished garment reflects the
designers original sketch.
CMT or FOB we will save you money.
• Gradeplan will work with you from the design stage to ensure absolute
minimum wastage
• Highly efficient lay marker planning service available for plain, stripes,
checks, placement prints and tubular fabrics
• Lay markers planned according to customer specification sensitive to fabric
type/width and cutting table length
• Full marker specification sheet produced with suggested optimum ply depth
relative to order size
• Costings provided enabling accurate raw material purchase ordering
• Production planning option available converting customer sales orders into
detailed weekly cutting and dispatch plans

Have a go at making your own lay plan
using pattern pieces and a table top/floor

A2 Question
• Discuss the ways in which a computerised lay plan
system assists in the manufacture of batch produced suits
made from a range of fabrics, including checks and
stripes.
(6 marks)

Joining Techniques
Lesley Cresswell
Pages: 37-38 & 107-
109
Seams are the fundamentals of sewing and there are many different types, the basic
seams work well for most purposes but knowledge of others can help you to make a
more professional job of a textiles product.
Before starting to join fabric and forming a seam, you have to know about the seam
allowance, that is the space between the sewn line and the raw edge of the fabric.
Many patterns allow for 1.5cm (1/4 inch) or 1cm, some even require 2cm and allow for
trimming down afterwards - read pattern instructions carefully.
When sewing the seams on the machine, there is an additional guide on the machine
throat plate, with incremental markings for you to guide the raw edge of the fabric in
order to make seam a consistent distance from the edge.
Hem finishes
• Neatening
• Pinked
• Stitched and pinked
• Zigizag
• Fusing
• Curved seams
• Piping
Seams
• When sewing a seam match up the raw edges as
accurately as possible, and use pins to secure the
two pieces of fabric
• plain (lockstitch)
• lap French
• double stitching
• topstitching
• overlocked

Task
• You should make samplers for each of the above techniques - clearly
labelling them, taking photos of the processes, tools and equipment,
and sewing machine settings. Use calico and coloured thread to make
each of the samplers.
Extension Task
• Repeat some of the seams with different samples of fabric:
• Cotton
• Denim
• Cotton jersey
• Satin
• Corduroy
• Chiffon
• Polyester
• Nylon jersey
• Make notes of settings, techniques, and suitability for the fabrics.

Labelling and packaging
Key legislation
Consumer Protection from Unfair Trading Regulations 2008
EU Regulation (EU) No 1007/2011 on textile fibre names and related labelling and
marking of the fibre composition of textile products
Textile Products (Labelling and Fibre Composition) Regulations 2012

How should the product be labelled?
• All items must carry a label indicating the fibre content, either on the item or the packaging. This label
does not have to be permanently attached to the garment and may be removable.
• The label should be durable, easily legible, visible and accessible. If the product is supplied to a
wholesaler the indication may be contained within business documents - for example, the invoice. A
textile product consisting of two or more fibres accounting for 85% of the finished product should be
marked with the fibre followed by a percentage - for example, cotton 80%, polyester 15%, nylon 5%.
• If a product consists of two or more components with different fibre contents - for example, a jacket with
a lining - the content of each must be shown. Any decorative matter that makes up 7% or less of the
product is excluded from the indication of fibre content. The word 'pure' should only be used where the
garment is made up of only one fibre. The word 'silk' cannot be used to describe the texture of any other
fibre - for example, 'silk acetate' is not permitted. Only certain names can be used for textile fibres, and
these are listed in annex I of EU Regulation (EU) No 1007/2011 on textile fibre names and related
labelling and marking of the fibre composition of textile products.
• This list may be updated as new technology produces new fibres. Since the Regulation was published
only one addition has been made (polypropylene/polyamide bicomponent). Any further additions will be
shown in the 'Amended by' section of the Regulation's page on the Eur-Lex website and you are
advised to check this.
• If you are using, buying or selling a fibre product with a name that does not appear on this list, contact
your local trading standards service for advice.
• The use of non-textile parts of animal origin must be clearly labelled or marked using the phrase
'contains non-textile parts of animal origin'.

Use the internet to find out what each symbol
means

Product maintenance
Lesley Cresswell
Pages:107- 109

Symbols
The CE marking is required for many
products. It states that the product is
assessed before being placed on the
market and meets EU safety, health and
environmental protection requirements.
Through this website the European
Commission provides economic operators
and consumers with information on how the
process of affixing the CE marking on a
product works.

Quality assurance and quality control

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