Cambridge Syllabus Notes

Cambridge IGCSE Art & Design 0400 – Textiles & Fashion

Learning Objective

Develop a comprehensive understanding of:

Textile fibres – natural, synthetic, regenerated, recycled and emerging – and their physical & environmental properties.
Historical, contemporary and future fashion trends and how they convey ideas.
Manufacturing processes, surface‑treatments and their sustainability implications.
Social, cultural and local‑craft influences on textile design worldwide.
The full design cycle required by the syllabus – intention, research, realisation and reflection.

1. Textile Materials – Properties, Uses and Sustainability

Technical data help you choose the most suitable fibre for a design brief.

Material	Source	Key Properties (typical values)	Typical Uses	Sustainability Notes
Cotton (Upland)	Plant – seed fibre	Denier: 1.2–2.0 g/9 km; Tensile strength: 300–500 MPa; Moisture regain: 7–8 %	Casual wear, t‑shirts, denim, shirting	High water & pesticide demand; organic cotton cuts water use by ~50 % and eliminates synthetic chemicals.
Wool (Sheep)	Animal – fleece	Denier: 1.5–3.0 g/9 km; Tensile strength: 250–400 MPa; Thermal conductivity: 0.04 W m⁻¹ K⁻¹	Sweaters, coats, suits, technical outerwear	Renewable & biodegradable; low impact when sourced from responsibly managed flocks.
Silk (Bombyx mori)	Animal – cocoon protein fibre	Denier: 1.0–1.5 g/9 km; Tensile strength: 400–600 MPa; Elongation: 15–20 %	Evening gowns, scarves, linings, luxury accessories	Biodegradable; production can be water‑intensive and labour‑intensive – consider “peace silk” or certified sericulture.
Linen (Flax)	Plant – bast fibre	Denier: 0.8–1.5 g/9 km; Tensile strength: 300–500 MPa; Moisture regain: 9–12 %	Summer garments, table‑linens, upholstery	Low pesticide use; fully biodegradable; high water use is offset by low chemical inputs.
Polyester (PET)	Synthetic – petroleum‑based	Denier: 0.5–1.0 g/9 km; Tensile strength: 500–800 MPa; Water repellency: high	Activewear, blends, outerwear, fast‑fashion basics	Non‑biodegradable; high CO₂ footprint; recyclable (r‑PET) reduces impact by ~60 %.
Viscose / Rayon (Regenerated cellulose)	Semi‑synthetic – wood pulp	Denier: 1.0–2.0 g/9 km; Tensile strength: 250–350 MPa; Drape: excellent	Blouses, dresses, linings, drapery	Chemical‑intensive; closed‑loop processes (e.g., Lenzing Tencel) dramatically lower water and solvent use.
Recycled Polyester (r‑PET)	Post‑consumer PET bottles or reclaimed garments	Same mechanical properties as virgin PET; CO₂ reduction ≈ 60 %	Sportswear, jackets, blended fabrics	Diverts waste from landfill; lower energy demand; still non‑biodegradable.
Up‑cycled Denim	Pre‑used cotton denim	Retains original cotton strength; variable wear resistance depending on prior use	Patchwork garments, accessories, sustainable fashion pieces	Extends product life; minimal new resource input; can be combined with natural dyes for added value.
Smart Textiles (e.g., conductive yarn, phase‑change fibres)	Hybrid – synthetic blends with functional additives	Conductivity: 10⁻⁶ S m⁻¹; Thermal regulation: ±5 °C around body temperature	Wearable tech, sports monitoring, adaptive outerwear	Emerging sustainability issues – modular design aids recycling; energy‑harvesting fibres can offset carbon use.

2. Fashion Trends – Past, Present and Future

2.1 Historical Influences (Key Eras)

Renaissance (15th–16th c.) – silk brocades, velvet, elaborate embroidery; status expressed through sumptuous fabrics.
Baroque & Rococo (17th–18th c.) – heavy drapery, lace, ornamental trims; pastel palettes and ornamental silhouettes.
Victorian (1837–1901) – woolen coats, corsetry, bustle, rich textures.
1920s Flapper – silk, fringe, dropped waist, jazz‑age liberation.
1960s Youth Culture – synthetic prints, mini‑skirt, mod silhouettes, pop‑art graphics.
1970s Haute Couture Revival – exaggerated shoulders, draped silk, hand‑embroidered details.
1990s Grunge – distressed denim, flannel shirts, layered looks.
2000s Fast‑Fashion Era – mass‑produced polyester blends, rapid trend cycles, low‑cost manufacturing.

2.2 Contemporary Drivers

Streetwear & Athleisure – performance fabrics, oversized cuts, logo culture.
Sustainability – organic cotton, recycled polyester, zero‑waste pattern making, circular design.
Technology – smart textiles, 3‑D printed garments, digital pattern drafting, virtual sampling.
Digital Illustration & Virtual Fashion – vector software, AR‑enabled presentations, fashion‑tech collaborations.

2.3 Forecasting Future Trends

Monitor global events (climate policy, cultural festivals, economic shifts).
Follow colour‑forecast agencies (Pantone Colour of the Year, WGSN).
Analyse emerging sub‑cultures on TikTok, Instagram Reels, Discord fashion channels.
Watch breakthroughs in bio‑fabricated leather, nanofibre coatings, and biodegradable synthetics.
Document observations in a trend‑log sketchbook (see Section 5.2).

3. Manufacturing Processes – Technical Overview

3.1 Fabric Construction

Weaving – interlacing warp and weft yarns.
- Common structures: plain, twill, satin.
- Produces stable, low‑stretch fabrics (e.g., denim, canvas).
Knit‑ting – looping yarns to form inter‑connected rows.
- Weft knits (jersey, rib) – high stretch, soft drape.
- Warp knits (tricot, raschel) – more dimensional stability.
Non‑woven – fibres bonded mechanically, thermally or chemically.
- Examples: felt, interfacing, disposable medical textiles.

3.2 Surface Treatments & Finishing

Dyeing – fibre‑reactive (cotton), acid (wool), disperse (polyester).
Printing – screen, digital, block, resist (shibori, batik).
Mechanical Finishes – brushing, calendaring, embossing, sanforising.
Chemical Finishes – waterproofing, anti‑pilling, antimicrobial, flame‑retardant.

3.3 Garment Construction

Pattern making → cutting → stitching → finishing.
Key seam types: plain, French, flat‑felled, bound.
Fastening methods: sewn, glued, welded, magnetic, snap.

3.4 Process Flow Template (for sketchbooks)

Copy the simple diagram below into your design notebook and fill in each stage with specific details for your project.

Stage	What to Record
Fibre Extraction	Source, fibre type, sustainability notes.
Spinning / Filament Production	Yarn count, twist, any special treatments.
Fabric Construction	Weave/knit structure, density (ends‑per‑inch, courses‑per‑inch).
Finishing & Dyeing	Dye type, colour codes, mechanical/chemical finishes.
Garment Assembly	Pattern pieces, seam types, fasteners, finishing trims.

4. Sustainability & Life‑Cycle Impact

Material	Water Use (L kg⁻¹ fibre)	CO₂ Emissions (kg CO₂ eq kg⁻¹)	Social Sustainability	End‑of‑Life Options
Cotton (conventional)	≈ 10 000	≈ 5.5	Often grown on large farms with high pesticide use; labour standards vary.	Biodegradable; compostable; can be up‑cycled.
Organic Cotton	≈ 5 000	≈ 3.5	Certified farms follow strict labour and environmental standards.	Biodegradable; compostable; suitable for circular schemes.
Polyester (virgin PET)	≈ 30	≈ 9.5	Derived from fossil fuels; production often in regions with lax worker protections.	Non‑biodegradable; recyclable if collected in proper streams.
Recycled Polyester (r‑PET)	≈ 30	≈ 3.5	Reduces demand for virgin petro‑resources; recycling facilities may have better health & safety standards.	Re‑recyclable; reduces landfill volume.
Wool	≈ 2 500	≈ 2.0	Often sourced from farms with animal‑welfare certifications; fair‑trade options available.	Biodegradable; can be up‑cycled into insulation or felt.
Silk	≈ 2 000	≈ 2.5	Traditional sericulture can be labour‑intensive; “peace silk” offers a cruelty‑free alternative.	Biodegradable; limited recycling options.

When selecting a material, balance performance, environmental impact, and social considerations. Design strategies such as zero‑waste pattern making, modular construction, and planned‑end‑of‑life (re‑use, recycling, composting) help improve overall sustainability.

5. Social & Cultural Factors – Global Crafts & Visual Documentation

5.1 Expanded Cultural Case Studies

West African Kente (Ghana) – hand‑woven strips; colour symbolism (gold = wealth, green = vegetation).
Japanese Shibori – resist‑dyeing techniques (kanoko, kumo, arashi) producing organic, often asymmetrical patterns.
Indian Block Printing (Rajasthan & Gujarat) – hand‑carved wooden blocks, natural dyes (indigo, madder, turmeric).
Scandinavian Knitwear (Norway, Sweden) – geometric motifs (Marius, Selburose) linked to folklore and regional identity.
Indigenous Australian Weaving – pandanus fibre baskets and ceremonial cloaks; storytelling through pattern and texture.
Mexican Otomi Embroidery – vibrant hand‑stitched motifs representing flora, fauna and myth.
Peruvian Andean Weaving – alpaca and llama fibre, ikat dyeing, symbolic colour bands denoting community status.

5.2 Visual‑Recording Checklist for a Local Craft

Use this checklist in your sketchbook when researching a craft. Record both visual and contextual information.

Aspect	What to Capture
Historical Context	Origin date, evolution, cultural significance; annotate with dates and key events.
Materials & Tools	Fibre type, dye sources, loom/needle/printing tools; include close‑up sketches or photographs.
Symbolic Meanings	Colour codes, motif language, ceremonial uses; create a legend in the margin.
Technique Demonstration	Step‑by‑step diagram of the process (e.g., shibori binding, block‑printing sequence).
Contemporary Adaptations	Designer collaborations, market positioning, modern material substitutions.
Ethical Considerations	Intellectual‑property rights, fair‑trade certification, community benefits.

6. Research‑to‑Realisation Framework (Intention → Reflection)

Intention – Define a clear brief: target audience, design problem, sustainability goal, cultural reference, and success criteria.
Research – Gather visual sources (mood boards, colour chips, craft documentation), conduct material tests, analyse trend reports, and interview craft practitioners where possible.
Concept Development – Produce hand sketches, digital renderings, colour palettes, and preliminary pattern drafts. Annotate each idea with rationale.
Prototype – Create a to‑scale mock‑up or 3‑D printed sample. Record materials used, techniques applied, and any problems encountered.
Realisation – Construct the final garment or textile piece, applying chosen finishes and ensuring quality control.
Evaluation & Reflection
- Compare the finished work against the original success criteria.
- Assess material performance (comfort, durability, visual impact).
- Analyse sustainability outcomes (water/energy saved, waste generated, social impact).
- Identify what worked well and what could be improved in future projects.
- Document reflections in a dedicated “Design Diary” entry, including photos of the process and final piece.

7. Hands‑On Technique Suggestions (Meeting the Syllabus Requirement for Practical Experience)

Screen‑Printing – Prepare a stencil, use water‑based inks, practice registration on cotton and silk.
Block Printing (Hand‑Carved) – Carve a simple motif into linoleum, explore natural dyes (indigo, madder).
Batik (Wax Resist) – Apply hot wax to fabric, dye, then remove wax to reveal pattern.
Shibori (Japanese Resist) – Experiment with binding, stitching and pleating techniques on silk or cotton.
Embroidery – Basic back‑stitch, satin stitch, and French knot; apply to a small patch for a garment.
Up‑cycling Denim – Deconstruct a pair of jeans, re‑weave strips into a patchwork panel.
Digital Fabric Design – Use free vector software (e.g., Inkscape) to create repeat patterns, then print on transfer paper.

Choose at least two techniques, document the process, and reflect on how each influences the final aesthetic and sustainability of your design.

develop understanding of material, trends, manufacturing, local crafts and cultural factors