work in fashion design, costume design, screen printing, batik or surface pattern

Topic Overview – Textiles & Fashion (IGCSE 0400)

This unit explores the creative and technical possibilities of working with textiles and fashion. Students will research, develop concepts, experiment with a range of decoration techniques, construct a finished garment or textile piece, and evaluate their work against the Cambridge IGCSE assessment objectives.

Learning Objectives (aligned with Assessment Objectives)

• AO1 – Exploration & Research: Record observations, ideas and cultural/sustainability research in appropriate visual and written forms.
• AO2 – Concept Development: Generate original ideas, produce mood boards, colour studies and detailed technical drawings.
• AO3 – Technical Skill: Apply at least one textile‑decoration technique (screen‑printing, batik, surface‑pattern, embroidery, digital printing, dyeing, CAD/laser‑cutting, up‑cycling) with competence.
• AO4 – Presentation & Communication: Compile a logical, well‑organised portfolio that evidences each stage of the design process.
• AO5 – Evaluation: Critically reflect on successes, challenges and sustainability outcomes, and suggest realistic next steps.

1. The Design Process (8‑Stage Flow)

1. Brief & Audience Analysis – Define wearer, occasion, functional requirements, sustainability goals and any narrative context.
2. Research & Inspiration – Gather visual (photographs, sketches, colour swatches) and written sources; record findings in a research log (see 7.1).
3. Concept Development – Produce mood boards, colour studies, and initial sketches; explore form, perspective, scale and balance (see 2).
4. Technical Development – Create detailed technical drawings, fabric & trim specifications, and a step‑by‑step construction plan.
5. Material & Technique Selection – Choose fabrics, trims, and a decoration process; complete a sustainability worksheet (see 5.1).
6. Prototype / Sample Making – Test construction methods and decoration techniques on scrap fabric; record outcomes.
7. Final Production – Construct the finished piece, applying the chosen decoration technique with full documentation.
8. Evaluation & Presentation – Reflect on the process using the AO‑linked checklist (see 8) and compile the portfolio.

Suggested Diagram

Insert a flow‑chart linking the eight stages, with arrows from “Research & Inspiration” to “Evaluation & Presentation”.

2. Foundations of Visual Design (Skills Required by the Syllabus)

• Colour Theory – Primary, secondary, complementary, analogous schemes; colour temperature; impact on mood and cultural meaning.
• Scale & Proportion – Relationship between motif size and garment size; use of scale studies to avoid overwhelming or under‑stating patterns.
• Perspective & Depth – Basic one‑point and two‑point perspective for textile illustration; creating the illusion of depth in surface patterns.
• Balance & Space – Symmetrical vs. asymmetrical balance; positive/negative space in pattern repeats.
• Line & Texture – How line weight and texture affect visual weight and fabric drape.

3. Fashion Design vs. Costume Design

• Fashion Design – Contemporary, market‑driven, emphasises wearability, trend analysis and commercial potential.
• Costume Design – Clothing for performance, historical periods or narrative contexts; prioritises character, story, period accuracy and visual impact.

4. Cultural & Social Context

Understanding social, cultural and environmental influences is essential for the IGCSE syllabus.

• Research cultural symbolism (e.g., colour meanings in different societies).
• Analyse sustainability trends – up‑cycling, recycled fibres, zero‑waste pattern making.
• Examine market‑driven fashion – fast fashion, ethical brands, consumer behaviour.

Global Textile Traditions (quick reference)

Region	Technique	Key Characteristics
Indonesia	Batik (wax‑resist)	Hand‑drawn wax, layered dye, cultural motifs.
India	Ikat (tie‑dye)	Pre‑woven pattern, blurred edges, vibrant colours.
Japan	Shibori (tie‑fold‑bind)	Resist dyeing, geometric or organic patterns.
Africa (West)	African Wax Prints	Screen‑printed cotton, bold motifs, symbolic storytelling.
Scotland	Tartan (woven)	Set‑colour thread sequences, clan identity.

Case‑Study 1 – Traditional Indonesian Batik

• Origins: Courtly art, spiritual symbolism, regional motifs.
• Technique: Wax‑resist dyeing, hand‑drawn patterns, multiple dye baths.
• Social relevance: UNESCO heritage, contemporary reinterpretations in street‑wear.

Case‑Study 2 – Modern Street‑Wear Brand (e.g., Off‑White)

• Influences: Youth culture, digital graphics, sustainability messaging.
• Techniques: Digital screen‑printing, laser‑cut metal hardware, recycled polyester.
• Design language: Bold typography, quotation marks, industrial aesthetic.

5. Materials, Tools & Sustainability

5.1 Sustainability Worksheet (to be completed for AO1)

Material / Technique	Environmental Impact (water, energy, waste)	Possible Eco‑Alternative
Cotton (conventional)	High water use, pesticide runoff	Organic or recycled cotton
Plastisol ink (screen‑print)	VOC emissions, non‑biodegradable	Water‑based ink
Wax (batik)	Petroleum‑based wax, disposal issues	Beeswax or soy‑based wax
Laser cutting (acrylic)	Energy‑intensive, off‑gassing	Laser‑cut biodegradable bioplastic

Materials

• Fabrics: Cotton, linen, silk, wool, synthetic blends; consider drape, weight, colour‑fastness and sustainability (organic cotton, recycled polyester, up‑cycled denim).
• Trims & Found Materials: Buttons, zippers, up‑cycled hardware, paper stencils, waste‑paper collage, repurposed jewellery.

Tools – Decoration Techniques

• Screen‑Printing – Frames, mesh screens (choose mesh count: 110 T for fine detail, 60 T for bold areas), squeegees, water‑based or plastisol inks, photo‑emulsion, exposure unit, registration marks, ink viscosity gauge.
• Batik – Canting, wax blocks, dye pots, thermometer, heat‑resistant gloves, wax remover (boiling water or citrus‑based solvent), well‑ventilated workspace.
• Embroidery – Hand needles, machine embroidery foot, stabilisers, metallic & silk threads, digitising software (for machine work).
• Digital Printing & CAD/Laser Cutting – Adobe Illustrator/Photoshop, RIP software, fabric printer (minimum 150 dpi, colour‑management ICC profile), laser‑cutting machine (power/speed tables for fabric, acrylic, wood).

Sewing & Construction

• Pattern paper, scissors, pins, needles, sewing machine, rotary cutter, cutting mat, measuring tape, tailor’s chalk.

Design Tools

• Sketchbooks, coloured pencils, markers, digital drawing tablet, mood‑board software (e.g., Canva, Milanote).

6. Textile Decoration Techniques – Detailed Procedures

6.1 Screen Printing (Expanded)

1. Finalize artwork; separate into colour layers and decide on colour order (light‑to‑dark).
2. Create a stencil for each colour – either a film positive (laser‑cut acetate) or a hand‑cut paper stencil.
3. Coat the screen with photo‑emulsion, allow it to dry in a dust‑free area.
4. Place the stencil on the screen, expose to UV light (follow emulsion manufacturer’s time guide).
5. Wash out the unexposed emulsion; the open mesh forms the printable area.
6. Attach the screen to a sturdy frame; align the fabric using registration marks (cross‑hair or corner pins).
7. Check ink viscosity (use a viscosity cup); adjust with water‑based medium if too thick.
8. Pull ink across the screen with a squeegee at a 45° angle, applying even pressure.
9. Lift the screen, allow the print to dry (heat gun or dryer). Repeat for each colour, ensuring precise registration each time.
10. After the final colour, cure the ink according to the manufacturer’s temperature and time recommendations.

6.2 Batik (Wax‑Resist Dyeing – Expanded)

1. Sketch the design on paper; transfer to fabric with charcoal or a light pencil.
2. Heat wax in a double‑boiler; maintain a temperature of 70‑80 °C to keep it fluid.
3. Apply wax using a canting (for fine lines) or a pre‑carved block (for larger areas). Work from lightest to darkest colour.
4. Allow wax to cool and solidify (≈2 min). Test a small area for complete coverage.
5. Immerse the fabric in the first dye bath (lightest colour). Stir gently to avoid uneven dyeing.
6. Rinse and dry the fabric.
7. Remove wax by boiling the fabric in water (30 min) or using a citrus‑based wax remover in a well‑ventilated area. Wear gloves and eye protection.
8. Repeat waxing and dyeing steps for each subsequent colour, progressing from light to dark.
9. Final wash, rinse and iron on the reverse side to set colours.

6.3 Surface‑Pattern Development (Including Colour‑Palette Construction)

1. Research historical and contemporary motifs; note cultural references.
2. Sketch individual motifs; experiment with line weight, scale and style.
3. Choose a colour scheme using colour‑wheel principles (e.g., complementary or analogous). Create a limited palette (3‑5 colours) and test swatches on the intended fabric.
4. Arrange motifs in a repeat grid (half‑drop, brick, mirror) and ensure seamless edges.
5. Produce a digital seamless tile in Illustrator (use Pattern Options panel) or hand‑draw on tracing paper and photograph.
6. Print a small swatch; evaluate scale, colour balance and repeat alignment. Adjust as needed.
7. Export the final repeat at the required resolution (minimum 150 dpi for digital printing; 300 dpi for high‑detail work).

6.4 Embroidery (Hand & Machine)

1. Transfer the design onto fabric with a water‑soluble pen or tracing paper.
2. Select thread type (cotton for a matte finish, silk for sheen, metallic for sparkle) and an appropriate stabiliser.
3. Hand Embroidery: Choose stitches (backstitch, satin, French knot, split‑stitch) to build texture; maintain even tension.
4. Machine Embroidery: Digitise the design in embroidery software (e.g., Wilcom, PE‑Design); set stitch density, underlay, and thread colours.
5. Load the digitised file into the machine, hoop the fabric securely, and start stitching.
6. Trim excess stabiliser, press the embroidered area with a low‑heat iron, and finish thread ends.

6.5 Digital Printing & CAD / Laser Cutting (Expanded)

1. Digitise artwork in vector format (AI, SVG). Ensure all text is outlined and colours are defined as spot colours.
2. Set up colour separations and embed an ICC profile for the specific fabric printer (e.g., Adobe RGB 1998 → printer‑specific profile).
3. Export the file at a minimum of 150 dpi (300 dpi for fine detail) in the printer’s required format (PDF/X‑1a or TIFF).
4. Load pre‑treated fabric onto the printer’s platen; follow manufacturer’s instructions for ink curing (heat press 150 °C for 30 s for water‑based inks).
5. For laser cutting, import the same vector file into CAM software; select material‑specific settings (e.g., 30 % power / 10 mm/s for cotton canvas). Perform a test cut on scrap material.
6. Observe safety protocols: wear safety glasses, ensure proper ventilation, and never leave the laser unattended.

7. Research, Documentation & Organisation

7.1 Research Log Template (AO1)

Date	Source (book, website, interview, museum)	Key Visual Ideas / Quotes	Relevance to Brief
DD/MM/YY	“Batik: The Art of Wax‑Resist Dyeing” (book)	Traditional canting strokes, colour hierarchy	Informs motif development & colour layering

7.2 Digital Folder Structure (exam evidence)

/IGCSE0400_Project
│
├── 01_Research
│   ├── Images
│   ├── Articles
│   └── Research_Log.xlsx
│
├── 02_Concepts
│   ├── Mood_Board.pdf
│   ├── Colour_Studies.pdf
│   └── Sketches.pdf
│
├── 03_Technical
│   ├── Technical_Drawings.pdf
│   └── Fabric_Trim_Specs.xlsx
│
├── 04_Material_Trials
│   ├── Fabric_Swatches
│   ├── Print_Trials
│   └── Dye_Trials
│
├── 05_Process_Photos
│   ├── Screen_Printing
│   ├── Batik
│   ├── Embroidery
│   └── Digital_Printing
│
├── 06_Final_Piece
│   ├── High_Res_Photo.jpg
│   └── Construction_Diagram.pdf
│
├── 07_Evaluation
│   └── Reflection.docx
│
└── 08_Evidence_Index.xlsx

7.3 Evidence Index (ensures AO coverage)

AO	Evidence Required	File / Location
AO1 – Exploration & Research	Research Log, Mood Board, Cultural & Sustainability notes	01_Research/Research_Log.xlsx
AO2 – Concept Development	Concept sketches, colour studies, technical drawings	02_Concepts/Sketches.pdf
AO3 – Technical Skill	Process photos, material trials, final piece	05_Process_Photos & 06_Final_Piece
AO4 – Presentation & Communication	Portfolio layout, folder organisation, labelled images	Entire folder (well‑named files)
AO5 – Evaluation	Reflection document, checklist completed	07_Evaluation/Reflection.docx

8. Evaluation & Reflection Framework (AO5‑linked Checklist)

Answer each question in 300‑500 words and indicate the corresponding Assessment Objective.

Question	Linked AO
Did the final piece meet the brief’s functional and aesthetic requirements?	AO5
How effectively did the chosen technique achieve the intended visual effect?	AO5
What technical challenges arose (e.g., stencil registration, wax cracking, colour bleeding) and how were they solved?	AO5
How did material choices (fabric, trims, recycled elements) influence the design outcome?	AO5
What cultural or social research informed the design decisions?	AO5
In what ways could the piece be improved (different palette, alternative construction, sustainability enhancements)?	AO5
What skills have been developed and what next steps will you take in future projects?	AO5

9. Assessment Criteria (IGCSE 0400) – Mapping to AOs

Criterion	What Examiners Look For	Assessment Objective
Exploration & Research	Depth of investigation, relevance of sources, clear links to brief, cultural & sustainability research.	AO1
Concept Development	Originality, coherent ideas, effective mood boards, progressive sketches, technical drawings.	AO2
Technical Skill	Accuracy of construction, quality of finishing, appropriate use of chosen technique(s) – including optional processes.	AO3
Presentation & Communication	Clear visual and written documentation, logical sequencing, professional portfolio layout, organised digital folders.	AO4
Evaluation	Critical reflection using a structured framework, identification of successes, challenges and realistic next steps.	AO5

10. Comparative Overview of Decoration Techniques

Technique	Advantages	Limitations	Typical Uses
Screen Printing	Sharp edges, repeatable, efficient for multiple copies; good colour opacity.	Set‑up time, limited gradients, requires clean workspace, careful registration.	Graphic tees, sportswear, commercial fabrics.
Batik	Hand‑crafted aesthetic, rich colour layering, cultural resonance.	Time‑consuming, skill‑intensive, wax removal, ventilation needed.	Scarves, limited‑edition garments, cultural collaborations.
Surface‑Pattern (digital)	Precise colour control, easy modification, seamless repeats.	Depends on access to digital printer or fabric‑to‑print service.	Fashion collections, home‑textiles, repeatable motifs.
Embroidery (hand & machine)	Texture, three‑dimensional effect, can combine with other techniques.	Labor‑intensive (hand), machine set‑up and digitisation required.	Detailing on jackets, decorative patches, luxury accessories.
Digital Printing & CAD/Laser Cutting	Full‑colour gradients, rapid prototyping, integration with 3‑D cutting.	Equipment cost, colour‑management learning curve.	High‑fashion prints, technical garments, avant‑garde installations.
Hand Painting	Unlimited colour blending, unique one‑off pieces.	Not easily repeatable, requires fixation (heat set).	Artistic scarves, statement pieces, installations.

11. Suggested Classroom Activities

• Historical Costume Research – Investigate a period costume, recreate a key element using modern or recycled materials, and present cultural context.
• Mini Screen‑Printing Workshop – Design a two‑colour motif, produce a stencil from waste paper, and print on a 15 cm fabric swatch.
• Batik Demonstration – Create a simple wax‑resist pattern on a cotton square; experiment with colour layering and safe wax removal.
• Surface‑Pattern Challenge – Design a seamless repeat, test on a small swatch, and evaluate scale, colour harmony and repeat alignment.
• Embroidery Exploration – Produce a decorative embroidered patch using both hand and machine techniques; compare time and texture.
• Digital‑Print & CAD Extension – Digitise a pattern, prepare a file for a fabric printer, and discuss colour‑management and file preparation.
• Laser‑Cutting Safety Session – Demonstrate material‑specific power/speed settings, emergency shut‑off procedures, and ventilation requirements.
• Up‑cycling Project – Source discarded fabrics or trims, incorporate them into a new garment, complete the sustainability worksheet, and reflect on environmental impact.
• Portfolio Development – Compile sketches, material swatches, process photographs, research logs and a reflective evaluation into a professional‑looking digital or printed portfolio, using the Evidence Index as a checklist.

12. Tips for Success

• Write a clear brief at the start – include wearer, occasion, sustainability targets and any constraints.
• Maintain a design journal (paper or digital) – record ideas, colour tests, fabric behaviour, and daily reflections.
• Test every technique on scrap fabric before applying it to the final piece; photograph the test and note adjustments.
• Document each stage with concise written notes and high‑quality photographs – these form the evidence for AO1‑AO5.
• Complete the Sustainability Worksheet for every material and technique; use it to justify eco‑friendly choices in your evaluation.
• Use the Evidence Index regularly to ensure you have documented material for each Assessment Objective.
• Seek regular feedback from peers and teachers; refer to the AO‑linked reflection checklist to guide self‑assessment.
• When working with chemicals (wax, inks, solvents) always wear appropriate PPE and work in a well‑ventilated area.
• Before the exam, rehearse the portfolio presentation – be ready to explain how each piece of evidence meets a specific AO.