A Level DESIGN AND TECHNOLOGY: PRODUCT DESIGN (TEXTILES) TEXT3

Transcription

1 A Level DESIGN AND TECHNOLOGY: PRODUCT DESIGN (TEXTILES) TEXT3 UNIT 3 DESIGN AND MANUFACTURE Mark scheme June 2017 Version: 1.0 Final

2 Mark schemes are prepared by the Lead Assessment Writer and considered, together with the relevant questions, by a panel of subject teachers. This mark scheme includes any amendments made at the standardisation events which all associates participate in and is the scheme which was used by them in this examination. The standardisation process ensures that the mark scheme covers the students responses to questions and that every associate understands and applies it in the same correct way. As preparation for standardisation each associate analyses a number of students scripts. Alternative answers not already covered by the mark scheme are discussed and legislated for. If, after the standardisation process, associates encounter unusual answers which have not been raised they are required to refer these to the Lead Assessment Writer. It must be stressed that a mark scheme is a working document, in many cases further developed and expanded on the basis of students reactions to a particular paper. Assumptions about future mark schemes on the basis of one year s document should be avoided; whilst the guiding principles of assessment remain constant, details will change, depending on the content of a particular examination paper. Further copies of this mark scheme are available from aqa.org.uk Copyright 2017 AQA and its licensors. All rights reserved. AQA retains the copyright on all its publications. However, registered schools/colleges for AQA are permitted to copy material from this booklet for their own internal use, with the following important exception: AQA cannot give permission to schools/colleges to photocopy any material that is acknowledged to a third party even for internal use within the centre.

3 Level of response marking instructions Level of response mark schemes are broken down into levels, each of which has a descriptor. The descriptor for the level shows the average performance for the level. There are marks in each level. Before you apply the mark scheme to a student s answer read through the answer and annotate it (as instructed) to show the qualities that are being looked for. You can then apply the mark scheme. Step 1 Determine a level Start at the lowest level of the mark scheme and use it as a ladder to see whether the answer meets the descriptor for that level. The descriptor for the level indicates the different qualities that might be seen in the student s answer for that level. If it meets the lowest level then go to the next one and decide if it meets this level, and so on, until you have a match between the level descriptor and the answer. With practice and familiarity you will find that for better answers you will be able to quickly skip through the lower levels of the mark scheme. When assigning a level you should look at the overall quality of the answer and not look to pick holes in small and specific parts of the answer where the student has not performed quite as well as the rest. If the answer covers different aspects of different levels of the mark scheme you should use a best fit approach for defining the level and then use the variability of the response to help decide the mark within the level, ie if the response is predominantly level 3 with a small amount of level 4 material it would be placed in level 3 but be awarded a mark near the top of the level because of the level 4 content. Step 2 Determine a mark Once you have assigned a level you need to decide on the mark. The descriptors on how to allocate marks can help with this. The exemplar materials used during standardisation will help. There will be an answer in the standardising materials which will correspond with each level of the mark scheme. This answer will have been awarded a mark by the Lead Examiner. You can compare the student s answer with the example to determine if it is the same standard, better or worse than the example. You can then use this to allocate a mark for the answer based on the Lead Examiner s mark on the example. You may well need to read back through the answer as you apply the mark scheme to clarify points and assure yourself that the level and the mark are appropriate. Indicative content in the mark scheme is provided as a guide for examiners. It is not intended to be exhaustive and you must credit other valid points. Students do not have to cover all of the points mentioned in the Indicative content to reach the highest level of the mark scheme. An answer which contains nothing of relevance to the question must be awarded no marks. 3

4 Section 1 Question Describe fashions from two different eras since 1900 when there was an emphasis on the waistline. Explain how the waistline emphasis was achieved and how the fashions reflected social attitudes of the time. You may use sketches in your answer. This question is about waistline emphasis, not hiding it or detracting from it. There are many examples of waistline emphasis but the following represents some of the more popular items. The student should give an approximate date when the fashion was worn and a description of the garment(s) with explanation of how corsetry or belts were used to achieve the effect. The reasons for the fashion may include references to social issues, world events, women s position in society, economic factors, influences of youth, music, and media as relevant. The following may be included: 1900s: The bodies of Edwardian women were heavily corseted with their figures pushed into the S-bend shape. This new corset, invented by a French woman, Madame Gaches-Sarraute was known as the Health corset, and it confined the waist even more than in previous eras. Dress styles were very ornate with long trailing skirts, several petticoats and large hats. Privileged women were able to cultivate a gracious, frivolous but highly impractical dress style and the frills and flounces of women s dress indicated that they had not yet challenged their traditional role as ornaments in a man s world. The early 20 th century was a period of great ostentation and extravagance, and Edwardian society modelled itself to suit the King s personal demands. Everything was larger than life-size and fashion favoured the mature woman. This ultra-feminine impractical style did not allow for a busy domestic or business life, and the upkeep, in both time and labour of the fashionable woman s wide range of outfits with undergarments, shoes and gloves, could only have belonged to a time when cheap domestic help was available. 1940s/1950s: In 1947 Dior launched his New Look which changed fashion from head to toe. Breasts were more exaggerated than they had been since the early 1900s and, together with a small waist and full skirt, they gave a more feminine, rounded silhouette. Constructing undergarments were needed; special bras to lift the breasts, boned corselets called waspies to minimise the waist. In 1952 and 1953 Dior promoted unbelted sheath dresses a style that was popular for many years. The closely fitted styles showed a narrow waist but required complicated and uncomfortable underwear; for most women this meant a bra and roll-on or suspender belt, or an all-in-one corselet. 4

5 Evening dresses were constructed to achieve the Victorian style silhouette, with small tight tops and crinoline style skirts. The very full skirts were worn over several petticoats, and the boned tops were strapless or had daringly low plunging necklines. The mid 1950s saw the beginnings of new rock and roll music that was to revolutionise pop music and the rock stars became the new idols, full dirndl skirts which emphasised the waistline, often through the use of wide belts, became popular with the younger generation. 1980s: Women were entering the workforce in greater numbers and the big-shouldered power suit became a symbol of their success, indicating efficiency and ambition. Structured suits with skirts which emphasised the waistline became popular and it was now acceptable for women to wear trousers in the workplace. Armani based his working woman s wardrobe on traditional men s suits. The opening of the Taboo club in London in 1985 by Leigh Bowery, an Australian designer, was an important catalyst for the alternative fashion scene, and influenced a generation of designers including Alexander M c Queen and Gareth Pugh. Club dancewear included ripped tights, tutus and ra-ra skirts such as worn by Madonna and Bananarama band, and led to new skirt shapes with narrow waists and full skirts which were developed from historical research by many designers, including Vivienne Westwood who showed her Mini-Crini collection in s: Celebrities began to have an important impact on fashion and red carpet styles were popular. The 1940s inspired Galaxy dress by Roland Mouret, introduced in 2005, quickly became a favourite of A- list celebrities. Such close-fitting styles require the use of controlling undergarments and sales of these have risen steadily. Accept reference to any appropriate design. Do not accept 1920s dropped waist, harem pants, shift dresses. 2 different eras, 14 marks each. Marks awarded as follows: No work worthy of credit. (0 Low mark range Basic information with simplistic understanding of the designs and influences on them. There will be very limited information or much that is irrelevant and there may be a lack of understanding of the reasons for the styles. There will be a lack of precision in describing a style with many inaccuracies and confusion. Sentences and paragraphs may not always be well connected and there will be a number of grammatical, punctuation and spelling errors. (1 5 5

6 Mid mark range There is some knowledge and understanding of relevant fashions and the reasons behind the styles. The selected fashion will be described with some accuracy and detail, especially at the top end of the mark range. There will be some relevant points about the issues which gave rise to the styles although there will be a lack of detail and evidence of understanding of the relationship between the two; in some cases there may be a lack of detail about the actual fashions but good explanation of the social issues. There will be some inaccuracies and misunderstandings, especially at the lower end of the range. Straightforward ideas are expressed reasonably clearly if not always fluently. There will be some grammatical, punctuation and spelling errors. (6 10 High mark range There is detailed knowledge and understanding of relevant fashions, including clear and accurate information about the influences of the time which gave rise to the styles. The fashions will be described with accurate detail, especially at the top end of the mark range. There may be some minor irrelevant points or lack of clarity in some but this will not detract from the overall quality of the response. Complex ideas will be expressed clearly and fluently with few errors of grammar, punctuation and spelling. (11 14 (28 6

7 Question 2 02 Clothes are worn for many different reasons as can be seen in the huge diversity in the styles of clothing worn across different generations, genders, cultures and socio-economic groups. Discuss the various reasons for wearing clothes, giving examples to explain the points you make. The student is expected to identify a range of reasons why clothes are worn and to give examples to illustrate the points made. These examples may explain the reason but there may also be discussion and debate about garments which do the opposite of what might be considered to be the norm. The following are the main reasons why people wear clothes but other valid observations should be given credit: Protection: to keep warm and protect the body from the elements and danger. Eg, waterproof coats/jackets, thermal underwear, hats and scarves. Fashionable clothing often fails to do this, eg young women on a night out in freezing temperatures often wear only the skimpiest of clothes. In hot weather, clothes will need to protect against excessive heat. Some fashionable clothing not only fails to protect the body but actually causes harm. The tight corsets worn by fashionable Victorian women in the quest for a tiny waist displaced internal organs and restricted the rib-cage so that it was difficult to breathe. Some garments are designed specifically to provide protection against physical or chemical dangers and these are often worn by those employed in dangerous work. Modesty: how much clothing we wear is related to different situations, and different groups of people. Eg a person would feel comfortable wearing a bikini or swim trunks on a beach, but would be very embarrassed about wearing just their underwear at the office. In the Victorian era it was taboo for a woman to show her ankles but showing shoulders and breasts was acceptable; women in the 1960s were happy to wear the shortest of skirts but kept their shoulders and breasts covered. In today s society, there are many different views about what is considered to be indecent in dress; modesty and embarrassment are also related to what is acceptable and considered to be the norm at the time this will vary for different age and ethnic groups. Attract the opposite sex: sometimes, instead of clothing worn to draw attention away from the body, it is intended to do the exact opposite in order to gain admiration. Many clothes worn by women are designed be sexually attractive, eg by revealing the shape of the body, or certain parts, eg the legs or the breasts. 7

8 Communication: eg a uniform signals that the wearer is doing a particular job, or has a particular status within an institution, and can command the authority and respect needed to carry out that job. The uniform gives the observer information on which to base their dealings with its wearer. Clothing allows us to communicate with others, as well as acting as signs about who we are. Clothes signify our presence in the world and especially the social and cultural world in which we live, the groups we belong to, and our status within those groups and society as a whole. The clothes we wear could be considered to be the uniform of the group to which we belong. Eg men who work in offices or banks generally wear a formal suit, shirt and tie. This informal uniform which they wear voluntarily conforms to the social expectations of dress associated with their job, and whilst they have freedom to choose their own clothes, if they stray too far from what is expected, this will be frowned upon and their suitability for the job may be questioned. Teenagers moving into post-16 education are happy to exchange a compulsory school uniform for the voluntary uniform of the student group to which they belong. At the beginning of the 20 th century, it was easy to distinguish the different social classes by the way in which they dressed. The classes led very different life styles and differences in wealth led to very different standards of living, with dress a very clear indication of wealth and class. During this century, many factors complicated both the class system and the styles of dress associated with different classes. These include improved standards of living, an increase in affluence of the lower classes, changing work patterns, the development of mass-produced clothing, and an increase in social mobility, and the development of the generation gap. In today s world, it is considered ethical to wear old or vintage garments for reasons of sustainability. Class groups and class identity are still important parts of the social identity of an individual expressed through clothing. As is membership of different cultural, political and religious groups. Personality and character: -Other peoples impression of us is related to the way in which we dress. Eg when going for an interview most people will dress to try to look the part for the job applied for. People use clothing to create different impressions of themselves in different situations, and the selection of clothing is an indication of which aspects of ourselves we wish to emphasize at any given time. An individual s choice of garments reflects their personality and makes a statement about them. Fashion: - this is an important influence on what we wear and part of the social world and era in which we live. In the past, those who wore fashionable clothes and were part of fashionable society were of high social standing and wealth. Today, fashionable clothes are available to all regardless of wealth or social standing. Fashionable people are still often considered to be socially elite as they stand out from others and seem somehow more creative, more individual and more daring. But being fashionable is also about conforming to a new standard, not an old one. Fashion plays a part in our judgement of clothes, as 8

9 worn by others and those we buy for ourselves. Being fashionable means different things to different people and will assume different levels of importance, eg teenagers will consider fashion to be important compared with its importance for older people, celebrities may influence what we choose to wear. Students may include reference to historical influences and the changing attitudes to what is right and proper. Marks awarded as follows: No work worthy of credit. (0 Basic information with simplistic reasons for wearing clothes which are not integrated into a coherent account. There is very limited information, and the few examples will be the most obvious and possibly not the most relevant/appropriate. The response will lack analysis and there will be many inaccuracies and confusion. Sentences and paragraphs may not always be well connected and there will be a number of grammatical, punctuation and spelling errors. (1 5 There is some knowledge and understanding of a narrow range of reasons for wearing clothes. Examples will mostly be accurate although many will be obvious, especially at the lower end of the mark range, and there will be a lack of detail. There may be some lack of relationship between the point made and the example given. There will be some inaccuracies and misunderstandings, especially at the lower end of the range. Straightforward ideas are expressed reasonably clearly if not always fluently. There will be a number of grammatical, punctuation and spelling errors. (6 11 There is some detailed knowledge and understanding of a number of reasons for wearing clothes with clear and generally accurate information. Examples will be relevant and varied with some explanation of the relationship between them and the point made, especially at the top end of the mark range. At the lower end of the range examples will be relevant but few in number and generally limited to obvious reasons. Ideas will lack some complexity but will be expressed clearly and reasonably fluently with some errors of grammar, punctuation and spelling. (12 17 There is some varied and detailed knowledge and understanding of a number of reasons for wearing clothes and this will include a range of relevant examples and accurate information. Examples will be varied, often with more than one to support each point made. There will be evidence of intellectual engagement with the discussion, especially at the top end of the mark range. There may be some lack of explanation/relevance in some areas. At the lower end of the range examples will be relevant but may be fewer in number, although these will be well considered. Ideas will show some complexity and will be expressed clearly and fluently with few errors of grammar, punctuation and spelling. (

10 There will be detailed and comprehensive knowledge and understanding of a wide range of reasons for wearing clothes which will include social, physical, moral and psychological considerations. The discussion will provide evidence of holistic and intellectual engagement with the topic and will include clear and accurate information. Examples will be relevant and varied usually more than one for each area - well explained and will relate to many different groups of people, especially at the top end of the mark range. Complex and varied ideas will be expressed clearly and reasonably fluently with few errors of grammar, punctuation and spelling (24 28 (28 Question There have been many developments in the manufacture of regenerated fibres. Modern viscose fibres such as Tencel, Lyocell and Modal are replacing cotton in the blends used for clothing. Explain the reasons manufacturers are replacing cotton fibres with viscose fibres in modern fabrics. In your answer you should make reference to the differences between the source, manufacture and sustainability of both cotton and viscose. The main reasons for increasing use of viscose include: Environmental concerns: cotton fibres are especially damaging as their growth uses fertilisers and pesticides which can pollute the atmosphere and waterways. Changes to the landscape because of intensive farming and deforestation when growing cotton crops can have devastating effects on communities. Cotton requires huge volumes of water to irrigate the crops. New viscose fibres, known as lyocells, come from sustainable sources and use clean technology in their manufacture. Processing of lyocells requires less energy and water than that of cotton, and the trees used are usually grown without pesticides. The fabric does not need to be bleached before dyeing and, although dyed with conventional dyes which can harm the environment, less dye is needed than for a similar amount of cotton. Many designers and retailers, keen to promote sustainability, have been using viscose fibres, rather than cotton, in their products for some years. Developments in viscose fibres: modern viscose fibres are vastly improved on their predecessors as they can be engineered to give enhanced properties such as strength and better resistance to creasing. They can be made to simulate a variety of different textures, eg suede/peach skin. 10

11 Availability: viscose fibres are not dependent on the success of a cotton crop so are not subject to the vagaries of harvests and fluctuations in cost. They can be manufactured on demand and, although more expensive to produce, this makes them ideal for use in fashion and other garments. Marks awarded as follows: No work worthy of credit. Low mark range Basic simplistic account which will consider only a limited range of points and may be repetitive. There will be a lack of specific knowledge and explanation with only generic information from a narrow area of concern. Communication will show some weakness. (0 (1 3 Mid mark range Some clear and relevant points with limited detail. There may be some elements of confusion and a lack of detail/examples, especially at the lower end of the mark range but there will be some attempt to explain the increased use of viscose fibres, most likely in relation to sustainability at the expense of other considerations. Communication skills will be sufficient to clearly convey what is intended. (4 7 High mark range Detailed account with relevant and detailed points related to different areas the response will go beyond the environmental issues. There will be a high level of accuracy although there may be minor omissions/inaccuracies - and communication skills will clearly convey what is intended with relevant information as appropriate. (8 10 (10 04 Describe the qualities that modern viscose fibres and fibre blends bring to a fabric. You may use some or all of the labels shown below as examples to illustrate the points you make. This question is about blends with particular reference to viscose, but other blends with different fibres may be included. Students do not have to include all of the labels. Students are expected to describe the properties of modern viscose fibres and relate them to the blends and applications shown on the labels. Other blends and applications may be included. Modern viscose fibres: are absorbent, soft and silky, have reasonable strength and resistance to creasing. They can be made to simulate a variety of different textures, eg suede/peach skin. Fabrics made from lyocell fibres can be machine washed and generally drape well. The use of lyocells in a fibre blend can produce fabrics developed for specific purposes. 11

12 Label 1: Knitted fashion top 70% Viscose 29% Acrylic 1% elastane Viscose adds absorbency and softness. The absorbency counteracts the dryness of acrylic. The acrylic and elastane reduce the absorbency so the fabric dries quicker, and also reduce some creasing. Label 2: A woven fabric shirt 100% Tencel Tencel can be textured to give different effects. The fabric will wick perspiration away from the body making it comfortable to wear. Label 3: A knitted fabric cardigan 43% nylon 37%viscose 10% alpaca 9% cotton 1% elastane The nylon adds strength and reduces shrinkage and creasing, viscose replaces most of the cotton and these add absorbency and reduce the cost of the more expensive alpaca fibre; the viscose is very soft and works with the alpaca which adds additional softness and warmth, the elastane adds some give and reduces creasing. This blend gives a soft warm fabric which may have special effects using the thermoplastic nature of the nylon. Label 4: A woven fabric scarf 70% Viscose 30% Wool The viscose maintains the absorbency and soft effect of the wool whilst reducing the overall cost, it makes the scarf easier to care for. Label 5: Woven fabric trousers 65% Polyester 35% Viscose The polyester adds strength and quick drying qualities to the fabric and allows the fabric to be heat-set to reduce shrinkage and creasing and allow for permanent creases to be added. The viscose adds absorbency, softness and reduces static making the trousers more comfortable to wear. Label 6: Knitted T-shirt 50% cotton, 45% Modal, 5% elastane. The cotton adds strength, both cotton and viscose add absorbency and next-to-skin comfort, Inclusion of viscose reduces cotton content so more eco-friendly, elastane adds stretch and reduces creasing. No work worthy of credit. (0 Low mark range Basic account which will consider a limited range of obvious points and may be repetitive. There will be a lack of explanation and no real understanding of the part played by the fibres in the different blends. Communication will show some weakness and there will be many inaccuracies. (1 3 Mid mark range Clear, relevant points with some detail. There may be some elements of confusion and a lack of variety in the qualities identified, especially at the lower end of the mark range but there will be some attempt to explain the function of the different blends in relation to the examples. Communication skills will be sufficient to clearly convey what is intended. (4 6 (8 12

13 High mark range A clear and detailed account with a range of relevant, detailed and accurate points in relation to the examples given. Communication skills will clearly convey what is intended with relevant information as appropriate. ( Fabrics used for outdoor and wet weather wear at the beginning of the 20 th century were bulky, uncomfortable and inefficient at keeping the wearer warm and dry. Explain how modern fabrics have made improvements in clothing for outdoor and wet weather wear. Include details of specific fabrics and finishes. Water-repellent fabric technology has come a long way since the introduction of the Mac, the classic waterproof jackets named after Charles Macintosh, who found a way of adding a rubber formula to clothing fabric and effectively waterproofing it. As well as the use of rubber, early water-repellent fabrics depended on the use of oils and waxes for their ability to repel water. They were often stiff and not breathable making them uncomfortable to wear. Layering of fabrics was required for warmth making clothing heavy to wear and bulky. Woollen fabrics were often used for warmth. Modern fabric finishes have allowed fabrics to be more suited to their end uses and easier to care for. Water-repellent fabric finishes are based on the use of fluoro-carbons rather than the older wax treatments. Membrane systems such as Gore-Tex and Sympatex were developed in the late 1960s and began to be used in the 1970s. These breathable water-repellent fabrics have revolutionised wet weather and sportswear products. Polyester Polar Fleece began to be produced in the 1980s. This lightweight but insulating fabric allows for warm layers without bulk, and with the added advantage of being easy care. Lightweight hollow polyester fibres are used to add insulation to outdoor jackets and coats. Thinsulate insulation, used in outdoor products such as hats and gloves, works by trapping air molecules between the wearer and the outside. The microfibres in Thinsulate are very fine and are able to trap more air in less space, making them better insulators. Smart materials, such as Stomatex, use biometrics to imitate nature. Stomatex is a neoprene-like fabric made from a lightweight, ultra-thin, non-porous polyester membrane that is weatherproof and highly breathable. Dome-shaped vapour chambers allow body heat and perspiration to exit through the tiny pores at a controlled rate, maintaining an even body temperate and micro-climate. Weatherproof, flexible, and durable, Stomatex responds to the 13

14 individual needs of the wearer by regulating temperature and absorbing, storing, and releasing excess body heat and perspiration as required. Used in conjunction with Sympatex, it produces a breathable waterproof insulating barrier for use in clothing and footwear, keeping out rain, sleet, and snow. INOTEK fibres work on the pine cone effect; as the fabric starts absorbing moisture the fibres start to close (mimicking the pine cone) and reduce in volume causing yarn to thin three-dimensionally in the cross-section. Microscopic air pockets are opened in the fabric and this increases its breathability. In contrast to pure wool, an INOTEK/wool blended yarn can reduce its thickness by up to 10% of its original width in damp conditions. The reactive response to humidity is also reversible; INOTEK fibres revert back to their original state in dry conditions, reducing air permeability and increasing insulation of the textile. The fibres alleviate the feeling of dampness by increasing the permeability of yarns and textiles as moisture builds up around them. They are mostly used for garments used as base layers, eg underwear and socks, improving comfort by keeping the wearer m dryer for longer and getting them dry quicker in extreme conditions. The fibres can be blended with natural fibres like Merino wool and manufactured fibres like Tencel. Marks awarded as follows: No work worthy of credit. (0 Low mark range Limited response which will possibly be related only to Gore-Tex. There will be little, if any reference to or knowledge of other newer materials and how they have improved outdoor clothing. Information will be generic and there will be a lack of detail and some inaccuracy, especially at the lower end of the mark range. (1 3 Mid mark range A more detailed response with some good understanding of different materials and how they have improved wet weather wear. Although there will be reference to a range of materials there will be a lack of precision in describing them and the improvements they have effected. There will be a range of examples to illustrate points made, especially at the top end of the mark range. There may be slight confusion and inaccuracy, especially at the lower end of the mark range. (4 7 High mark range Detailed and specific information with some good understanding of a range of different materials. Relevant, wide ranging and accurate examples will be clearly explained with reference to the improvements they have made. Information will be largely accurate and clearly explained. (8 10 (10 14

15 Section 2 Question 4 06 Explain four of the following terms and their importance in the design and manufacture of a fashion product: a trade fair a virtual prototype a standardised design/block pattern a manufacturing specification sub-contracted manufacture/sub-assemblies short-run manufacturing customised manufacture a quality Assurance (QA) system. A trade fair: Trade fairs are exhibitions where many different companies related to the textiles industry can showcase and demonstrate their latest products, see what their rivals are doing, look at recent market trends and consider opportunities to develop new products. Many trade fairs attract companies from all over the world. Some trade fairs are open to the public, while others can only be attended by company representatives and members of the press. Designer visit trade fairs in order to study trend forecasts to see in which direction fashion trends are moving. This enables them to make sure that their designs for future seasons will be on trend and sell well. They will also be able to look at new developments in fabric and components and consider possible ways in which they can be incorporated into their designs. Examples include Premiere Vision. A virtual prototype: Virtual prototypes are incorporated in modern pattern development systems using computer technology. They show a 3-D model of a garment and can develop the pattern templates needed to make it. They can be used to test design ideas and these have the advantage of being much quicker to develop and to change, and do not use fabric, making them cheaper and more environmentally friendly. They can also show how the product will move when on a body and how the product will look in different colour ranges. Virtual prototypes can be sent electronically to the client or manufacturer, allowing any errors to be detected and corrected at an early stage of the development and before the factory produces the first prototype sample. A standardised design/block pattern When a final design has been chosen for bulk manufacture a pattern or template is made and will probably be done on a computer using a pattern design system (PDS) or standard card blocks. If the product has been manufactured before the existing pattern will be used again. The computer programme has pattern shapes for basic products. 15

16 These patterns are called standardised designs and are adapted to make the new template. The computer makes the new patterns quickly and accurately, and grades the patterns so that different sizes of the product can be made. A manufacturing specification: Gives detailed information about how the product is to be manufactured. Includes information about the style, size(s), fabrics and components, quality and tolerances, processes to be used, labelling and packaging, quantities and delivery dates. Will form part of the contract with the manufacturer and used to check standards of finished items. Sub-contracted manufacture/sub-assemblies: When planning for manufacture the different stages in the manufacture are grouped together into key areas of production. Some sections of the product may be made as sub-assemblies. This is where some parts of the product are assembled on a separate line before they go to the main production line. Sub-assembly allows for some sections of the product may be made in a different factory which has specialised machinery, or workers who are especially skilled in a particular type of production such as embroidery. Sub-contracting to specialist manufacturers helps reduce manufacturing costs and enables the finished product to be high quality because the sub-assembled part will be quality checked before it leaves the factory. Sub-assembly also facilitates JIT manufacture as parts can be bought in as and when needed. Short run manufacturing: Many manufacturers can now respond quickly to quickly changing fashion demands and bring their fashion ranges into the shops in a six weekly cycle using small short-run manufacturing. This restricts the number of short fashion life products being manufactured so that excess stock is not wasted this is sometimes called fast track manufacture. It is a form of JIT manufacture, highly dependent on the use of CAD/CAM and allows manufacturers to respond quickly when fashions change as they can be more flexible in their working practice. This is also referred to as Quick Response manufacture. Short run manufacture allows companies to remain competitive as they always have the latest styles and do not have money tied up in stock that does not sell. Customised manufacture: Before the Industrial Revolution in the late 1700s, clothes were handmade as a one-off for individual clients. These garments were very expensive so could only be afforded by the very wealthy. With industrialisation, mass production became cost effective with long runs of similar products made in the most efficient and most automated way possible. Prices fell and people had more spending power. This led to a circle of market demand where consumers could afford what they wanted - and then began to want different things. These changes coincided with technological developments which allowed standard designs to be adapted at low cost. Products could be 'mass customized' - individualised and adapted to different requirements at 16

17 an affordable price. Mass production was about making more of the same, mass customization is about producing the right product for an individual consumer. If manufacturers can change designs quickly at minimal cost, then shorter and shorter runs become cost effective to the point where each customer can be provided with exactly what he or she wants. Computerised design and manufacture is important in allowing for individual products to be manufactured. A PDS can allow for individual orders, creating customised fit using data from high tech 3-D body scanners or body measurements taken with a tape measure. A Quality Assurance (QA) system: Quality assurance is much wider than just Quality Control. It is about a company s commitment to quality at every stage of the design and manufacture process, including the training of the workforce and the way in which problems are dealt with. It is about getting things right the first time, and every member of staff is responsible for producing quality. BSI lays down standards for QA systems. Companies wishing to register for approved status must provide documented evidence of their Quality System and undergo regular inspections by BSI inspectors to ensure that the standards are being maintained. A QC system is part of QA and producing goods of the right quality helps companies have a good reputation with clients who are more likely to buy their products in the future. 4 areas, 4 marks each. Marks awarded as follows: No work worthy of credit. (0 Lower mark range Limited explanation with only simplistic understanding of the term and its importance in the manufacturing system. Some key points will be omitted and there will be inaccuracies and a lack of coherence in the material presented. (1 2 Upper mark range Good explanation of the term with relevant and largely accurate explanation of its importance in manufacturing. Key points will be included and some examples may be given, especially at the top end of the mark range. Information will be clearly presented and show evidence of good understanding. (3 4 (16 17

18 07 Electronic communication between all parts of the business is an essential part of efficient fashion manufacture. Discuss the various ways in which it is used to support the design, manufacture and distribution of fashion products. Your answer should demonstrate your understanding of how electronic systems work together to aid designing, manufacturing and distribution. The question is about integrated systems, not details of the individual processes which make up the system. The fashion industry has complex production networks which span many different businesses and frequently cross international boundaries. Sales are seasonal and can be unpredictable and the windows for completing and delivering orders can be very tight. Effective planning, production scheduling, process control and stock management are therefore essential for success and electronic communication is a crucial part of these systems. A production, planning and control (PPC) system is concerned with planning and controlling all aspects of manufacturing, including materials, scheduling machines and people, and coordinating suppliers and customers. An effective PPC system helps manufacturers remain competitive in the ever changing fashion environment. The current market requires more styles, smaller orders, increased product complexity and much shorter lead times. An effective system will allow production to plan movements from warehouse to manufacture, and to the distribution streams involved. Production can be planned in a global environment. Computer control and information systems are used in almost every aspect of design, manufacture and distribution of clothing and these complex systems must be able to communicate with each. Computer integrated manufacture (CIM) provides an overarching way of moving beyond individual CAD and CAM applications to allow all existing systems to talk to one another. CAD: Computer programmes are used in industrial design develop fabric patterns. A PDS system can be used to show a 3-D model of a garment and develop the pattern templates needed to make it and the pattern templates will be sent to the fabric laying and cutting system. Fashion products easily and quickly be designed in one place and the patterns/products made elsewhere thanks to efficient electronic communication systems. CAM: Systems are used for automated fabric laying, cutting, sewing and pressing processes. JIT manufacture is highly dependent on computerised manufacture and integrated systems so the right materials and finished goods are always available when required. Distribution: The systems have become very sophisticated and a number of specialist companies provide comprehensive logistical support in the form of customised vehicles, fully computerised warehousing facilities and full EDI linkage with both suppliers and 18

19 customers. Modern storage and carrier systems have revolutionised the way in which garments are stored and transported so that they arrive at the shop ready to go on display. The ticketing and tagging of products is now largely done by the manufacturers and not the retailers. The barcode system used in large stores records which items are selling and can help decide when and how many to re-order from the manufacturer. Re-ordering is often done automatically as stocks of a particular product become low. Marks awarded as follows: No work worthy of credit. (0 Low mark range Limited response which will typically describe basic applications for CAD and CAM systems but not show evidence of understanding of the integrated systems of which they are a part. There will be little, if any analysis of the ways in which these systems have revolutionised the fashion industry and the response will be narrow and superficial in scope. There will be a lack of detail and some inaccuracy. (1 4 Mid mark range A more detailed response with some good understanding of the different parts of an integrated system and how they work together. There will be some tendency to describe individual CAD/CAM applications but these will be seen as part of a wider picture although there will be a lack of clarity in describing them. There may be slight confusion and inaccuracy, especially at the lower end of the mark range. (5 8 High mark range Detailed information with some good understanding of the different parts of an integrated system and how they work together to achieve efficiency in all areas relating to the design, manufacture and distribution of fashion products. Relevant examples will be given and information will be largely accurate and clearly explained. (9 12 (12 19

20 Question 5 08 Describe the construction of the two main types of knitted fabric. You may use diagrams. (Max 6 Weft Knit: One yarn travels the width of the fabric. Each successive row of loops is drawn through the previous row of loops in the fabric. The horizontal row of loops is called a course. Each vertical row of loops is called a wale. Warp Knit: A more complicated structure using many separate yarns which are interlaced sideways. The loops are formed along the length of the fabric and in more complicated warp knits, the needles travel sideways for two or more wales before making a new loop. The horizontal row of loops is called a course. Each vertical row of loops is called a wale. Marks awarded as follows: The 2 knit types should be correctly identified. No work worthy of credit. (0 Lower mark range The 2 different knits will be named but there will be little accurate or detailed information about the differences in their construction, especially at the lower end of the mark range. Diagrams, where presented, will be confused and have some inaccuracies. (1 3 Upper mark range Construction of the 2 knits will be clearly explained with relevant detail given this may be shown through accurate and well labelled diagrams. If there are only correct drawings of the 2 structures, max 4 marks. In order to access 6 marks there must be reference to one yarn (weft knit) multiple yarns (warp knit) and there needs to be some detail in the explanation At the lower end of the mark range, there may be incorrect labelling of accurate diagrams. (4 6 (6 20

21 . 09 Explain why knitted fabrics are used for a wide range of garments. In your answer you should make reference to a variety of knitted structures. The main features of knitted fabrics are: Weft knits have a lot of stretch which allows for comfortable fit and movement; Warp knit is less stretchy so produces a firmer fabric: soft/fluid drape which takes the shape of the figure; they do not crease easily; they trap air and are good insulators in still air. But moving air is able to get through the gaps in the fabric thus making it cool to wear in these conditions; warp knits do not ladder; warp knits can be produced quickly making for efficient manufacture; many different patterns can be incorporated into the knit, eg rib, Jacquard, sliver knits, Raschel lace. Answers should include properties of different knitted fabrics with relevant examples of different garments to support points made. Marks awarded as follows: No work worthy of credit. (0 Low mark range Basic information with only a limited knowledge range of obvious qualities which will consider knitted fabrics as a single group and not make distinctions between warp and weft knits. Many of the points will be of a generic nature and there will be inaccuracies and confusion. Examples will be limited in number and in the qualities exemplified. (1 2 Mid mark range There is good knowledge of the different qualities related to specific garments ad applications. There will be limited, if any, differentiation between the 2 types of knit but relevant examples will clearly relate to the points made. Information will be generally accurate and presented in a logical manner. (3 4 High mark range Detailed knowledge and understanding of a range of different qualities which are clearly and accurately related to different applications with some explanation for their relevance. There will be some distinction between the 2 types of knit although this might not be fully explained. Information will be accurate and coherently presented. (5 6 (6 21

22 10 Explain what is meant by four of the following terms as used to the manufacture of knitwear: Fully fashioned: Garment parts knitted to the exact shape and size required Sewn together afterwards fabric does not need to be cut to shape so reduces waste fully fashioning is used in the manufacture of high quality garments Tubular knit: Circular weft knit is produced as a seamless tube products such as T-shirts, bandages, shoe laces, tights can be made without need for a seam Rib knit: Weft knit has alternating rows of knit and purl stitches gives a fabric with greater stretch identical on front and back different types of rib knit can be produced often used at ends of sleeves, bodies, necklines Jacquard knit Produces complex/decorative patterns with different coloured yarns each needle separately controlled yarns carried across the back of the fabric Raschel knit Warp knit produces lace-type structures can produce pile fabrics/relief patterns can use a variety of different yarns, eg ribbon can make sheer fabrics 1 mark) 4 terms, 2 marks each. (8 11 Knitted fabrics can be difficult to work with when being made into garments. Describe the problems and explain how they might be overcome at the design and manufacture stages. The fabric stretches in all directions and may curl or unravel when cut, needs to be cut with sharp scissors or a rotary cutter to avoid snagging and may need to leave a wider seam allowance. Edges need to be finished appropriately to prevent ravelling. Care needed when handling because loose floats on a patterned fabric surface may snag. 22

23 Garment design may need to be considered to avoid too many seams so stretch qualities not compromised. Use of fine ball point needle when stitching helps avoid missed stitches and snagging of fabric, and change needle regularly to avoid snagging from blunt needles. Use a polyester thread which will allow some give to match the stretch of the fabric. May need to use a stretch stitch when joining seams, or tape seams to prevent stretch. Use of walking foot on machine to prevent uneven stitching of seams, overlocking edges can prevent curling. Components need to be selected carefully as some may be too heavy for the fabric/cause it to stretch. If required, use lightweight stretch interfacings and linings to support sections of garment. Press according to main fibre content taking care not to distort fabric. Marks awarded as follows: No work worthy of credit. (0 Low Mark Range Limited response, points will relate to general advice rather than being specific to the knitted fabric with little detail about how specific difficulties can be overcome. There will be some inaccuracies and confusion, with little understanding shown. (1 3 Mid Mark Range Some relevant detail about a limited number of specific difficulties likely to be encountered, but remedies will tend to be in general terms only. Reasonably accurate points with some understanding shown in the response. (4 6 High Mark Range Detailed information about the potential difficulties and how they can be overcome. Very accurate descriptions and a thorough understanding of the fabric and issues concerning its use. (7 8 (8 23