LGCSE Fashion & Textiles (0191) cheat sheet

Fibre classification: natural (cotton, linen, wool, silk) versus manufactured (regenerated such as viscose, and synthetic such as polyester, nylon, acrylic).

Staple fibres are short (cotton, wool); filament fibres are continuous (silk, polyester). Staple yarns are spun, filament yarns may be textured or flat.

Cotton: absorbent, strong when wet, creases easily, flammable, damaged by mildew and strong acids; burns with a steady flame and paper smell.

Wool: hygroscopic, elastic, low flammability, felts with heat and agitation; burns slowly with a self-extinguishing flame and burnt-hair smell.

Silk: high lustre and drape, moderate abrasion resistance, degrades with sunlight and perspiration; burns with a slow sputtering flame and burnt-hair smell.

Polyester: strong, quick-drying, thermoplastic (heat-set), low absorbency, builds static; melts and shrinks away from flame with a black bead.

Viscose/rayon: soft, highly absorbent, low wet strength, shrinks and creases; burns fast like cotton with a paper smell.

Fabric structure: woven (plain, twill, satin), knitted (weft single jersey, warp), and nonwoven (bonded, felted). Weave affects drape, strength and grain line.

Performance tests: fibre identification by burn, solubility and microscopic tests; fabric properties by abrasion, tensile, tear, pilling and colourfastness testing.

Design cycle: brief, research, analysis, specification, idea generation, development, prototyping, evaluation and realisation.

The design brief states the client, purpose, target market, constraints (cost, time, safety) and performance requirements.

The design specification is a measurable checklist derived from research; each point must be testable against the final product.

Primary research: interviews, questionnaires, market surveys, user trials. Secondary research: trend forecasts, books, archives, existing products.

Mood boards, colour palettes, fabric swatches and annotated sketches are communication tools, not decoration; each must be justified.

Iterative development uses annotated samples, toiles and fit trials; changes are recorded with reasons for traceability.

Evaluation compares outcomes with the specification and gathers user feedback; it must identify strengths and specific improvements.

Intellectual property: copying a registered design or trademark is infringement; referencing sources in research avoids plagiarism.

Block patterns are basic close-fitting shapes (bodice, sleeve, skirt) from which styles are developed by dart manipulation and added ease.

Dart manipulation: a dart can be moved to any position around a pivot point without changing fit; slash and spread adds volume.

Grain lines: lengthwise grain (warp) runs parallel to the selvedge; the grain arrow must align with the fabric warp for correct drape.

Seam allowances are added to the net block: typically 1.5 cm for seams, 1 cm for necklines, 4 cm for hems (values vary by standard).

Notches mark matching points; balance notches on a sleeve head align with the shoulder point on the bodice.

Ease is the difference between body measurement and garment measurement; it may be wearing ease (movement) or design ease (silhouette).

Toile (muslin) is a test garment in cheap fabric used to check fit and proportion before cutting the final fabric.

Grading scales a pattern up and down through sizes using a size chart; increments are not uniform across all body areas.

Seam types: plain (open pressed), French (encloses raw edges, fine fabrics), flat fell (strong, jeans), overlocked (neatening), and double-stitched.

Stitch types: straight stitch for seams, zigzag for stretch and neatening, blind hem for invisible hems, and overlock for edge neatening.

Machine tension faults: loose top tension gives loops underneath; tight top tension gives puckering and thread breaks.

Interfacing adds shape and support (collars, cuffs, waistbands); fusible versus sew-in depends on fabric heat sensitivity.

Zips: centred, lapped and invisible; invisible zips require a special foot and are inserted before the seam is sewn.

Buttonholes are worked parallel to the button stand and sized to button diameter plus thickness; buttons are attached with a shank for thick fabrics.

Pressing is a construction stage: press as you sew, use a pressing cloth for heat-sensitive fibres, and press darts towards the centre.

Quality control points: even seam width, matched notches and checks, secure thread ends, balanced hems, and no puckering.

Embroidery adds stitch decoration by hand or machine; digitised machine embroidery requires a design file and stabiliser.

Appliqué stitches one fabric shape onto another; reverse appliqué cuts through the top layer to reveal a contrast beneath.

Quilting stitches layers together for warmth and texture; trapunto is stuffed quilting for raised relief.

Printing methods: screen (flat-bed or rotary), block, digital inkjet, transfer, and resist methods (batik, tie-dye, shibori).

Discharge printing removes dye from dyed fabric; it requires a dischargeable dye and gives a soft handle.

Repeat types: straight repeat, half-drop repeat and mirror/tossed repeat; registration marks ensure colours align.

Dye classes: reactive for cellulose, acid for protein fibres, disperse for synthetics; fibre and dye must match for fastness.

Felting and bonding create nonwoven surfaces; felting requires animal fibre, moisture, heat and agitation.

Fashion figure proportions are stylised: typically 9 heads tall for illustration, 8 heads for realistic croquis.

The croquis is the base figure; garment is drawn over it with the pose chosen to show key design features.

Technical flats (working drawings) are drawn flat, to scale, with no shading, showing seams, topstitching, darts and closures.

Technical drawing conventions: solid lines for seams, dashed lines for topstitching, arrows for grain, and symbols for buttons and zips.

Colour rendering uses media (marker, watercolour, digital) to show fabric texture, sheen and drape, not just hue.

Annotation on a technical drawing includes style number, view (front/back), fabric, colourway and construction notes.

Presentation boards combine illustration, flats, swatches and specification in a consistent layout for communication.

CAD software (e.g. Illustrator, Clo3D) is used for flats, repeat prints and 3D virtual sampling.

Key historical shifts: the corset to the 1920s dropped waist, Dior's 1947 New Look, 1960s youth fashion, and 1990s minimalism.

The Industrial Revolution mechanised spinning and weaving, shifting production from the home to the factory.

Cultural dress codes (e.g. kimono, sari, kente, hanbok) carry identity and tradition; appropriation differs from appreciation when credit and context are absent.

Subcultural styles (punk, mod, hip-hop) influence mainstream fashion through a trickle-up effect.

The fashion cycle runs introduction, rise, peak, decline and obsolescence; fast fashion shortens each stage.

Haute couture is legally defined in France (Paris-based, made-to-measure, minimum atelier staff); prêt-à-porter is ready-to-wear.

Contemporary issues include gender-fluid design, size inclusivity, adaptive fashion and digital fashion.

Designers and movements should be referenced accurately with dates and context, not as decorative name-dropping.

Supply chain stages: fibre production, yarn spinning, fabric manufacture, dyeing/finishing, garment cutting, sewing, finishing, retail.

Production systems: make-through, progressive bundle system, and modular/team sewing; each trades speed against flexibility.

Cutting methods: manual shears, straight knife, band knife and CAD/CAM automated cutting; lay planning minimises fabric waste.

Marker making determines fabric utilisation; fabric consumption = marker area × number of garments ÷ fabric width.

Critical path and lead time planning schedule sampling, bulk production, quality inspection and shipping.

Quality assurance uses AQL sampling, in-line inspection and final inspection; faults are classified as critical, major or minor.

Costing includes fabric, trims, labour, overheads, packaging and margin; fabric is usually the largest single cost.

Global sourcing decisions weigh cost, lead time, tariff, quality capability and ethical audit results.

Circular economy principles: design out waste, keep materials in use, regenerate natural systems; contrast with the linear take-make-dispose model.

The waste hierarchy ranks prevention, reuse, recycling, recovery and disposal; prevention ranks highest.

Fibre sustainability varies: organic cotton uses less synthetic pesticide; conventional polyester is fossil-based; recycled polyester reduces virgin feedstock.

Microfibre shedding during washing is a marine pollution issue; mitigation includes fibre choice, fabric construction and washing filters.

Ethical trade covers fair wages, no child or forced labour, safe working conditions and freedom of association.

Audits and certifications: GOTS (organic textiles), OEKO-TEX (harmful substances), Fairtrade, B Corp and SA8000 (labour).

Greenwashing is unsubstantiated environmental claims; credible claims are specific, verifiable and lifecycle-based.

Extended producer responsibility and take-back schemes shift end-of-life responsibility to brands.

Sewing machine safety: keep fingers clear of the needle, unplug before changing needles, and never sew over pins.

Needle selection: size and point type match fabric (sharp for woven, ballpoint for knit, denim needle for heavy twill).

Iron safety: check temperature setting against fibre (low for synthetics, high for cotton/linen), use steam cautiously, and never leave unattended.

Rotary cutters require a self-healing mat and cut-resistant glove; always cut away from the body and close the blade.

Overlockers have fast-moving blades; disengage the knife and unplug for threading and cleaning.

Dress forms, shears, pins and needles are hazards: store sharps in a case, and keep shears sharpened and reserved for fabric.

COSHH: dyes, discharge pastes and solvents require ventilation, gloves and labelled containers; check safety data sheets.

Ergonomics: adjustable chair height, task lighting and regular breaks reduce musculoskeletal strain in repetitive sewing tasks.