Textiles and Design 2025 HSC exam pack

Students should:

• ensure the Major Textiles Project Cover Sheet is completed and provided on a separate page in the front of the folio
• acknowledge any outsourcing or external assistance on the Cover Sheet, for example outsourcing of techniques such as digital printing of fabric, pleating, pattern making or professional machine quilting
• adhere to the requirements of the supporting documentation in terms of font size and page limits for each of the four sections
• adhere to the stipulated content requirements of the supporting documentation. Photographs of the completed textile item are not necessary, other than indicating how an item is to be assembled, worn or displayed if this cannot be explained within the visual design development or manufacturing specification sections
• ensure the style and colour of font in the supporting documentation is clear, legible and distinct from the background
• ensure that a font size equivalent to Times New Roman 12 is used in the folio
• ensure that the communication style is cohesive and that critical analysis is clearly linked to all areas throughout the supporting documentation
• adhere to the volume and weight requirements of the packaging container for textile item(s)
• use sewing and decorative techniques that demonstrate evidence of textile construction, rather than glueing or painting.

In better responses, students were able to:

• focus on the quality of the project rather than attempting many decorative techniques or producing many items
• create a textile item(s) that clearly relates to the intended end-use with attention to both aesthetic and functional features
• demonstrate a high level of proficiency in both the techniques used and the manufacture of the item(s)
• create a textile item(s) which demonstrates a level of creativity or innovation, a degree of difficulty and a degree of proficiency
• focus on using a number of quality techniques, a variety of unique and innovative fabrics and creative techniques and/or pattern modifications.

Areas for students to improve include:

• ensuring creative techniques have a direct link to the overall purpose of the item(s)
• ensuring all pins and needles are removed from the textile item(s) prior to submission
• ensuring the item(s) is functional and able to be used for the intended purpose. For example, including appropriate closures, or a means of displaying a wall hanging.

Students should:

• nominate the focus area they have worked in and clearly explain the relationship of specific aspects of design inspiration to this area
• select and present only relevant images and samples of inspiration.

In better responses, students were able to:

• identify the source(s) of inspiration, and explain in detail the relationship to the item(s) made within a specified focus area
• justify in detail their creative and innovative design ideas using prose and annotated images or samples
• analyse cultural, historical and/or contemporary factors in depth, explaining the relationship of these to their design ideas.

Areas for students to improve include:

• relating relevant inspiration to the textile item made within a nominated focus area
• linking the design ideas to a focus area, rather than defining the focus area
• analysing the influence of cultural, historical and/or contemporary factors on their design ideas, rather than simply presenting research
• annotating the inspiration clearly and analytically.

Students should:

• include rendered sketches labelled in detail with standard sized text
• link design ideas to the design inspiration
• include front and back views on the final design, and where necessary, in the design development, to show how the design evolved.

In better responses, students were able to:

• explain the development of design ideas in a logical and sequential manner using high quality labelled sketches which include design features, construction and decorative techniques used, colour range and fabrics chosen
• analyse strengths and weaknesses of each design to support the development of the final design, including its end-use
• analyse the functional and aesthetic aspects of the final design using elements and principles of design and relating these to the end-use.

Areas for students to improve include:

• linking design ideas to the inspiration identified without repeating the analysis from the design inspiration section
• producing sketches of an appropriate size that effectively visualise all design features
• labelling all design features on the final design in detail, taking care to use the prescribed font size when using computerised drawing programs.

Students should:

• clearly identify the use of commercial or downloaded PDF patterns and the modifications made to the pattern pieces
• detail any outsourcing or commercially-produced components of the textile item(s), for example, commercial quilting and digital printing
• draw or computer generate accurate, labelled production drawings showing all relevant measurements
• draw or computer generate pattern pieces, rather than submit photocopies of commercial pattern instruction sheets
• draw pattern pieces with relevant labelling, which may reflect current trends in pattern production, for example Indie designer PDF patterns
• present detailed cutting instructions
• present a logical and sequential outline of the order of construction, rather than submit a detailed set of instructions on how to make the item(s)
• present clearly labelled and correctly identified fabric swatches
• include a product care label in the appropriate font size with all relevant and accurate information for the item(s)
• include an accurate cost table for the textile item(s) with the total cost indicated.

In better responses, students were able to:

• provide an accurate and detailed written description of the textile item(s) relating specifically to design and construction features
• present high quality production drawings to scale and in proportion, with relevant views, accurate measurements, and labelling
• provide accurate drawings of pattern pieces to scale with all relevant labelling
• clearly indicate pattern modifications in a different colour.

Areas for students to improve include:

• indicating pattern modifications clearly and explaining pattern markings
• labelling fabric fabric swatches accurately in this section of the folio
• producing high quality production drawings to scale, that indicate all construction details, pattern markings and measurements
• ensuring that care labelling relates to the end-use of the item(s) and complies with Australian guidelines.

Students should:

• provide thorough evidence of experiments with materials, equipment and manufacturing processes by including the physical samples of techniques relevant to the textile item(s), rather than scans or photographs of evidence
• analyse the properties of fibre, yarn and fabric that are relevant to the item’s end-use, rather than including research on how the fibres, yarns and fabrics were manufactured
• use comprehensive experimentation, evidenced by inclusion of actual samples, to analyse and justify the selection of materials, equipment, and manufacturing techniques.

In better responses, students were able to:

• demonstrate extensive, relevant experimentation for the materials, equipment and most significant manufacturing techniques used in the production of the textile item(s)
• provide control samples and actual samples of results from relevant experimentation to justify the use of materials, equipment and manufacturing processes, and modification to the item(s)
• select fabrics for materials experimentation that are appropriate for the item(s) being made
• include relevant information to justify the selection of fibre, yarn and fabric for the end-use of the textile item(s) produced.

Areas for students to improve include:

• completing the experiments using the actual fabrics and notions being used
• selecting experiments that relate to the end-use of the item(s), and detailing how the experiments led to modifications in fabric selection, manufacturing or design
• experimenting with fabric selection, manufacturing techniques and equipment, rather than simply comparing samples
• experimenting with equipment to justify and modify selection, rather than simply including a list, comparison or table
• evaluating the research on fibre, yarn and fabrics used in relation to the end-use of the textile item(s) made.

Students should:

• read the question carefully to ensure that they do not miss important components of the question
• have a clear understanding of key words in the question and recognise the intent of the question and its requirements
• develop a plan for longer responses to assist with the logical sequencing of information
• engage with any stimulus material provided and refer to it in the response
• communicate ideas and information clearly and comprehensively in written, visual and graphic forms
• review their response to ensure that it addresses the question requirements.

Question 11

In better responses, students were able to:

• sketch in general terms, or indicate, the main features of a target market appropriate for bed sheets made from organic fibres. For example, parents who prioritise sustainable products that minimise environmental impact for their children (a)
• provide characteristics and key features of sustainable practices in textile production. For example, the re-use and recycling of clothing into alternative fibres or garments, reducing textile waste sent to landfill, and the use of organic farming methods that minimise pollution (b)
• make the relationship between globalisation and its impact on the marketing of textile products evident, providing a specific example such as a clothing retailer reaching a global audience through social media (c).

Areas for students to improve include:

• identifying an appropriate target market for the organic bed sheets, rather than stating that organic bed sheets are environmentally friendly (a)
• outlining the use of a sustainable practice applicable to textile prodution, for example, recycling of water used in the process of dyeing fabric (b)
• identifying a specific textile example and extending the response beyond defining the term ‘globalisation’ to demonstrate the impact of globalisation on the marketing of textile items (c).

Question 12

In better responses, students were able to:

• provide reasons why appliqué is a suitable decorative technique for a child’s library bag, for example, the colour, texture and/or shape provide an eye-catching or creative design (a)
• describe specific fabric colouration methods, and distinguish between the printing and dyeing processes using appropriate terminology (b)
• explain the influence of workers’ skills and status on textile design for the named culture, for example, decorative techniques passed from generation to generation to create Japanese kimono using indigo-dyed shibori fabrics (c).

Areas for students to improve include:

• considering the end-use of the library bag and the appropriateness of appliqué as a suitable decorative technique (a)
• giving equal attention to both printing and dyeing processes when distinguishing the difference between these fabric colouration techniques (b)
• linking the influence on textile design of traditional techniques, such as embroidery, appliqué or dyeing, to the knowledge and skills or status of workers from different cultures (c).

Question 13

In better responses, students were able to:

• consider the end-use functional criteria for the dance costume and the contributing yarn properties of the knit fabric when identifying a suitable yarn. For example, the strength and durability of a multifilament high twist yarn, due to multiple yarns being twisted together, allows the costume to withstand repeated wear, floor work and washing (a)
• describe both the advantages and the disadvantages of this digital printing on textiles for both the manufacturer and the consumer, for example, reference to cost-effectiveness, efficiency, consistency or the availability of machinery and training of staff (b).

Areas for students to improve include:

• identifying a suitable yarn structure, rather than naming a fibre such as cotton or nylon, and effectively linking the characteristics and properties of the yarn to the functional criteria of the dance costume (a)
• providing advantages and disadvantages of digital printing specifically related to the manufacturer and customer, rather than just listing general advantages and/or disadvantages of digital printing (b).

Question 14

In better responses, students were able to:

• provide a comprehensive analysis of multiple external factors influencing contemporary designers, such as political, economic, social, ecological and/or technological, while relating each factor to the work of the chosen designer
• identify and relate specific trends embraced by the designer or influenced by the designer, through either their collections or their business practices. For example, designers embracing sustainability through using organic or recycled fibres in their designs
• support the response with relevant examples for each external factor discussed. For example, how a designer responded to a downturn in the economy by releasing a more affordable range of clothing.

Areas for students to improve include:

• ensuring the response addresses all aspects of the question, rather than providing general information about the chosen designer
• demonstrating detailed knowledge of external factors influencing a designer
• making a connection between external factors such as social and economic conditions, and how the designer responds to or influences trends
• providing examples that relate to external factors influencing designers and that support the discussion of how the designer responds to or influences trends.

Question 15

In better responses, students were able to:

• demonstrate comprehensive understanding of the properties of both a polyester plain weave fabric and a cotton single knit fabric
• identify and relate the contributing properties of the fibre and fabric structure of both sets of pyjamas to the functional requirements of summer pyjamas
• provide a thorough comparison of the similarities and differences between the fibre and fabric structure of each set of summer pyjamas
• use relevant textile terminology.

Areas for students to improve include:

• using suitable terminology, for example, strength, durability, and/or comfort, when determining the functional requirements of the pyjamas
• providing a clear and accurate link between the properties of the stated fibre and fabric structure and the functional requirements of the pyjamas, for example, cotton is a cool fibre and knit fabrics are soft and elastic, therefore Pyjama 2 would be comfortable to wear on a hot summer night
• identifying the similarities and differences between the contributing properties of the fibres and the fabric structures.