Year 9 Textiles

2023

Name:
Contents

Course overview ............................................................................................................................... 3

Aims ................................................................................................................................................... 4
Objectives........................................................................................................................................ 4

Course outline.................................................................................................................................... 5

Introduction to Textiles .................................................................................................................. 7

Theory Semester 1: Part A ........................................................................................................... 9

Sewing basics .............................................................................................................................. 10
Safety in Textiles ........................................................................................................................ 18

Practical Semester 1 ..................................................................................................................... 48

Task 1: Production – Techniques folder Semester 1 ............................................... 49
Task 2: Production – Reversible octopus...................................................................... 50

Theory Semester 1: Part B ......................................................................................................... 57

Task 3: Response – Evaluating your project ............................................................... 58

Theory Semester 2: Part A ......................................................................................................... 59

Task 4: Investigation & design – Investigating: Using yarn – knitting on a
loom................................................................................................................................................. 60

Practical Semester 2 ..................................................................................................................... 78

Task 5: Production – Techniques folder Semester 2 ............................................... 79
Task 6: Production – Using yarn: Knitting on a loom.............................................. 86

Theory Semester 2: Part B ......................................................................................................... 90

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Course overview

Textiles Technology will contribute to the overall education of students by

enabling them to confidently use a range of technologies as well as create an
awareness of related career pathways and leisure pursuits. The course
encourages students to be proactive, competent, creative, responsible and
reflective learners able to take part in further study, work or training.

Project Work that includes investigation and experimentation will enable

students to discriminate in their choices of textiles for particular uses. Students
will document and communicate their design ideas and experiences and make
use of contemporary technology in their project work. Completion of projects is
integral to developing skills and confidence in the manipulation and use of a
range of textile materials, equipment and techniques.

The project for each term will be selected from one of the following focus areas:

 Apparel
 Non-Apparel
 Furnishings
 Textile Art
 Costumes

Textile projects will give students the opportunity to express creative ideas and
opinions while exploring the functional and aesthetic aspects of textiles.
Students will be encouraged to be independent learners able to demonstrate
responsible decision-making skills.

Students will be provided with opportunities to work independently and

collaboratively to understand the complex interdependencies involved in the
development of technologies and enterprises.

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Aims

The aim of this course is to develop confidence and proficiency in the design,
production and evaluation of textile items. Students will actively engage in
learning about the properties and performance of textiles, textile design and the
role of textiles in society.

Objectives

 Social, ethical and sustainability considerations that impact on designed

solutions (ACTDEK040).
 Development of products, services and environments, with consideration
of economic, environmental and social sustainability (ACTDEK041).
 Characteristics and properties of materials, systems, components, tools
and equipment used to create designed solutions (ACTDEK046).
 Technologies can be combined and used to create designed solutions
(ACTDEK047).
 Identify and define the needs of a stakeholder, to create a brief, for a
solution.
 Investigate a selection of components/resources to develop solution ideas,
identifying and considering constraints.
 Apply design thinking, creativity and enterprise skills.
 Design solutions assessing alternative designs against given criteria, using
appropriate technical terms and technology.
 Select and safely implement and test appropriate technologies and
processes, to make solutions.
 Evaluate design processes and solutions against student-developed
criteria.
 Work independently, and collaboratively to manage projects, using digital
technology and an iterative and collaborative approach. Considers time,
cost, risk and safety.

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Course outline

Week Content Assessment Task

Given:
Task 1: Production
1-2 Introduction to textiles
Techniques Folder – Semester 1
Due Week 6

Design process
3-4
Term 1

Production:
 Techniques folder Semester 1
Given:
Design brief:
5 Task 2: Production
 Reversible octopus
Reversible octopus

Week 6
Production:
6-10 Task 1: Production
 Reversible octopus
Techniques Folder – Semester 1 due

Week 6
Production:
1-6 Task 2: Production
 Reversible octopus
Reversible octopus due

Evaluation: Task 3: Response

7
Term 2

 Reversible octopus Evaluation – Reversible octopus

8 EXAMS

Given:
Production: Task 5: Production
9-10
 Techniques folder Semester 2 Techniques Folder – Semester 2
Due Term 3 Week 5

Week 2
Investigation:
1-2 Task 4: Investigation & Design
 Properties of yarn
Using yarn – knitting on a loom

Given:
Term 3

Week 4
Task 6: Production
Production: Beanie or slipper socks on a loom
4-10  Beanie or slipper socks on a Due Term 4 Week 6
loom
Week 5
Task 5: Production
Techniques Folder – Semester 2 due

Production: Week 6
1-6  Beanie or slipper socks on a Task 6: Production
loom Beanie or slipper socks on a loom due
Term 4

7-8 Christmas project

9 EXAMS

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 Assessment Outline
Assessment Task Week Total
Investigation
and Design Workbook: Let’s talk about yarn 4 T3 w2 25%
(25%)

Techniques Folder Semester 1 1 T1 w6 5%

Production: Reversible octopus 2 T2 w6 25%

Production
(60%)
Techniques Folder Semester 2 5 T3 w5 5%

Production: Knitting on a loom 6 T4 w6 25%

Response
Evaluation: Reversible octopus 3 T2 w7 15%
(15%)

Total Mark 100%

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Introduction to Textiles

When working with textiles the items created fall into five focus areas.

Apparel
These are textile items that can be
worn, are functional and are easily
cleaned. They can include clothing
and accessories.

https://newsladder.net/fashion-a-never-ending-
cycle/

Non-Apparel
Non-apparel items are functional textile items
which are usually more functional than
aesthetic. The end-use of the item will dictate
the materials and techniques used.

This focus area can include:

 Book covers
 Toys
 Bags and backpacks
 Umbrellas
 Tents and sleeping bags.

https://www.diyncrafts.com/23623/homemade/60-gorgeous-diy-tote-bags-free-patterns-every-occasion

Furnishings
Textile items for interiors which can
include cushions, lampshades, quilts and
bean bags.

http://www.hudsongoodsblog.com/couch/

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 Textile Art
Textile items that are highly decorative.

Elana Signal
http://www.elanasigal.com/index.html

Costume
Textile items relating to a particular
culture, historical period or occasion.
Costume is a particularly important
aspect for media and stage productions.

https://www.elle.com/uk/fashion/trends/longform/a37764/victorian-fashion-influence-

today/

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Theory Semester 1: Part A

1. Sewing basics
2. Safety in Textiles
3. Design process: Investigation and design

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Sewing basics

The machines we will be using are Janome DC2030 and DC2050.

Some useful information about the machines included in this booklet

 Parts of the machine
 Threading the needle and bobbin
 Stitch selection

Label each part of the machine using the key words provided.

Handwheel Presser foot Bobbin case Stitch selector Backstitch Sewing speed
Needle Bobbin winder Spool holder Needle threader Presser foot lever

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Draw a line to show how you would thread your machine

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Activity 1: Textiles equipment
Cut and paste the description and use on the next page to complete the following tables.

Measuring
Item Description When to use

Tape Measure

Rulers

Marking
Item Description When to use

Tailor’s chalk

Fabric pens

Cutting
Item Description When to use

Dressmaker’s
shears

Pinking shears

Embroidery
scissors

Quick unpick
(Seam ripper)

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Description and When to use are mixed up. Cut and paste onto the previous
page’s tables.
Item Description
Water soluble or air
erasable pens.
Larger fabric scissors.
A flexible ruler used to
measure lengths.
Scissors that cut a zigzag
pattern.
Small scissors with quite a
pointy edge.
A measuring tool with
metric or Imperial lengths.
Usually made of plastic or
wood.
A pointy implement with a
sharp edge.
A chalk pencil which is
easily erased from fabrics.
When to use
Used to trim seams and
fabric edges to prevent
fraying.
Used for trimming
embroidery threads and
precision trimming.
Used to unpick stitching.
Used to mark
measurements, darts, hems
and pleats on fabric.
Different coloured chalk
used for light vs dark
fabrics.
When measuring fabric,
seam allowances and hems.
Used to mark fabrics or
outline pictures.
Scissors used to cut out
larger pieces of fabric such
as when cutting out
patterns for clothing.
Used to measure and cut
fabrics to ensure accurate
measurements and clean
edges.
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Activity 2: Word search
Search for these words in the word find. They are diagonal, vertical, and
horizontal.

bobbin bobbin case bobbin holder

feed dog feet foot hand wheel
needle needle plate presser foot
presser foot lever reverse sewing button stitch length knob
stitch width knob thread guide thread take up lever

Y J I Y O U N A D X S W L D D T O O F K
R E V E R S E S E W I N G B U T T O N I
R S T I T C H L E N G T H K N O B T G E
E E Z A H A N D W H E E L H T S Y H F U
D B B T L Q L M U E J W G R H F L I E J
L F O I S P W Z R L L S P E R M B F E M
O S N E O Y E L C Q C B S V E C T I D Y
H Y K D W R D L W T M C R E A B P U D I
N P H I F V H G D G K F X L D U D P O G
I V T U R B K C B E X C O T T X Y G G O
B E D G O F S P P W E P O O A P C N F Z
B S I D B O B B I N R N U O K X P E E D
O A W A S D N V N F Q A C F E K L E E B
B C H E I T S L B R R A T R U T O D T T
L N C R S X C G J H R W A E P G M L F V
N I T H V L E W U E S B R S L D G E L D
B B I T M K S W P M Y I C S E O G M B Y
A B T O O F R E S S E R P E V R M Q T A
S O S K U Y Z E M Z I C S R E V W Q K N
M B V Y L S M U H A H D Z P R T W Y N P

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Safety in Textiles

Sewing Safety Rules

Sharp objects

 Pick up any sharp object by the handle, not the blade. Always offer the
handle first when handing to another person.
 Always check under the fabric prior to cutting to ensure there are no
obstacles.
 Always leave scissors closed and away from the edge of the table.
 Place all needles and pins in holder when not in use.

Using machines

 Ensure the sewing machine is in the “off” position when not in use or when
plugging or unplugging into an outlet.
 Do not sew with bent or broken needles.
 Sew at a slow speed – it is easy to make a mistake or get hurt if you go too
fast.
 Fingers should be either side of the presser foot – not directly in front of the
foot or needle.
 Do not lean too close to the sewing machine when stitching.
 Ensure hair and clothing is clear of machine when sewing.
 Let the machine move the fabric – don’t force the fabric through the
machine.
 Take your foot off the pedal each time you stop sewing.
 Keep cords untangled and out of the way.

General behaviour

 Follow proper procedures for using all sewing equipment.

 Use allocated time wisely during each class to complete project on time.
 Respect the rights and property of other students in the class.
 Replace all borrowed equipment neatly in its proper storage area.
 Pick up and/or sweep anything on the floor around your machine and your
desk/table.
 Rest the iron on its heel, if you leave it face down on the ironing board, you
will burn the surface.
 Ensure iron is turned off upon completion of use.

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Many of the materials, tools and equipment in the textiles classroom can be
safety hazards if they are not handled correctly or are misused. Dyes and
paints can irritate the respiratory tract, skin and eyes, and some people are
highly allergic to them. Tools such as blades, needles and staplers can cause
painful cut injuries, while irons and hot saucepans are burns hazards.

1. The table shows examples of situations that may be found in a classroom or

textiles studio.
 Read each example.
 Tick the columns to show how this hazard may affect a person.
 Describe what could be done to make this situation less hazardous.

Does it affect nose,

What should you do to
Hazard mouth, eyes or
make it safer?
skin?

Nose Mouth Skin

Sewing needles are left on

classroom tables and chairs.

A glass bottle of powdered

dye falls off a shelf and
breaks on the floor.

The lid of a bottle of liquid

dye is not put on tightly and
splashes over a student's
body as they pick it up

An electric frying pan is used

to melt beeswax for batik.

Setting screen-printed fabric

with an iron press or iron.

Using hot water to matt wool

together to make felt.

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Basic First Aid

2. Explain what should be done first in each of these situations.

a. You are making a paper stencil with a cutting tool, and slice off some
skin from your index finger.

b. You are using the steam iron and when a friend accidentally bumps into
you and your hand touches the hot steel plate.

c. Your friend is sewing and accidentally sews through his index finger. It is
stuck in the machine.

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Activity 4: Safe use of equipment
Question 1
Complete the following table identifying the hazard for each piece of equipment
and steps that can be taken to minimise risk. Cut and paste the descriptions
from the next page.

Hazard: has the potential to cause harm.

Risk: the likelihood of harm taking place when exposed to the hazard.
Risk control: ways of reducing or minimising the risk.

Equipment Hazard: what

Risk control: minimising risk
harm?

Scissors

Quick unpick
(Seam ripper)

Pins and needles

Sewing machine

Overlocker

Iron

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Hazard and Risk control are mixed up. Cut and paste onto the previous page’s
tables.

Equipment Hazard: what

Risk control: minimising risk
harm?
Sewing needle is Sew and pin carefully to avoid
pointy and sharp pricking your fingers.
Machine uses Immediately put pins and needles
electricity to run back on to the magnetic pin cushion
when finished using.
Machine has sharp Turn iron off when not in use.
needle and blade to Keep fingers clear of the hot plate.
cut fabric while Ensure electrical cords are safe.
sewing. Iron in a quite spot away from traffic
Uses electricity. areas.

Keep fingers away from the needle.

Tool has pointy end Keep your foot off the peddle while
and sharp edge. you are threading the needle.
Check electrical cords are safe.

Lay fabric out on a hard surface.

Hot plate when on. Clear working surface before cutting.
Uses electricity. Hold scissors properly and take care
when cutting.

Keep fingers well clear of blade.

Keep your foot off the peddle while
Sharp points.
you are threading the needle.
Check electrical cords are safe.

Implement has Point away from the body while you

sharp blades are unpicking seams.

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Question 2

Explain why you should keep your working area tidy when using the following
pieces of equipment:

a) Pins should be put back onto the magnetic pin cushion immediately after
use.

b) Scissors should be closed and placed away from the edge of the desk.

c) Unpick should be used pointing the sharp tip away from your body.

Question 3

a) Explain why you should have your sewing machine about 15cm away from
the edge, you should sit facing the machine and you should sit up with a
straight back when you are sewing.

b) Explain why you should take your foot off the peddle and turn off the
power when you are threading the sewing machine.

c) Describe how you will keep yourself safe while using a hot iron.

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Activity 5: Sewing safely

1. Complete the sentences using the following words.

away body careful clothing electricity

front guiding hair loud mouth
moving needle push scissors tangled

a. Never look _________________ when you are using the sewing machine.

b. Tie up long _________________ and remove any loose _________________

that may get caught up in a running machine.

c. If your sewing machine starts to make _________________, clunking noises,

stop using the machine straight away, turn off the _________________ and

ask for help.

d. If your work becomes _________________, turn off the machine before you

attempt to solve the problem,

e. If a _________________ breaks, turn off the machine and ask for help.

f. Do not place your hands in _________________ of the path of the

_________________ needle.

g. Keep your _________________ away from where moving fabric may push

them off the sewing table.

h. Don't place pins in your _________________.

i. _________________ a quick-un-pick through fabric away from your

_________________.

j. Use _________________ and controlled hand movements when

_________________ fabric through the sewing machine.

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Activity 6: Machine skills

1. Neatly cut the next page from the workbook.

2. Using an unthreaded sewing machine and a medium-sized stitch length,

carefully sew along the lines of the shapes below to practice the skills of
sewing.

Before you start the machine

 Set the stitch length to medium — your teacher will tell you the exact
stitch size.
 Without the machine turned on, practice pushing down on the foot pedal
slowly and evenly so the machine will sew at an even pace that you can
control.

Hint: Remember to guide or steer the paper towards the needle, do not push
or pull the paper.

3. Score your sewing for each example. Did you stay on the lines? Did you turn
the corners without taking the page out? Did the paper rip or not?

a. /10 b. /10 c. /10

4. Explain which part of using the machine you find the most difficult. How
could you improve in this skill?

Most difficult

Improving this skill

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Glue your sewing practice page here.

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a. Try to keep a steady pace along these straight lines.

b.

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Activity 7 Annotating Diagrams

Properly annotated drawings help other people to see the progress or

development of a design idea which can help them to fully understand your final
product.

Annotations can provide information about a number of different aspects of a

drawing. These include the:
 Size or measurements of an object.
 Types of materials use.
 Key parts of the object or design.
 Techniques used to make the object.

They also help to:

 Make clear any design feature that is not shown in the drawing.
 Show how a feature may work.
 Date the idea and record when it was created in the design process.

1. What kind of information does each of these annotations that Arna wrote tell
you about the travel bag she made? Refer to the information above to help
you answer.

Annotation Type of Information

a. Three plastic-lined pockets with
double sewn seams.

b. 15th September 2009, Lesson 6.

c. The lid closes sideways with a 65

cm silver zip.

d. Yellow, vinyl handle that folds flat

when not in use.

e. Three upright compartments

suitable for shampoo bottles.

f. Each small, zipped compartment

is lined with 1 mm clear plastic.

g. One 80 mm x 80 mm padded
pocket for a mirror.

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2. Annotate the drawing of a bag using the following words and any other descriptive
words you would like to apply to this textile product.

canvas cloth colour detail elastic

expandable fabric fashionable feature flexible
handle leather light lining panels
pocket polyester quality rigid soft
stretchy strong structure studs sturdy
stylish topstitch water proof water-resistant zipper

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The Design Process
Design brief
• A design brief is a document that defines the main details of your
upcoming design project.
• It defines what you need to do and what constraints you will be working
with.

Stages of the design process

•Examine the design brief •Choose the best design

•What needs to be idea
collected and completed? •Display diagrams and/or
•Research the topic pictures
•Brainstorming and •Plan the product design in
collating information detail
•Look for solutions to solve •Create a sample or mock
the possible constraints product
•Evaluate your ideas •Evaluate your plans

Investigating Devising

Evaluating Producing

•Think about the steps and •Make the design

materials you have used •Evaluate the item
•Has your product
successfully met the
design brief
•How could you improve
your design and product
•Write an evaluation report

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PowerPoint notes

1. Investigation

Performance criteria

• Performance criteria are _______________________________________

__________________________________________________________.

• These criteria need to be set during the investigating stage so that when it
comes to designing your product you can use them to evaluate ideas,
materials and your sample or prototype.

• Information in the design brief is used to set your performance criteria.

• Prototype: ________________________________________________
__________________________________________________________.

2. Design

3. Produce

4. Evaluate

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Elements and principles of design
Line
Line can __________________________, divide a work and
can create __________________________________
______________________________________________,
pattern through repetition and the __________________
_________________________ or the feeling of emotion.

Shapes are generally grouped into two main groups- organic

and geometric.
_______________ shapes tend to be _________________
Shape _________________________ in their appearance, whilst
_______________ shapes are irregular and are usually
Elements

_______________________________________ and are more

relaxed than geometric shapes.

Texture can be ____________ (as in the rough feel of burlap

or the ____________________________________) or it can
Texture
be ________________ (through the use of line,
_________________ and colour combinations).

Colour can evoke different _________________________

_____________________________. Colours may be
Colour
__________ (reds/ oranges/warm yellows) or may be
__________ (blues/greens).

There can be harmony and contrast of line

(___________________), shape
(________________________), tone (_______________),
colour (________________________) and texture
Contrast & harmony
(__________________________).
The use of contrast is often used to create emphasis or a
focus on an object (through its being dissimilar to those
around it).
Principles

Proportion can be a _______________________________

_____________ or amounts of specified design elements.
Proportion
Sometimes in a design, ________________ is manipulated to
create emphasis or give a sense of depth.

A composition needs balance to have a _______________

_______________________ and to be _______________
_______________________. It creates a sense of “rightness”
Balance
within a work.
Balance may be achieved either ____________________
____________________________.

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Elements of design

The elements of design are tools that a textile artist uses to communicate
feelings and ideas visually. Each element can be isolated as a component of
design work and used to analyse the visual design. Each element can also be
combined with a number of other elements to create a successful textile project.

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Line
Line can be defined as an element which leads the eye around a design, shape
or form. Characteristics of line include width, length, focus and feeling.

For each item below, describe the type of line used and explain how it affects the
design.

Shape
Shape can be defined as a line that intersects with other lines to enclose a
space. Shape is two-dimensional, having width and height but no depth.
Shapes often make spaces within designs playing an important role in defining
design arrangement. Shapes can be geometric, organic or free form and can
take a positive or negative role.

For each item below, identify the type of shape and explain how it affects the
design.

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Texture

Draw 2 samples of different visual textures, one using lines and the other
using shapes

`
Line Shapes

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Colour
Colour is probably the most important of the elements of design. Colours can
evoke physical, emotional and psychological responses.

Colour Schemes
Colour schemes are achieved when colour combinations are used to create a
special effect.

Analogous – colours are Triadic Harmony – Monochromatic – one

next to each other on colours that are equally colour but in different
the colour wheel spaced on the colour values and intensities
wheel

Cool colour schemes Warm colour scheme

From the blue side of From the red side of the
the colour wheel colour wheel.

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Complete the following table by designing one T-shirt and copying the design
three times, using three different colour schemes.

Describe how changing

Colour
T-shirt design the colour scheme affects
scheme
the design

Primary

Secondary

Combination
of Primary
and
Secondary
colours

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Contrast
Label each of these columns as having either high, medium or low contrast.

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Proportion

Size refers to variations in the proportions of objects, lines or shapes. Each

element within the design has its own size relative to the whole project.

For each item below, identify the size of the element used and explain how it
affects the design.

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Design brief

1. Write a description of the soft toy you are making by completing the table
below. Provide as much detail as possible, including details of any
modifications or embellishments to be included in the final product.

Soft toy: ____________________________

Description

Client

Fabric to be used

Texture

Colour scheme

Sewing techniques to
be used

Face design

Size

Safety considerations

Constraints

2. How much time do you have to design, make and evaluate your product?

_______________________________________________________________

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3. List all materials that you will need to complete your project.

How much you will

Material Fibre content
need

Special considerations

Aesthetic Considerations

4. Outline 2 aspects of the appearance of this product you think are important.
Why?

Aspect 1 ________________________________________________________

_______________________________________________________________

Why? ___________________________________________________________

_______________________________________________________________

Aspect 2 ________________________________________________________

_______________________________________________________________

Why? ___________________________________________________________

_______________________________________________________________

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Functional Considerations

5. Describe 2 parts of the product that will have to work well to ensure the
product is suitable for the purpose it was created.

Part 1 __________________________________________________________

_______________________________________________________________

Part 2 __________________________________________________________

_______________________________________________________________

Social Considerations

6. When designing this product, how will you consider the client requirements?

_______________________________________________________________

_______________________________________________________________

_______________________________________________________________

_______________________________________________________________

Environmental Considerations

7. Discuss the need to consider the environment when designing and making
this product. (2 marks)

_______________________________________________________________

_______________________________________________________________

_______________________________________________________________

_______________________________________________________________

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8. Outline three (3) performance criteria you could use to evaluate your
product

1.

2.

3.

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Design proposal

 Sketch your design and annotate the drawing to describe its features. Use
at least ½ the page for your sketch. Remember, labelling is not the same as
annotating.

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Practical Semester 1

1. Task 2: Production – Techniques folder

2. Task 3: Production – Reversible octopus

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 Austin Cove Baptist College

Year 9 Textiles
Task 1: Production – Techniques folder Semester 1
Weighting –5%
Textiles Department
Due date: Term 1 week 6

Marking rubric for Task 1

Task 1_Production: Semester 1-Techniques folder Completed

Machine sewing

Sewing straight parallel lines

using a straight stich, finishing
 Technique
edges with a zigzag 3
completed with
competence
Sewing seams – open seam  Technique 2 / 12
completed
Sewing seams – closed seam  Technique 1
attempted
Topstitch

Hand sewing

Back stitch  Technique

completed with 3
competence
Blind hem  Technique 2 /9
completed
 Technique 1
Button attempted

TOTAL / 21

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 Austin Cove Baptist College

Year 9 Textiles
Task 2: Production – Reversible octopus
Weighting –25%

Textiles Department Due date: Term 2 week 6

Marking rubric for Task 2

Production S1
Time Management
 Worked consistently to complete project. Took initiative and asked 4
for help when needed. Projected completed.
 Mostly worked consistently to complete project. Usually took 3
initiative and asked for help when needed. Project completed. /4
 Did not always work consistently and needed reminding about the 2
next steps. Project near completion.
 Did not work consistently and project is not completed. Needed 1
constant reminding to continue on to the next steps.
Skills Development
 Able to follow teacher instruction and work independently to 7-8
complete task correctly. Required the occasional help to solve
problems with the sewing machine and/or stitching but did not
need follow-up scaffolding.
 Usually able to follow teacher instruction and mostly worked 5-6
independently to complete task correctly. Required some help to
solve problems with the sewing machine and/or stitching but
/8
progressed well with this skill.
 Usually able to follow teacher instruction but required some 3-4
scaffolding to complete task correctly. Required some help to
solve problems with the sewing machine and/or stitching but
progressed with this skill.
 Required regular assistance and needed scaffolding to complete 1-2
task. Required help to solve problems with the sewing machine
and/or stitching. Did not progress with this skill.
Final presented product
 All parts assembled accurately with precise alignment. Stitching is 9–10
straight and project presents with an outstanding finish.
 All parts assembled, minor corrected imprecision. Stitching is 7–8
relatively straight and project presents with an excellent finish.
 All parts assembled, minor shape irregularity. Stitching has some 5–6
/10
irregularities and project presents with a satisfactory finish.
 All parts assembled, some poorly fitting parts and detail flaws.
Stitching shows irregularities and project presents with a basic 3–4
finish.
 Most parts assembled, poorly fitting parts and detail flaws.
Stitching very uneven and project is poorly presented. 1–2
Total /22

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Reversible octopus: Design brief

You will be making a reversible octopus to consolidate your sewing machine and
hand sewing skills and techniques.

This project requires you to machine stitch the head, use embroidery techniques
to make the mouth (example: happy and sad/grumpy) and hand sew the rest of
the body before stuffing and finishing off the soft toy.

This project will allow you to choose your fabric colours. You will be using polar
fleece which is a soft and fluffy fabric which will give the cuddle effect that you
want for a soft toy.

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Reversible octopus: Instructions

Step 1
 Decide whether you want to use flannel or polar fleece. Select 2
colours/patterns of the same type of fabric.

CUTTING OUT AND MACHINE SEWING

Cutting out pattern


Step 2
Head pieces
 You will need to cut out 4x the head piece for each
of your 2 colours, so you will have 8 pieces of
fabric in total. The head pieces include a ½ cm
seam allowance.
Leg piece
 Lay the 2 different coloured fabrics together, right
sides facing each other. Place the leg pattern on top. Trace around the x
pattern using a fabric marker using dots rather than a solid line.
 Roughly cut out a circle around the pattern through both fabrics as shown
in the picture with the green fabric.
 DO NOT CUT OUT the flower pattern. Instead, tack the 2 pieces of fabric
together following the flower line just on the inside and the circle just on
the outside. You will be using the tracing line to hand sew the two pieces
together BEFORE you cut it out.

Sewing head pieces

Step 3
 For the first colour, place two panels right-
sides together and do the same for the second
pair. Measure ½ cm from the top of the head
piece and place a pin to mark the spot. Start
sewing using a straight stitch from the top to
the bottom, leaving the ½ cm gap as shown on
the picture.
 DO NOT sew from the bottom up – your fabric may stretch a little and it is
more important for the top to line up perfectly than for the bottom to line
up.

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Step 4
 Place the four panels right-sides together, pin and sew one side at a time,
again starting ½ cm down from the top. Have a good look at the picture
to see how you should do this.

Step 5
 Trim the top and the side seams as shown in the pictures below.

Step 6
 Repeat for the second colour so that you have one head of each colour.

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Sewing the leg piece

Step 7
 Stitch the leg pieces together along the outside flower pattern using a
straight stitch and on the line that you traced onto the fabric with the
fabric marker.
 When you have sewn all around the outside of
the pattern, carefully cut out around the flower
pattern leaving a ½ cm seam allowance.
 Then, cut out the circle in the middle ON THE
LINE. Your leg piece should look like the
picture.

Sewing the body together

Step 8
 On the wrong side of the leg pieces, mark out a ½
cm seam along the circle with the fabric marker using
dots for both sides.
 Mark out the four quarters of your leg piece using
pins by folding it in half and then in half the other
way.

Step 9
 Pin the head of one colour to the same-coloured legs,
right-sides together and matching the seams of the
head to the quarters marked out by the pins.
 Pin everything neatly together as shown.
 The right side of this colour should be poking out
around the back, as in the picture below.

Step 10
 Stitch the body together using a straight stitch and
stitching along the dotted seam line you have
marked out.
 Make sure you are keeping your stitches even and
firm, not too tight and not too loose.

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Step 11
 Now repeat the process for the other colour, but
this time the colour that you have already
stitched will be scrunched up in the middle as
shown in the picture. The process is the same.

IMPORTANT:
 Make sure that the seams line up with the
quarters you have marked out and most
importantly that the FACES LINE UP.
 Secondly, make sure that you leave one head
panel at the back open so that you can turn
your octopus right-side out.
opening

Step 12
 Turn you octopus right-side out.

Step 13
 Place stuffing in the legs, making sure each leg has roughly an equal
amount.
 Then separately, stuff ONE SIDE ONLY of the octopus head. Have a feel
for the amount you have used by scrunching up the other side of the head
into the inside. Adjust stuffing as required.

Step 14
 Pin both sides together on the seam that connects the head to the legs as
shown in the picture.
 Using a running stitch and invisible thread, sew through both thicknesses
of fabric, pulling firmly so that this part of the body is cinched in. This will
ensure that the legs stick out rather than down.

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Adding on the faces

Step 15
 Decide which colour will have the happy face and which
one will have the sad/grumpy face.
 On a piece of paper, draw out the pattern pieces for
your eyes and mouths. Cut them out using paper
scissors.
 Using your paper pattern pieces, cut out felt eyes and
mouths in the colours of your choice.
 Decide where you want the eyes and glue in place.
 Decide where you want the mouth and glue in place

Congratulations! You have now completed your reversible octopus!

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Theory Semester 1: Part B

1. Task 3: Response – Evaluation

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 Austin Cove Baptist College

Year 9 Textiles
Task 3: Response – Evaluating your project
Weighting –15%

Textiles Department Due date: Term 2 week 7

Time allowed: 20-30 minutes

Total
____________/__

Permissible items:
Standard items: pens, pencils, pencil sharpener, highlighter, eraser, ruler

Write your answers in the spaces provided.

Your answers should provide sufficient detail for marks to be awarded for
reasoning. Use dot point sentences rich in key words and relevant information.
Incorrect answers given without supporting reasoning cannot be allocated any
marks. For any question or part question worth more than two marks, valid
explanation or justification is required to receive full marks. If you repeat an
answer to any question, ensure that you cancel the answer you do not wish to
have marked. Clearly indicate if you have answered a question at the back of the
booklet.

It is recommended that you do not use pencil except in diagrams.

58 | P a g e
Theory Semester 2: Part A

1. Task 5: Response – Investigating: Using yarn –

knitting on a loom
2. Textile fibres: Let’s talk about yarn

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 Austin Cove Baptist College

Year 9 Textiles
Task 4: Investigation & design – Investigating: Let’s
talk about yarn
Weighting –25%
Textiles Department
Due date: Term 3 week 2

NAME:_______________________________________

Total ____________/52
____________ %
Assessment outline:
Background information pages 61-65
Questions 1-4 pages 66-72
Background information pages 73-74
Question 5 pages 75-77

Plagiarism and referencing:

Referencing is a standardised method of acknowledging sources of information and ideas that
you have used in your assignments or research, in a way that uniquely identifies the source. It is
not only necessary for avoiding plagiarism, but also for supporting your ideas and arguments. If
unsure, please refer to your teacher or the school referencing guide in your diary for further
information.
All work must be your own. You are not to work with other students (collusion) or copy
information from another source (plagiarism).
Evidence of plagiarism, collusion or cheating will result in disciplinary action and possible loss of
marks.

I _____________________________, hereby declare that all work presented and submitted for this task is
my own and any sources that have been used have been referenced according to the school’s referencing
guide. This information has not been shared with others or assisted in the completion of other tasks.

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Textile Fibres
Classification of fibres

Textile Fibres

Natural Fibres Man Made Fibres

Spinnable substance existing in Spinnable substance manufactured
nature using chemical processes

Animal Plant Regenerated Synthetic

Wool Cotton Rayon Nylon

Silk Linen Tencel Polyester
Cashmere Hemp Lyocell Acrylic

Fibre properties

Gloss, sheen, sparkle or shine of a fabric

Lustre caused by light reflecting from the
surface of the fibres, yarn and fabric
Aesthetic
Drape How a fabric hangs or falls

Handle The way a fibre behaves when used

Ability to withstand rubbing or wear and
Abrasion resistance
tear

Strength Ability to resist breaking

Absorbency Ability to absorb moisture

Ability to return to the original shape

Functional Resilience
after being scrunched, folded or creased

Dimensional stability Resistance to shrinking or stretching

Ability to return to the original shape

Elasticity
after being stretched or compressed

Thermal properties Ability to withstand and transfer heat

61 | P a g e
Let’s talk about yarn: Background information

Yarn for knitting or crocheting is manufactured from natural or synthetic fibres.

Different types of yarn fibres have specific qualities; some good, some not so
good. Often manufacturers blend different types of yarn fibre to offset an
undesirable characteristic. When selecting a suitable yarn for a project, thought
must be given to each of the following:

 Aesthetic considerations – Appearance and feel of the product.

Picture 1 Picture 2

 Functional considerations – The suitability of the yarn for the product.

Picture 1 Picture 2

 Social considerations – The needs of the target market.

Picture 1 Picture 2

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 Environmental Considerations – For both producing and disposing of the
product.

https://www.cooperhewitt.org/2016/11/08/infographic-environmental-
impacts-of-the-textile-industry/

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Animal fibre based yarns
Animal fibre based yarns are typically created from hair or fleece. Sourced from
the fleece of sheep, wool is the most popular animal fibre. Lamb’s wool is
typically from the first shearing, and pure new wool or virgin wool is made
directly from animal fleece and not recycled from existing wool garments.
Popular varieties of wool, such as Merino, Lincoln and Shetland wool are named
after the breed from which they are sourced.

On a much smaller scale, cashmere and mohair is sourced from goats and
angora is sourced from alpacas and rabbits. These animals produce a smaller
annual yield which results in a higher price.

Silk is one of the softest fabrics created from animal fibres. This highly prized
cloth is created from the fibres that are weaved by silkworms when creating
their cocoon. It is then destroyed before it can break out of the cocoon so that
the precious silk filament remains intact.

Animal fibres have many properties which make them ideal for textile products.
 They are flame retardant, water repellent and durable.
 They have the ability to trap air, which means they can be used as insulators.
 They are easily dyed.
 They are both renewable and recyclable.

Plant fibre based yarns

Cotton and Linen, two common plant fibre based yarns, are both lightweight,
soft, breathable, durable and highly absorbent. In order to incorporate other
properties, such as elasticity, they are often blended with other fibres to produce
suitable yarn.

Hemp yarn is produced using hemp fibres which are great at conducting heat,
die well and resist mildew. Hemp softens with every wash and won’t shrink,
stretch or pill.

Man-made fibres
Regenerate cellulose or semi-synthetic fibre yarns are classified as man-made
because of the chemical and physical production processes used on the cellulose
fibres originating from the pulp of vegetation, like bamboo and pinetrees.
Rayon, Tencel and Lyocell are the some of the different fibres manufactured, all
of which are highly absorbent, washable, soft, smooth and comfortable.

Synthetic fibre yarns are made by combining chemicals with acids and alcohol,
which are sometimes heated before being forced through a nozzle or die to form
a thread (extrusion). Fibres have been developed with consumer friendly
properties including stain, water and fade resistance, elasticity and durability.
Synthetic fibres including nylon, acrylic, polyester, lycra and spandex.

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Novelty yarns
Novelty yarns are easy to recognize because their appearance is so different
from traditional yarns. Some novelty yarns can be tricky to work with. Others
can be downright difficult! Identifying individual stitches in highly textured yarns
is difficult, if not impossible, making it hard to fix mistakes or rip out stitches.

 Ribbon: A knitted ribbon in rayon or a rayon blend.

 Bouclé: This highly bumpy, textured yarn is composed of loops.
 Chenille: Although tricky to knit with this yarn has an attractive appearance
and velvety texture.
 Thick-thin: Alternates between thick and thin sections creating a bumpy look
to knitted fabric.
 Faux fur: Fluffy fibre strands on a strong base thread of nylon which
resembles faux fur when knitted.

Specialty: These traditional types of yarn create unique looks in knitted items.

 Tweed: Has a background colour flecked with fibres in different colours.

 Heather: Blended from a number of different coloured fleece and then spun.
 Marled (ragg): A plied yarn in which the plies are different colours.
 Variegated: Dyed in several different colours or shades of a single colour.

65 | P a g e
Task 4: Let’s talk about yarn
Question 1 (6 marks)

The design fundamentals are listed below. You need to keep these in mind when
designing any project. Choose two (2) design fundamentals and discuss them in
relation to the specific project design you have chosen, using the proper textile
language.

Design fundamentals
 Aesthetics
 Function
 Cost
 Measurements
 Environmental impact and considerations
 Safety

Project:
Design fundamental 1:

Discuss

Design fundamental 2:

Discuss

66 | P a g e
 Question 2 (8 marks)

a) Consider the pictures on page 62. For each of the categories, there are 2
pictures and some information. Use this to complete the table below.
(6 marks)

How does it apply?

What it
Consideration
means
First picture Second picture

Aesthetic
considerations

Functional
considerations

Social
considerations

b) Outline some of the environmental considerations for: (2 marks)

producing the product

disposing of the product

67 | P a g e
Question 3 (8 marks)

Animal based fibre yarns

a) Outline the difference between lamb’s wool, cashmere and angora.

(3 marks)

Lamb’s wool

Cashmere

Angora

b) Why is cashmere and angora wool more expensive than lamb’s wool?
(1 mark)

c) Describe the 4 properties of animal-based yarns. (4 marks)

1.

2.

3.

4.

68 | P a g e
Question 4 (19 marks)

Plant based fibre yarns

a) List the 2 most common plant-based yarns (2 marks)

1.
2.

b) These 2 yarns have similar properties, including that they shrink when
first washed. List 4 other properties of these yarns. (4 marks)

1.
2.
3.
4.

c) Explain why hemp yarn may be a better option than cotton for making
some types of garments. (2 marks)

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 d) Cellulose fibres are made from plants such as bamboo. However, it is
classified as a man-made rather than a natural fibre. There are other
synthetic fibres manufactured from chemicals. Complete the table below
to compare and contrast these types of fibres. (6 marks)

Fibre Examples Properties Manufacturing method

Regenerate
cellulose
fibre yarns

Synthetic
fibre yarns

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Novelty yarns

e) Match the following pictures with the name of the novelty yarn as
described on page 65. (5 marks)

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72 | P a g e
Selecting yarn for a project: Background information

Standard yarn weight

This is the little ball of yarn symbol with a number inside. This is the best way to
figure out which weight of yarn is used in the pattern. This is normally listed at
the beginning of a pattern along with the needle size, etc. Unfortunately, there
are different names given to each category depending on the country of
manufacture.

Ply

The ply of a yarn refers to the

number of strands plied
together. Generally, the
stronger (and mostly thicker)
the wool or yarn, the higher
the ply number. The picture to
the right shows you that ply
has to do more with the
texture and strength of a yarn
than its weight.

73 | P a g e
Fibre content

It’s ok to swap for a different kind of fibre than what’s used in your pattern but
do think about how it will affect the finished project. If your project is a
lightweight, airy garment meant for spring – choose a cool fibre blend such as a
cotton yarn. For warmer garments, acrylic is better while wool is best. If the
pattern has a lot of cables or colour work, choose a wool yarn so that it has
enough memory to hold its shape. Also think about washing and care of the
finished garment. Acrylic yarn clothes are easy wash-and-wear whereas often a
woollen garment needs to be handwashed and dried flat. Cotton can stretch
easily while acrylic maintains its shape. Wool and acrylic may pill. Some people
find woollen garments itchy and prefer acrylic.

Amount needed

When deciding how much yarn to buy, always go by the total yardage (length) –
rather than the number of skeins or the weight (ex. grams) of each skein as
listed in the pattern. This is the most accurate estimate as yarns have different
densities. When in doubt, grab an extra skein – you never know if the same dye
lot will be available if you run out!

Time to Gauge

Once you’ve selected a yarn, it’s time to make a gauge swatch (sample) and
decide on your needle size. This means you have to knit a swatch using the
recommended needle sizes to see if your knitting technique gives you the correct
tension and size. If your swatch is larger than the measurements given, you will
have to go down a needle size and if it is smaller, then you will have to go up a
needle size. Every combination of knitter and knitting needles will have a unique
gauge, so swatch with the exact needles you plan to use for your project.

Don’t be tempted to say your gauge is “close enough”. If you don’t get the right
stitch count, adjust your needle size and try another swatch! Keep trying
swatches until you get the right count!

Gauging may seem like a pain, but if you think about how many hours you will
put into knitting a project. It’s worth it to have the finished project turn out the
size you want.

74 | P a g e
Question 5 (11 marks)

Standard yarn weight

f) The yarn you are using for your beanie is a medium weight yarn as shown
below:

a) What size knitting needle is recommended? (1 mark)

b) What size crochet hook is recommended? (1 mark)

g) Discuss the advantages and disadvantages of knitting or crocheting your

beanie using wool instead of the acrylic yarn you have been given.
(2 marks)

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 h) Below is some information given for knitting a beanie.

a) What size needles are recommended? Use metric measurements.

(1 mark)

b) What weight yarn is used? (1 mark)

c) What does sts stand for? (1 mark)

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d) When you are making a swatch, how many stitches to you have to cast on
and how many rows do you have to knit before you can measure (gauge)
if your tension and size are correct? (1 mark)

e) What kind of stitch do you have to knit in for your swatch? (1 mark)

f) Explain why you would knit a swatch before commencing your beanie.
(2 marks)

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Practical Semester 2

1. Task 5: Production – Techniques folder

2. Task 6: Production – Knitting on a loom

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 Austin Cove Baptist College

Year 9 Textiles
Task 5: Production – Techniques folder Semester 2
Weighting –5%

Textiles Department Due date: Term 3 week 5

Marking rubric for Task 5

Sampler and Techniques Folder Completed

Stitches Semester 2

Knitting swatch 10cm x 10cm (using  Technique

knitting needles) attempted 1-2
 Technique
Crochet sample 10cm x 10cm (using completed
3-4
a crochet hook)  Technique
completed
with 5-6
Knitting on a loom sample 15 rows competence

TOTAL /18

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Crochet basics

Common Abbreviations

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81 | P a g e
82 | P a g e
Knitting basics

Common Abbreviations

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84 | P a g e
85 | P a g e
 Austin Cove Baptist College

Year 9 Textiles
Task 6: Production – Using yarn: Knitting on a loom
Weighting –25%

Textiles Department Due date: Term 4 week 6

Marking rubric for Task 6

Production S1
Time Management
 Worked consistently to complete project. Took initiative and asked 4
for help when needed. Project completed.
 Mostly worked consistently to complete project. Usually took 3
initiative and asked for help when needed. Project completed. /4
 Did not always work consistently and needed reminding about the 2
next steps. Project near completion.
 Did not work consistently and project is not completed. Needed 1
constant reminding to continue on to the next steps.
Skills Development
 Able to follow teacher instruction and work independently to 7-8
complete task correctly. Required the occasional help to solve
problems with their needlework, crochet and/or knitting but did
not need follow-up scaffolding.
 Usually able to follow teacher instruction and mostly worked 5-6
independently to complete task correctly. Required some help to
solve problems with their needlework, crochet and/or knitting but
/8
progressed well with this skill.
 Usually able to follow teacher instruction but required some 3-4
scaffolding to complete task correctly. Required some help to
solve problems with their needlework, crochet and/or knitting but
progressed with this skill.
 Required regular assistance and needed scaffolding to complete 1-2
task. Required help to solve problems with their needlework,
crochet and/or knitting. Did not progress with this skill.
Final presented product
 Techniques accurately and precisely executed with even tension 9–10
throughout. Project presents with an outstanding finish.
 Techniques correctly and well executed with minor corrected 7–8
imprecision, tension mostly even throughout. Project presents
with an excellent finish.
 Techniques mostly correctly executed with minor shape 5–6
/10
irregularity and some irregularity in tension throughout. Project
presents with a satisfactory finish.
 Techniques somewhat correctly executed with some shape 3–4
irregularity, uneven tension and detail flaws. Project presents with
a basic finish.
 Techniques executed poorly with very irregular and poor tension 1–2
and detail flaws. Project is poorly presented.
Total /22

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Knitting a beanie on a loom
1. Casting on

2. Knitting your first round

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 3. Knit a further 18 rounds

4. Making your beanie rim

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5. Knit a further 25 rounds

6. Finishing off your beanie

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Theory Semester 2: Part B

1. Sustainability

2. Fast fashion

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Sustainability

There is increased customer demand for textile products that are produced with
minimal impact on the environment. The degree of environmental impact varies
between the different stages of production, fibres, and specific end-uses.

Sustainable Design

Practical strategies for design and production include:

 Sourcing sustainable materials that have minimal environmental impact.

 Ensuring that materials are not toxic or create toxic byproducts.
 Reducing the amount of material used in the product without lessening
function.
 Reducing transportation distance.
 Reducing waste in any form.
 Designing for disassembly.
 Extending product’s life.
 Increasing efficiency of the product.
 Sourcing materials from environmentally, ethically, and socially responsible
sources.
 Developing systems for reuse and recycling of parts and materials.

Environmental design strategies for fabric and fashion include:

 Developing clothing that is durable, classic in styling, functional and multi-

purpose.
 Using unbleached and chemical-free, organic, undyed, or naturally coloured
fibres.
 Using colourfast or biodegradable dyes for colouring synthetic fabrics.
 Components to be made from same materials for easy recycling and use of
recycled materials.
 Using natural, renewable, recycled or recyclable components or notions.
 Minimising waste when laying out cutting plans.
 Using simple machining processes that use less energy.,
 Choosing fabric that is washed at low temperature and doesn’t require
frequent ironing.
 Providing good labeling for correct maintenance.
 Avoiding fabric or construction that requires dry cleaning.
 Developing or using systems for clothing and fabric recover and reuses.
 Designing clothing for easy separation of different materials.

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Activity

For your Semester 2 project, list 4 ways in which you have implemented
sustainable practices. Check the list from the previous page

1.

2.

3.

4.

92 | P a g e
Activity 6: Recycling, Reusing and Repurposing Textiles

Reusing, recycling, or repurposing textile products is better alternative for the

protection and preservation of the natural environment.

 Recycling refers to breaking down textile waste or unwanted items

into parts and making new products from the parts that are still
useful. An example is pulling apart jumpers and making the fibres
into new threads and garments.
 Reusing is giving clothes to charities so they can be worn by new
owners.
 Repurposing is using textiles items in new ways, such as cutting up
old shirts to make patchwork quilts.

1. For each of the following, state if it is an example of reusing, repurposing or

recycling.

Cotton fibres can be felted into rags for use as wipers

or polishing at car garages.

The Brotherhood of St Laurence store 'Hunter Gatherer'

sells original 1970s and 80s fashion garments.
Sally cuts up old tea towels and embroidered doilies to
make hats and other accessories to sell at Hunter
Gatherer.

Cotton fibres can be made into paper.

2. In the table below, provide two further examples for each of these
processes.

Reuse

Recycle

Repurpose

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3. In addition to reusing and recycling textile materials, products made from
these materials can also be reused, recycled, or even repurposed.

Provide three examples of ways textile products can be reused, recycled, or

repurposed.

4. Use the following words to complete the passage below.

chemicals decompose garment global Grow

man-made pollution reduces water

Recycling _________________ the need for landfill space. Synthetic or

_________________ fibres do not _________________, and while

woollen garments do, this process produces methane gas which

contributes to _________________ warming. Recycling also reduces the

need to _________________ and purchase raw materials which results in

less _________________ from transportation and reduces the use of

_________________ that are used to grow the materials. Recycling fibre

takes less _________________, fuel energy, dyes and other chemicals to

produce a _________________ than if it were made from new materials.

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Fast Fashion

Fast fashion is a design, manufacturing, and marketing method focused on

rapidly producing high volumes of clothing. Garment production utilizes trend
replication and low-quality materials in order to bring inexpensive styles to the
public. These cheaply made, trendy pieces have resulted in an industry-wide
movement towards overwhelming amounts of consumption. Unfortunately, this
results in harmful impacts on the environment, garment workers, and,
ultimately, consumers’ wallets.

The fashion industry, up until the mid-twentieth century, ran on four seasons a
year: fall, winter, spring, and summer. Designers would work many months
ahead to plan for each season and predict the styles they believed customers
would want. This method, although more methodical than fashion today, took
away agency from the wearers. Before fashion became accessible to the
masses, it was prescribed to high society, and there were rules to be followed.

Nowadays, fast fashion brands produce about 52 “micro-seasons” a year—or one

new “collection” a week. By replicating streetwear and fashion week trends as
they appear in real-time, these companies can create new, desirable styles
weekly, if not daily. The brands then have massive amounts of clothing and can
ensure that customers never tire of inventory.

With this increased rate of production, corners are inevitably cut. Clothing is
made in a rushed manner, and brands are selling severely low-quality
merchandise. There isn’t enough time for quality control or to make sure a shirt
has the right amount of buttons. The same urgency keeps the costs of these
garments incredibly low.

All of the elements of fast fashion—trend replication, rapid production, low

quality, competitive pricing—add up to having a detrimental impact on the
planet and the people involved in garment production.

Ethical fashion aims to reduce the negative impact on people, animals, and the
planet. It is kind to the planet and people every step of the way: from seed to
garment.

Ethical fashion considers

 Materials used to make clothing. Linen, cotton, polyester, denim; each fabric
has a different impact on the environment.
 The wages of the people who produce the material, such as harvesting the
cotton crops.
 Clothes are dyed with natural dyes, closed loop systems, recycling dyes, or no
colour change at all.

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