| NSW Department of Education

Enter stage left - textile technology – Stage 5

Teacher workbook

Images from NESA flickr – student HSC showcase 2018 CC BY 3.0

education.nsw.gov.au

Overview Costumes can refer to many items of dress and adornment. ‘Enter stage left’ introduces students to cultural and historical perspectives of textiles technology and design. Students explore textiles as a medium for self-expression and investigate the design features of textile items from a range of cultural groups. Students develop an understanding of ethical responsibilities surrounding intellectual property, including Indigenous cultural and intellectual property.

Students explore the historical, technological and social circumstances that have impacted on the development of textiles by investigating the industrial revolution and its impact of the design and production of textiles. Students then look at fashion throughout history and how it has influenced contemporary fashion.

Students design, produce and evaluate a historical, cultural, theatrical or contemporary costume and accessory and supporting documentation.

Outcomes TEX5-2 justifies the selection of textile materials for specific end uses

TEX5-3 explains the creative process of design used in the work of textile designers

TEX5-4 generates and develops textile design ideas

TEX5-6 analyses the influence of historical, cultural and contemporary perspectives on textile design, construction and use

TEX5-8 selects and uses appropriate technology to creatively document, communicate and present design and project work

TEX5-9 critically selects and creatively manipulates a range of textile materials to produce quality textile items

TEX5-10 selects appropriate techniques and uses equipment safely in the production of quality textile projects

TEX5-11 demonstrates competence in the production of textile projects to completion

TEX5-12 evaluates textile items to determine quality in their design and construction

Related Life Skills Outcomes: TEXLS-1, TEXLS-2, TEXLS-3, TEXLS-4, TEXLS-5, TEXLS-6, TEXLS-7, TEXLS-8

All outcomes referred to in this unit come from Textile Technology 7-10Syllabus © NSW Education Standards Authority (NESA) for and on behalf of the Crown in right of the State of New South Wales, 2019

1 Enter stage left – teacher workbook – Stage 5

What are costumes?Complete the mind-map below by filling in the shapes

Teacher note: suggested solution included.

© NSW Department of Education, May-2320

Costumes include:

Cultural

Historic

Film and TV

Stage or theatre

Dance or performance

Fancy dress or dress up

Classifying costumesCostumes can fall into a range of categories. These categories include:

contemporary

theatrical

cultural

historical

In the table below, give examples of each type of costume.

Teacher note: suggested solution included.

Historical Cultural Theatrical Contemporary

Ancient Roman toga

Ancient Roman Toga

1920’s flapper Victorian flap-

per Medieval garb

Hawaiian grass skirt

Japanese ki-mono

German Leder-hosen

Goth outfit

TV show Movie Stage, for ex-

ample, Aladdin

Dress up Halloween Dance Mardi Gras

3 Enter stage left – teacher workbook – Stage 5

Contemporary costumeWhat is contemporary costume? Create a definition in the space below.

Teacher note: suggested solution included.

Contemporary costume is costume for an occasion, such as a dance recital or Halloween.

Outline the performance criteria of contemporary costume in the space below.

Teacher note: suggested solution included.

The performance criteria will change depending on the intended use of the costume. If it is to be worn stage the costume must be of suitable colour so that the stage lighting doesn’t affect the overall look (for example green worn under red lights looks brown). Also, if the costume needs to be change quickly inbetween scenes it should make use of Velcro and zippers as they are faster to remove than buttons.

© NSW Department of Education, May-2320

Functional and aesthetic aspects of costumes

Complete the table below by finding pictures of contemporary costumes. For each image, outline the aesthetic and functional aspects and the performance criteria of the design.

Teacher note: example solution included.

Picture Aesthetic aspects Functional aspects

Image sourced from Wikime-dia commons CC BY 2.0

Colourful, detailed embroid-ery, shiny fabric used to re-flect stage lights

Wide skirt to allow dancers full movement

Answer space

Answer space

5 Enter stage left – teacher workbook – Stage 5

Theatrical costumeWhat is theatrical costume? Write your answer in the space below:

Teacher note: suggested solution included.

Theatrical costume are costumes designed for stage and performance use.

Outline the performance criteria of theatrical costume in the space below:

Teacher note: suggested solution included.

The performance criteria will change depending on the intended use of the costume. If it is to be worn stage the costume must be of suitable colour so that the stage lighting doesn’t affect the overall look (for example green worn under red lights looks brown). Also, if the costume needs to be change quickly inbetween scenes it should make use of Velcro and zippers as they are faster to remove than buttons.

© NSW Department of Education, May-2320

Cultural costumeAustralia has become a stage for multicultural fashion.

Cultural costumes express the identity of each culture. Cultural costumes can be worn to express a common belief, or to create a sense of belonging and as such may be worn to celebrations or special events. The design and production of textile items are influenced by a range of factors, which vary from one culture to another.

Explain the reasons why each of the following factors influences cultural costumes in the table below:

Teacher note: suggested solution provided

Factor Reason

Geographic location This effects access to and availability of resources, temperat-ure and climate.

Climate The climate will affect the materials used and style of costume worn.

TraditionSome cultures have different outfits linked to different tradi-tions, for example, Japanese women wear red to their wedding for luck.

Economics Some cultures have access to resources to make elaborate costumes, other design more simple designs.

Social status Some cultures use clothing to signify social status. For ex-ample purple used to only be worn by royalty.

Beliefs Some cultures belief effect what they wear. For example, cov-ering hair when going into a temple or church.

Availability of resourcesDepending the location and trade of the culture they may not have access to a wide variety of resources or fibres or fabrics and are therefore limited in what they can use to design and make costumes.

7 Enter stage left – teacher workbook – Stage 5

Cultural costumes research

Investigate the design features of a range of cultural groups and present your findings in the table below.

Teacher note: suggested solution provided

Culture group Costume style Design features Cultural expression

Japanese Kimono

Wide sleeves, wrap from, obi wide sash belt, decorative, lots of floral print and em-broidery

Flowing gently like water, embroidery of different religious ele-ments for luck, prosperity etc.

Answer space

Answer space

Answer space

Teacher note: suggested resources

roughguides.com/gallery/traditional-dress/

artsandculture.google.com/theme/

Extension: Authentic Andean Textiles (duration 5:10)

© NSW Department of Education, May-2320

Subculture costumeCultural costumes can also be seen in subcultural groups.

Define subculture in the space below.

In the table below, identify examples of subculture groups and describe their costume.

Teacher note: suggested solution provided

Subculture group Costume style Design features

‘Goth’ Contemporary with his-torical elements

‘Goth’ style clothing is usually dark and myster-ious. It is often a throwback to the clothing worn during the gothic period and relates to trends from punk fashion.

Answer space

Answer space

9 Enter stage left – teacher workbook – Stage 5

© NSW Department of Education, May-2320

Cultural perspectives of textilesTextiles are used in different cultures not only as practical items but as a medium for self-expression. Cultures from around the world have developed their own unique textiles. Their clothing suits their lifestyle and climate and the designs and patterns reflect aspects of their culture or social rank in society.

Textiles by Aboriginal and Torres Strait Islander peoples

Teacher note: suggested solutions provided.

Indigenous Australians made textile items from animal and plant fibres found in the environment around them. List examples of functional items they made below:Baskets for collecting foodNets for fishingSkin cloaks for warmthCeremonial items

Dot paintings were created for several reasons. List reasons in the space below.Hunting Religion Stories and learning Sorcery and magic

11 Enter stage left – teacher workbook – Stage 5

Traditional Indigenous Australian textile item

Use the internet to research a traditional indigenous Australian textile item. In the table below, outline the materials used, the textile techniques used to construct the item and its end-use.

Teacher note: suggested resource. Archived MAAS’paperbark’ resources archive.maas.museum/hsc/paperbark/history.html

Item Materials used Textile techniques used End-use

Answer space

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Answer space

Answer space

© NSW Department of Education, May-2320

Contemporary Indigenous textilesAboriginal and Torres Strait Islander Peoples still use their traditions techniques but have also included other textiles techniques, such as screen printing and hand painting fabrics. This has allowed indigenous designers to express their culture by using their traditional symbols and motives in their work.

Research contemporary aboriginal textiles and prepare a fact sheet. Include information on a business that is producing aboriginal textile items.

In the space below, outline the ethical responsibilities fashion designers have regarding the intellectual property of aboriginal artists and designers.

Teacher note: suggested solution provided.

Designers have a responsibility to protect the intellectual property of Aboriginal artist and designers. Designers should not use Aboriginal designs or artwork in their designs with permission and compensation to their original artist.

Teacher note: extension work – review article and write interesting points regarding cultural appropriation in fashion design

abc.net.au/life/cultural-appropriation-and-fashion

13 Enter stage left – teacher workbook – Stage 5

Cultural costume activity

Pick a cultural group and sketch a design of their costume in the space below. Label it with aesthetic and functional items. Under your sketch, write a short paragraph explaining the cultural significance of the costume.

© NSW Department of Education, May-2320

Historical costumeHistorical costumes represent a time, place, social class and culture. It is usually easily identifiable and has a unique silhouette.

When designing a historical costume, outline what should be considered in the space below.

Teacher note: solution provided below. Revise colour theory and discuss what happens to coloured fabrics under coloured lights (for example green fabrics under a red light would produce a brownish effect, giving the appearance of dirt our trouble)

SilhouetteElements of designDecorative techniquesAccuracyTheatrically effectiveColours that work well under lights

Historical, technological and social impacts on the development of textilesThroughout history, textiles have evolved with and reflected on society at the time. The earliest textiles were threads looped and knotted together to make nets – this was called thread work and examples of it have been found among the relics of ancient peoples in Africa and Peru.

The Ancient Egyptians used cotton, wool, silk and flax fibres to make textiles and in 3000 BC cotton was being used in India and silk in China. Techniques for spinning, weaving and dyeing textiles continued to be used through the centuries and are found in nearly all cultures.

Making textiles remained a craft industry until the industrial revolution in the 18th century. The invention of the flying shuttle speeded up the weaving process. Spinning machines were also invented and as steam power replaced water power, mass production of textile items began.

15 Enter stage left – teacher workbook – Stage 5

© NSW Department of Education, May-2320

The textile industry and the industrial revolutionThe invention of the steam machine and innovations related to it in the textile industry started the industrial revolution.

View ‘The Steam Machine Changes the World’ (duration 9:17) and ‘the industrial loom’ (duration 6:36) and answer the following questions in the space provided.

Teacher note: suggested solutions provided.

How were fibres, yarns and fabrics made before man-made power?Before man-made power, fibres yarns and fabric were made by hand. Local artisans sorted and spun fibres into yarns, which were then woven on a handloom.

Before the industrial revolution, what power sources existed?Before the industrial revolution, wind, water and animal power existed.

What is meant by the term ‘cottage industry’?In a cottage industry, workers produced goods in their cottages or small homes.

Why was the production of wool, cotton and textiles considered a cottage industry?Women and children worked from home (which was usually located near the sheep or cotton farms) and spun fibres into yarn for the local weavers to use to produce fabrics.

17 Enter stage left – teacher workbook – Stage 5

What was the first type of man-made power, and how did this influence the textile industry?Steam power was the first type of man-made power. The introduction of steam power influenced the textiles industry as work could be done with the aid of large machines, which produced surplice of materials. The machinery had to be placed in large factories as spinners and weavers could not fit the machinery in their cottages/homes.The introduction of steam power increased efficiency and allowed for the ease of transport as factories could be built at a central location.

How did developments in the textile industry influence the industrial revolution?Developments in the textile industry lead to large scale factories replacing the traditional cottage industries. Textile machinery powered by steam saw workers no longer work from home, instead of commuting to large factories in cities. This changed the lifestyle of workers as they could no longer work from home and needed to live near the cities where the factories were.The textiles industry introduced the concept of having all aspects of production under one roof (spinners and weavers), which influenced other manufacturing areas and started the industrial revolution. It introduced the concept of speed and economies of labour and helped to make work easier, faster and produce consistent quality.

© NSW Department of Education, May-2320

Fashion throughout historyView the Sway presentation ‘History of Fashion’, which depicts fashions throughout history. Make notes in the space below. Comment on aspects such as the silhouette and social issues associated with each period.

Teacher note: suggested solution provided. Information sourced from Ducksters.

Classical period (…..)Clothing during Ancient Egypt was fairly simple. The linen cloth was typically white and seldom dyed another colour. Very little sewing was done to items as most clothing was wrapped around and then held on with a belt. Also, the styles were generally the same for both the rich and the poor alike. Ancient Greeks wore light and loose clothing due to the hot and humid weather. Clothing and cloth were typically made in the home by the servants and the women of the family. Women in Ancient Greece wore a long tunic called the peplos or chitton. It was a long piece of cloth that was fastened about the waist with a belt. Men generally wore a tunic called a chiton.The most common form of clothing for both men and women was the tunic. The tunic was like a long shirt and a belt was used about the waist to keep it tight. Women’s tunics were usually longer than the men’s. Men in the upper classes also wore the toga to official occasions. The toga was a large piece of cloth around 18 feet long and 6 feet wide. It was wrapped and draped around the wearer according to the latest style. Togas were very heavy and uncomfortable.

Middle ages/dark ages (including the medieval period) (……)Most peasants wore plain clothing made from heavy wool to keep them warm during the winter. The wealthy, however, wore much nicer clothes made from fine wool, velvet, and even silk. Men generally wore a tunic, woollen stockings, breeches, and a cloak. Women wore a long skirt called a kirtle, an apron, woollen stockings, and a cloak. As trade among European countries developed in the late medieval period, so did crafts like weaving and dyeing. Clothing became more colourful and more ornate with high headdresses for the women, and shoes with exaggerated points for the men.As trade increased and individual craftsmen moved from job to job, techniques for creating shape in clothing using more elaborate patterns, lacing and buttons passed from one country to another.

19 Enter stage left – teacher workbook – Stage 5

Renaissance (including Elizabethan era) (……)The Renaissance was a cultural movement that began in mid-14th Century Italy and spread to the rest of Europe ever the next several hundred years. The Renaissance was marked by an explosion in the arts and sciences, and an emphasis on the human being and his or her place in the world. While Medieval (Gothic) artists depicted humans in a stylized, one-dimensional way, Renaissance artists drew, painted and sculpted the human body in a realistic and sensuous manner. Clothing became more decorative, more elegant and a greater indicator of power and status.The ‘Tudor’ or ‘Elizabethan’ ruff was a circular collar made from a pleated frill worn by both men and women. Two trade-related innovations allowed for the creation of the stiff neck-ruff characteristic of Elizabethan court costume: the production of hand-made lace in Italy, and the introduction of liquid rice starch from Asia.

Modern era (including the industrial revolution and Victorian era) (……)Up to the 1700s, tailors dominated the clothing industry and tended to dictate fairly rigid shapes or female clothing. During the 18th century (The Age of Enlightenment) women began to design and construct clothing for other women, and the silhouette of that period was softer and rounder. Dresses were widened by hip extensions called panniers and curves were accentuated.

© NSW Department of Education, May-2320

21 Enter stage left – teacher workbook – Stage 5

20th Century fashion silhouettesResearch and complete the information below for the decade you are allocated.

Teacher note: allocate each student a decade to research and complete the table below. The teacher should collate student research, photocopy and distribute the class as a resource of fashion throughout the 20th century.

Decade Design features

Silhouette

Neckline

Sleeves

Skirt

Fabric

Trimmings

Colours

Accessories

© NSW Department of Education, May-2320

Historical influences on contemporary fashionIn times of war, clothing has little or no decoration. In times of great wealth, clothing has been very elaborate with much colour and surface decoration. As technology developed, so did the complexity of clothing. Today, textile items are designed and manufactured using computer-aided technology (CAD and CAM). However, designers often draw inspiration from past times to develop their textile items. Silhouettes from clothing styles throughout history are often used as inspiration in today’s clothing.

Activity - Create a multimedia presentation analysing 4 current fashion images in terms of their historical inspiration.

For example, see Jodie Hiltons fashion Illustrations

23 Enter stage left – teacher workbook – Stage 5

Costume designersA costume designer creates the clothes and costumes for theatre, film, dance, concerts, television and other types of stage productions.

Explain the role of a costume designer in the space below:

Teacher note: suggested solution provided.

The role of the costume designer in the professional theatre industry is to design garments and accessories for actors to wear in a production. In this industry, the majority of designers, specialise in both set and costume design, although they often have a particular strength in one or the other.

The shapes, colours and textures that a costume designer chooses make an immediate and powerful visual statement to the audience. The creative collaboration between the costume designer, the director and the set and lighting designers ensure that the costumes are smoothly integrated into the production as a whole.

Stage costumes can provide audiences with information about a character's occupation, social status, gender, age, sense of style and tendencies towards conformity or individualism.

How can costumes portray information about a character? Answer in the space below:

Teacher note: suggested solution provided.

Reinforce the mood and style of the production Distinguish between major and minor characters Suggest relationships between characters Change an actor's appearance Suggest changes in character development and age Be objects of beauty in their own right

Costume designs also need to include any accessories such as canes, hats, gloves, shoes, jewellery or masks. These costume props add a great deal of visual interest to the

© NSW Department of Education, May-2320

overall costume design. They are often the items that truly distinguish one character from another.

What is the role of a costume designer?Read through the information from the South Australia state theatre company (general resources) and answer the following questions in the space provided.

Teacher note: suggested solution provided.

What is the role of a costume designer?The role of the Costume Designer in the professional theatre industry is to design garments and accessories for actors to wear in a production. In this industry, the majority of designers, specialise in both set and costume design, although they often have a particular strength in one or the other.

Why does a costume designer read the script?The first step is to read this script, which can give direction as to what the characters are wearing. The script also indicates the character’s personality and behaviour. The designer should consider the time period, the location, as well as the social status of each character.

Why are contemporary shows cheaper than period shows to produce costumes for?It is cheaper to produce a contemporary show, so you can op-shop costumes or buy them from a retail outlet. Often actors will provide bits and pieces from their own wardrobe on smaller budget shows. Period shows are expensive as most costumes will need to be made. These costs include fabric and trims and employing people to draft patterns, cut and sew them, all of which are labour and time-intensive.

25 Enter stage left – teacher workbook – Stage 5

What is a ‘white card’?A designer usually delivers what is called a ‘white card’ presentation to the Production Manager and workshop staff up to six months before a production opening. This ‘white card’ is a mock-up of what the set will look like and may also include preliminary costume designs.

Why does a costume designer need to have excellent time management skills?To produce a range of costumes for specific actors on time and budget.

What is the role of a wardrobe production supervisor?The main contact a designer will have throughout the construction process will be the Wardrobe Production Supervisor. The role of the supervisor is to assist the designer to achieve their vision by:

Purchasing/hiring/sourcing articles of costumes with the designer Coordinating the wardrobe team of pattern makers and sewers to create the

costumes Being present at wardrobe fittings with the actors and the designer. Note: the

fittings are used to ‘trial’ the costumes. Once they go into the theatre they are generally 99% finished (only final hems are left to do).

Where do costume designers get their inspiration?Inspiration can come from any number of places, such as; the script, characters, films, artworks, literature, historical periods etc. Often a designer will build up many pictorial references of people, places, colours and textures that inspire them and combine these in a folder. They may reference the overall design of a production or a particular character or both. This reference folder, combined with trade sketches (detailed pencil sketches of each of the characters costumes) is a great help when you are working with patternmakers and sewers on a show, as they can easily grasp the look or concept you are trying to achieve.

© NSW Department of Education, May-2320

How are fabrics chosen for a costume?The maintenance of a costume is an important consideration when picking fabrics and designing a show. For example:

How easy is each garment going to be to launder? How much wear and tear is each garment going to be put through each show? Are any actors prone to excessive perspiration? Do you need doubles of a particular garment e.g. one for a matinee and a fresh

garment for the evening? Is the show going on tour? Are the costumes sturdy enough to survive a tour?

Why is costume design for a play or musical different to that of designing for a movie?Costume design for a play needs to have stage lighting and angles considered during design. For stage costumes, ease for putting on and removing the costume is usually required if the character needs quick costume changes whereas a costume for a movie can take hours to put on and take off and it doesn’t affect the performance.

27 Enter stage left – teacher workbook – Stage 5

Costume designer as a careerResearch how you can become a costume designer (use the good universities guide as a starting point).

Explain personal requirements

Outline the duties and tasks of costume designers

The average income of a costume designer

List courses that are available

Write your answer in the space below:

Teacher note: suggested solution provided. Information sourced from the good universities guide.

Personal requirements of a Theatrical Costume Maker and Designer knowledge of fashion and historical or culturally specific costuming skills in pattern making and sewing able to work independently or as part of a team creativity able to work under pressure good communication skills.

Duties & Tasks of a Theatrical Costume Maker and Designer talk with directors about the types of costumes to be worn in a production estimate costs involved in supplying costumes and accessories such as hats,

shoes and jewellery prepare material and labour budgets for supplying costumes for each production take actors' measurements and coordinate garment, wig, hat and shoe fittings buy or hire costumes, or arrange to have them made undertake or supervise the making, alteration and repair of costumes make running repairs and alterations to costumes during the production ensure costumes are properly stored and cared for.

Theatrical costume makers and designers work as part of a production team and may be required to work long or irregular hours. They generally begin their careers as wardrobe assistants. The average weekly wage is $1,354

Courses available include certificate and diploma courses from TAFE and private colleges, and Bachelor of Creative Arts - Costume Design from Flinders University

© NSW Department of Education, May-2320

29 Enter stage left – teacher workbook – Stage 5

Project workStudents are to design and produce a costume and accessory and supporting documentation.

Students are to pick a category of costume:

contemporary

theatrical

cultural

historical

Students are to identify and document their sources of inspiration (this could be a historical period, and character from a book or movie, a cultural costume or a contemporary dance of Halloween costume)

Teacher note: The teacher may designate a particular design (for example a basic bodice pattern) that students may modify (the basic bodice could be used in a variety of historical, theatrical or contemporary costume designs). This project may form the basis of an assessment task.

© NSW Department of Education, May-2320

Syllabus points from project work to cover during practical work (costume and folio)

identify and creatively document sources of inspiration for a textile project

generate and develop design ideas using drawing and rendering techniques

use a variety of techniques to communicate and present the development of design ideas

identify aesthetic and functional performance criteria of textile items

experiment with textile materials to determine which are most appropriate for a textile item

justify the selection of materials for a textile item

establish criteria for evaluation of a textile item

plan and organise the stages involved in the design and production of a textile item to ensure quality completion

interpret, modify and use commercial patterns and/or produce simple patterns for a textile item, including notions, fabric requirements, instruction sheet, pattern markings and layout,

calculate quantity and cost of requirements for a textile item, considering spatial concepts

plan and document a procedure (sequence) for the construction of a textile item

select and safely use textile equipment to construct a quality textile item

experiment with, select and apply techniques to ensure quality textile items

identify the labelling requirements of textile items

design and produce a product label and swing tag for textile items produced in project work

evaluate the designing and producing of a textile item using a variety of techniques including self-evaluation and peer evaluation

use feedback from evaluation to modify project work and ensure a quality result

31 Enter stage left – teacher workbook – Stage 5