1

Product Design and Technology, unit 2, part 1

Teacher: Hayley Kirkpatrick
The teaching and learning context: School demographics, resources available, class particulars and students previous experiences:
Low fee paying private school in the Western Suburbs of Melbourne. The class comprises of 2 boys and 13 girls, mostly from conservative, middle
class families. Ethnic groups within the class are Anglo-Australian, Chinese, Vietnamese, Indian and Scottish. The school has a basic textiles room with
large tables, 20 sewing machines, 2 overlockers, 2 irons and a stock cupboard (with some donated or scrap fabric and haberdashery). 12 class
members have had textiles classes since year 7, 3 class members are new to the school and have only one year or less experience in textiles all have
completed unit 1 of Product Design and Technology.


VCE unit:
Domain: Product Design and Technology
VCE unit 2, Collaborative Design, working towards outcome 1 and
preparing to work on outcome 2.
No of students:
15
Length of the unit:
Whole unit goes for 1 semester. This plan is for a 3
week section of that semester, but also gives a
basic overview of the following part of the unit to
show how they flow together.
Overview of rationale and structure of the 3 week teaching period, linked with the aims and purpose of the specific Unit.
Introduction statement
Students will collaborate in small groups to design a progression of costumes, for one character, throughout a given text (a play). They will further
collaborate with the wider class to ensure that all costumes work together for the ensemble as a whole aesthetic. Students will be required to
investigate a historical period for the design of the line, cut, colour, texture, fabric choice, sewing techniques and social representations when
collaborating and designing. Further research and inquiry will be given to the analysis of their character to inform their appropriate design choices.
Students will present their designs within their small groups to the class, the teacher, a director who is putting on the play and actors who will be
playing each character.
The presentations must include (from each student):
- A design drawing showing the front and back of the costume, in an effective and appropriate medium.
- A working drawing of each costume, detailing how it is to be made.
- At least two fabric samples, including details of the fabric such as source, type, price, width.
- A materials budget, worked out by the price of fabric and how much fabric is needed (include any embellishments and threads required)
- A short talk covering where the costume fits into the play, why it is an appropriate choice for the character and the scene/s and the historical
references they have used. As a small group they must also explain the evolution of their characters costumes, justifying the effectiveness of
their collaboration and the relevance to the text/play.
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This unit aims to give students a real life experience of designing in the professional industry. Each task and learning intention is based on the true
stages and tasks undertaken by a professional designer, when given a brief such as this. Sharing the design of one character with a small group of
colleagues serves to make the task manageable to a year 11 standard, but also challenges the students to truly collaborate. Students will learn how to
sell/ fight for their ideas when appropriate, and will also learn how to compromise, merge ideas and think about what is best for the design brief,
rather than what they would like best an important lesson for many different career paths and industries.


References:
The students will be working from the play Crinoline by Robert Brough. This play is set in the middle of the Victorian era. A PDF of the script can be found at
http://victorian.worc.ac.uk/modx/index.php?id=54&play=102
The characters used for each group will be:
CAPTAIN LE BROWN (of the Blues, aged 26)
MRS. COOBIDDY (the Commercial Gent's Wife, aged 23)
BELLA (the Commercial Gent's Niece, aged 19)
MISS TITE (a fashionable Spinster, aged?)
NANCY BITTERS (a Domestic Servant, with an excellent character from her last place, but not so well provided for her next, aged 37)
*Discuss groups with class, but it is recommended that students who have not been studying textiles as long be divided up among those with more experience, in
order to encourage peer-to-peer teaching. *If the two boys wish to work together they may, though it will be their choice.

Students will be required to research primary sources of Victorian fashion; useful websites and books for this include:
Schenck, R.A, Victorian Era Style (2010) Wordpress, London

http://www.fashion-era.com/fashion_plates_old/
http://mistercrew.com/blog/2010/09/29/victorian-era-style-1872/
http://www.corsetsandcrinolines.com


Areas of study to be covered:
Product Design and Technology, unit 2, area of study 1:
In this area of study students apply the Product design process collaboratively and individually. Each student works in a design team to generate a
group design brief from a scenario based around a theme, a product range or a group product with component parts. Individual roles and
responsibilities are allocated and, if necessary, individual design briefs are created as an adjunct to the group design brief. The product students
develop demonstrates an understanding of human-centred design factors. This area of design analyses the interactions between humans and their
made environment to maximise wellbeing and product/system performance. Students also consider other relevant Product design factors. They
research suitable materials and processes needed to make the product. Students share research gathered from primary and secondary sources.
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Students investigate an historical and/or a cultural design movement or style for inspiration. These movements or styles include but are not restricted
to Bauhaus, Art Deco, Memphis, Minimalism, or Organic Design Style, oriental, Gothic, music genres and fashion houses. Drawings produced during
the design and development stage of the Product design process are shared with others and evaluated to gain feedback from team members. A
preferred option is justified with reference to group feedback and approval. Students must record their individual contribution to the team. Students
develop skills in project management and in presenting their work to others, replicating processes used in the real world.

Outcome/Area 1 flows into Outcome/Area 2, which will focus on the production and evaluation of the Outcome 1 designs.

Key knowledge to be covered: Key skills to be covered:
the Product design process and its application to achieve a product
developed within a collaborative team environment
develop a design brief with relevant Product design factors
methods of using primary and secondary resources to research a design
need and ways of collaborating with a team to share results
identify and allocate responsibilities within the team to conduct and share research
the purpose and structure of a design brief and methods of establishing
evaluation criteria from a design brief
investigate an historical and/or a cultural design movement or style
methods of presenting research and ideas using test reports,
image/mood boards, material and product samples, diagrams, charts
and drawings
present design work to other members of the group
historical and/or cultural design movements or styles and how they can
inspire new product designs
devise a production plan with reference to working drawings.
Intended learning outcomes for the area of study:
On completing this part of the unit, students will be able to:
-design for a client (in this case a director/actors) within the constraints of a brief.
-collaborate within a small group to discuss and generate a collection of products with a strong synergy.
-collaborate with the wider group to ensure a harmonious aesthetic is achieved between all designs.
-research historical fashions from a range of sources (primary and secondary) and use findings as inspiration for design choices.
-select appropriate fabrics and embellishments.
-present an informed budget estimate for required materials.
-generate a clear design in their choice of medium (drawing/painting/collage/computer generated image) including an annotated working drawing.
-Justify all design choices and present their design confidently before a group of colleagues and clients.






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Rubric for Assessment:
Individual Assessment for Design Presentation and handed in work.
Criteria Low Standard Medium Standard High Standard
1. Understanding of design
brief
/3
Some design choices have been
informed by constrains raised in the
design brief, but many have not been
addressed. The designer has made
little effort to connect with the play or
understand their character deeply.
Most problems raised in the design brief have
been taken into consideration when
designing the costume. The designer has read
the play and understands the role of their
character. The design is appropriate for the
play and character.
All design choices made are clearly informed by the given
brief. Designer has taken into account the needs of the
show and the client, identifying and solving problems
raised in the brief, for example movement constraints,
allergies etc. It is evident that that designer knows the
play and character very well and has put the needs of the
play above their own personal design wishes.
2. Effective collaboration to
achieve a harmony between
designs.
/5
The designer rarely engaged in
discussions to inform theirs and others
design decisions. Little to no feedback
was exchanged in order to create
connections between everyones
designs. The final design shows little
connection to the aesthetic of the
whole play.
Designer engaged in some discussion with
small group and wider class. Design choices
by other students were noted and given some
reflection and consideration when doing their
own design. Some feedback was given and
received in order to achieve a harmonious
design. The final design shows some
connection to the whole plays aesthetic.
Designer engaged in regular discussions with their small
group and wider class and continually shared ideas,
research and inspiration. The designer was able to seek,
receive and give feedback in a productive, professional
manner. The final design demonstrates a clear synergy in
its relationship to the rest of the designs.
3. Sound research of
historical fashion, fabrics,
tools and techniques.
/4
Research was collected from limited
sources, and designs reflect a small
understanding of the fashion of the
period. Fabric samples were collected
but are not the most appropriate
choices for representing the fabrics of
the time.
Research was collected from a few sources
about the fashion of the period in question.
There is some reference to fabrics, tools and
techniques of the time and 2 or more fabric
samples show a possible choice for
representing fabrics of the time.
Research was collected from a variety of primary and
secondary sources including original design plates and
illustrations from the period in question. Research
extends to fabrics, tools and techniques, and includes 5 or
more fabric samples that are very appropriate for
representing the fabrics of the time.
4. Accurate calculation of
fabric required and budget
breakdown for design to be
made. /3
A rough estimate of the cost of the
costume has been given. Some fabric
requirements have been taken into
consideration to estimate budget.
A budget for the costume has been worked
out based on the estimated fabric
requirements. Most materials needed are
included in the budget.
Designer has provided a thorough budget breakdown,
detailing all materials needed to construct the design,
based on accurate calculation of yardages. Source, type,
width and price of each fabric/material are included.
5. Presentation of designs
including rational, design
drawing and working
drawing.
/10
Designs presented with rationale
lacking evidence of solid design
choices. A design drawing giving an
idea of what the costume will look like
and a working drawing showing some
idea of how costume could be made.
Clear presentation of the finished design
which explains reasons for most of the design
choices. A design drawing showing the front
and back of the costume with some detail. A
working drawing with some annotations.
Confident presentation and clear articulation of the
design and rationale of design choices. Effective choice of
mediums used to represent the design, working to the
designers strengths. A clear design drawing showing all
details of the front and back of the costume. A neat and
clear working drawing with detailed annotations.
Mark out of 25:
Comments:


5


Semester 2, Term 3, Unit 1
Monday double lesson Tues Wed Thursday double lesson Friday single lesson
Week 1
Unit 2, part 1
Unit two intro:
Go over the assessments. Assign groups* for
outcome 1. Give out script and historical/cultural
setting it will be based in. Discuss techniques for
affective collaboration. Students begin discussing
script synopsis and design brief as a whole class.
Students discuss initial reactions to their given
character in their small group.
Students to have read script twice by next
Monday.
How to work to a design brief:
Short activity in breaking down a design brief.
What is required in a design drawing:
View different styles of design drawing for
costume and analyse their effectiveness.
What is required in a working drawing:
Activity of creating quick working drawings
from a given costume design.
Measuring clients and collecting data for the
design brief.
Lesson Plan 2 - attached
Health and safety and risk management
refresher.
How to collect and document fabric
samples.
How to work out a budget for a garment.

Week 2
Unit 2, part 1
Starting the collaboration and design process:
Researching primary sources of fashion from the
Victorian period.
Research tools, techniques and fabric used in
clothing construction in the Victorian period.
What actions, lines or settings, detailed in the
script, do we need to take into consideration
when designing these costumes? introduce
script breakdown document.
Time spent putting together research and
important information collected from script, in
groups.
Begin concept sketches
Lesson Plan 4 - attached
Design lesson.
Students work in their small groups to
determine: 1) who will design each stage of
their characters progression.
2) what does the script tell us about our
characters personality, appearance and
journey.
3) what physical constraints do we need to
design around? ie. Large arm movements,
running up and down stairs etc.
4) what constraints do we need to work
around regarding the actor? Ie. Small frame,
irritations to certain fabrics etc.
Continue concept sketches.
Deciding on design choices based on
design brief and discussions over concept
sketches.
Collaborating with whole class in a
designers meeting setting to ensure a
harmony between designs over the whole
show.
Students settle on a final design choice and
work on the design drawing for the rest of
the lesson.
Briefing abut Mondays excursion, make
sure every student knows what they are
looking for.

Week 3
Unit 2, part 1
Fabric sampling excursion to Sydney Rd*.
Buss trip, leaving at recess, returning just before
lunch break ends students given time to eat and
have a rest during the excursion.
Students find fabrics that they believe could be
appropriate for their design and get samples of
them, noting down the shop, name of fabric, per-
meter cost of fabric, and width of fabric.
*A section of Sydney Road and the surrounding
area has 6 diverse fabric shops, within a 2km
radius.
Students work on their design drawings, they
are reminded to continually consult their
brief.
Various techniques/ styles of designing for
theatre are displayed around the room;
students also have access to books about
painting, drawing and collage techniques.
Watercolour paint, pencils and markers, along
with poster paper and watercolour paper are
borrowed from the art department for
students use, or they may bring their own
equipment from home
Writing up rational, within small group and
individually.
Students create a working drawing for
their design.
Demonstration of how to work out
yardages students work out how many
meters of each fabric they will need for
their design to be made. From their
students generate a budget estimate,
based on their fabric samples.
Students collate brief, design drawing,
rationale, working drawing, budget, fabric
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samples and meters required, ready for
presentations on Monday.
Lesson Plan 9 attached
Week 4
Unit 2, part 1
and 2

Students present their finished design to the
director of the play, the actors and the rest of the
class.
By now the complete design should be able to be
handed over to the cutter and costume
workroom and they should have all the
information they need to produce a garment,
perfectly matched to the design.
Fabric will be bought as, per the students
instructions, by Friday.
Students become the pattern drafter.
Creating a usable pattern for a section of the
garment. 12 students have prior skills in
pattern drafting, the rest will require more
help and will only draft for a small section of
their design, using a commercial pattern
where possible.
Laying out and cutting the fabric.
Week 5
Unit 2 part 2
Continue drafting and cutting if needed,
beginning construction. From this point, students
will be at different stages. Focus will be on the
students problem solving and planning out their
own sequence for construction, with guidance
from the teacher.
Students working on construction should be
in a stage of seeing the body of the garment
take form.
Students assess their progress and what
work is still to be done and create a
construction schedule of the next 10-15
steps including small steps.
Students list any further
materials/trimmings they will need.
Students make an informed estimate
regarding when they will be ready for a
fitting and book in their client.
Discuss the process of doing a fitting and
how to be professional.
Week 6
Unit 2 Part 2
Construction continues Construction continues some fittings may
take place in this and subsequent lessons.
Construction continues fittings not
available today
Week 7
Unit 2 Part 2
Construction continues. Students must have first
fittings this week if they havent already.
Construction and fittings continue. Construction continues no more than
two fittings may happen today.
Week 8
Unit 2 part 2
Debrief after first fittings. Students re-assess
where they are up to in construction and what is
left to be done. Tasks may be adjusted to make
the achievable.
Continue construction.
Construction continues. Students should have
made any alterations determined in fitting
and be working towards the final stages of
construction, ready for
finishings/embellishments.
Construction continues book in clients
for final fittings. These must be no later
than Monday of week 10.
Week 9
Unit 2 part 2
Construction, final fittings Construction, final fittings, embellishments
and finishings.
Construction, final fittings, embellishments
and finishings.
Students individually meet with teacher to
go over their progress and ensure they are
in a good place to be able to finish by next
week.
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Week 10
Unit 2 part 2
Construction, last day for final fittings. All
students should be working on finishing (buttons,
button holes, casings etc) or any embellishments
by now
Final class time to finish costumes.
Briefing for tomorrows costume parade to
director.
All costumes finished:
Students help actors get into costumes and
present them to the director.
Students photograph their work on, and
off the clients.
Teacher to assess students on their
presentation skills as well as the quality of
their work and professionalism during the
process.


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Lesson Plan Number: 2
Topic: The Design Brief, design drawings and
working drawings
Location / Setting:
Textiles Room as described above
Length of Class:
1.5 hours
Date/Week:
Double period before
lunch, Thursday week 1.
Organisation/ Student Groups:
Students will be at desks, all facing the front. Some group discussion and
some individual work time.
Pre-set PP presentation. Have handouts ready, but dont pass them
around until it is time to work on them.


Classroom management strategy:
Encourage active participation in discussion by asking direct questions
and involving all students. Be clear on expectations of listening while
others are speaking, and set clear guidelines for what I want them to do
at any given time. Warning system in use, resulting in students being
excluded from class and sent to the office as a final response to
inappropriate behaviour.
Materials, Resources, Equipment, References/Sources:
PP presentation including sample design briefs, design images and working drawings.
Students design files display folder for worksheets, technical information, handouts etc.
Students visual diaries sketch books used for design drawing tasks and some written tasks.
Students pencil cases, pen and pencil is all that will be required in this lesson.
Key knowledge and/ or skill focus for the class:
Key knowledge
the purpose and structure of a design brief and methods of establishing evaluation criteria from a design brief
Key Skills
develop a design brief with relevant Product design factors
Assumed/known prior arts learning of students
Students who completed textiles in year 10 have more experience an understanding design brief; however have assumedly not been presented with a brief within
the context of a play before. All students have been re/introduced to the purpose and structure of a design brief in unit 1.
All students have prior skills in painting/drawing and there is a vast array of illustrating styles. Students have seen working drawings before but have never been
asked to generate them themselves.


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INTRODUCTION
Connecting, Engaging and Modeling Inquiry
MAIN BODY
Guiding Inquiry and Practice
CONCLUSION
Sharing, Explaining and Reviewing Inquiry
Welcome class at the door; before they walk in give
instructions to get out their files and diaries and sit
facing the board. Mark roll
(4 mins)

Assess prior knowledge. Students to discuss and
brainstorm the following questions, teacher to write
answers/ideas on the board.
- Where can a design brief come from? Clients,
companies, teacher, stimulus, own needs.
- What points go into a design brief? Problem to be
solved, wants and needs of the client, constrictions
that will inform design, any relevant information to
inform the design. (students should go into more
detail)
- What information do you need to discover to add to
the brief? Specifications about the client, such as
measurements, allergies, movement needs. Research
relating to the stimulus.
Prompt students to begin discussing what their brief
is for their assessment, baring their answers in mind.
(6 mins)

Practicing reading and interpreting a brief.
Put up PP (*appendices 1) with design brief outline.
Ask students to write in their visual diaries what the
key constraints, needs, wants and stimulus is from the
example design brief.
(10 mins)





Generating a design illustration:
There are not many restraints when it comes to
how to show your design. The most important thing
is that it clearly shows what you want the finished
garment to look like, and it should sell your design
well. What are some mediums you could use for
your design?
Show examples of costume designs done in different
mediums and styles. Students to discuss the
effectiveness of each design in showing the detail of
the garment and selling the design. (10 mins)

What is required in a working drawing?
-what do you think a working drawing might be?
-how is it different to the design drawing? Design drawing
gives the feel and sells the look, the working drawing
shows how it is made
-who needs to see it? Why is it important? The person
making the design. It shows them details like where the
cut of the seams are, how full the fabric is and more.
Details are annotated
-where have you seen a working drawing before? On the
back of a commercial pattern.

Looking at two pictures of working drawings on the
PP, students to point out the details and useful
points of each.
As a class, break down a design drawing into a
working drawing teacher to draw on the board
with recommendations from students. (15 mins)
Task: Hand out a design image to each student.
(*Appendices 2) Students need to stick it in their
visual diaries and do a working drawing of how they
think it could be made. This working drawing must
include annotations, as seen in examples. (15 mins)
Adding to design briefs for project:
In the last 20 mins of the class the actors for the
show are going to come in.
Each small group must greet their actor and conduct
a measurement session in a professional manner.
Students should take on the roles: measurer,
assistant and scribe, within each small group.
Students are given measurement sheet to work from
which includes questions about allergies, piercings,
tattoos, cultural requirements and space to include
any other information that may inform the design
choices. (*Appendices 3)
(15mins)

With 4 mins left of the lesson, all measurement
sessions must conclude, if they havent already.

Ask students what they found difficult about doing the
measurement session? How they feel about working
drawings? What mediums they think they will use for
their design illustrations?

Dismiss students with the reminder to continue
reading their scripts.
(5mins)
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Appendices for lesson plan 2:
*1: PP presentation for this lesson plan can be accessed here:
Design brief presentation.pptx
*2: Design illustrations for students to generate a working drawing from; one per student seen here in increasing degree of difficulty. (To be printed
and handed to each student give more experienced/advanced students the later ones)



* 3: Measurement chart handout; one per small group:

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Measurement Chart:
Client Name: Date: Measured By:
Chest/Bust Waist to hip
Waist Waist to knee
Upper Hip Waist to ankle
Lower Hip Waist to floor
Centre Front Length Upper arm girth
Across chest Elbow girth
Nape to waist Wrist girth
Nape to shoulder Around thigh
Nape to elbow Around knee
Nape to wrist Inside leg
Cervical height Tattoos
Crotch depth Piercings
Crotch length Allergies
Other

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Lesson Plan Number: 4
Topic: Researching historical fashion
Location / Setting:
Textiles room
Length of Class:
1.5 hours
Date/Week:
Double period in the
morning. Monday week 2
Organisation/ Student Groups:
Students begin with attention to the front and contribute to discussion.
Students then work within their small groups, researching in books and
online.
Classroom management strategy:
Students may talk as they research. Teacher to be actively connecting in
the students activity and ensuring groups are staying on task. Prompt all
group members to be contributing and sharing. School behaviour
management strategies are in action; warning>moving>sent to the office.
Materials, Resources, Equipment, References/Sources:
Books about Victorian Fashion teachers and school stock see list of books under unit plan references
Students laptops
Students design files and visual diaries.
Students pens, pencils etc

Key knowledge and/ or skill focus for the class:

Key knowledge
methods of using primary and secondary resources to research a design need and ways of collaborating with a team to share results
Key Skills
investigate an historical and/or a cultural design movement or style

Assumed/known prior arts learning of students
-Students know how to research using reference books and internet searches
-Students know the difference between primary and secondary sources; however this knowledge will be refreshed and built upon.
-Students have read their script twice and know which character they are designing for.





13

INTRODUCTION
Connecting, Engaging and Modelling Inquiry
MAIN BODY
Guiding Inquiry and Practice
CONCLUSION
Sharing, Explaining and Reviewing Inquiry
Welcome students and invite them in. Ask them to
get out their laptops and have their visual diaries
ready.

What is a primary source?
(write on board and get students to write in their
visual diaries)
-a recording from the actual time in question
-in the Victorian period: some photos, paintings
done at the time, newspaper/magazine images.
Design plates, fashion illustrations that are dated.
What is a secondary source?
-a copy or interpretation of the period in question
-movies, modern photos of fashion inspired by the
period, replicas.
Show students the books available and the websites
they can use for their research.
They need to consider the exact year the play is set
in; particularly in the Victorian era as it went for
several decades and the fashion changed a lot
during the period.
They need to research:
-the silhouette the cut the drapes the fabrics
the fashionable colours the setting the clothes
would be warn in - the social class distinctions
the job-clothing connection the tools and
techniques. 15mins

Students begin research into the fashion of the
Victorian era, working in groups and using books
and internet. They sketch out lines, cuts and other
inspiration they see, in their visual diaries.
30mins
Call students attention.
Introduce script breakdown document; hand out
one per group. Each group need to go through their
characters progression through the script and
discover the constraints and considerations the
script hints at about the costumes.
*Appendices 1

Students work through the template of constraints
and considerations/ script analysis in their small
groups. They will need to have this done for the
whole script, which should be achievable if they
have read their script as instructed.

While they are working, check in with each group.
Prompt groups to stay on task and include everyone
in the process (where needed).
Remind students of all the between the lines
considerations that give costume information
Students can do some concept sketches as they get
ideas.

(35mins)
With 10 mins left of lesson, call students attention.
Ask students to spend 6-7mins discussing in their
small group what their characters costume
progression is, and lock in who will be designing each
costume.

Inform students that we will be continuing with
discovering useful information from the script and
going deeper into their character profile in the next
class.
If they are behind in their script writing they MUST
catch up by the next class.

Ask students to put all books away and pack up their
laptops before dismissing them.



14

*Appendices 1 Script breakdown template:
Character:
Act/Scene Setting/ Time of day/
weather etc
Clothing notes/hints Movement constraints Information about
personality/role/place
Any other information
that may affect costume
design.
Example: Evening, outside in the
street on a rainy night
Has a hat, shoelace is
undone, hiding in the
shadows, so probably in
dark clothes.
Trips on shoelace, does
big arm movement when
falling. Runs up and
down stairs.
Mysterious, curious,
wishes to be included in
the popular society.
Cries makeup running


































15

Lesson Plan Number: 9
Topic: Rationales, working drawing and
budgeting
Location / Setting:
Textiles room
Length of Class:
45mins
Date/Week:
Friday, week 3, after
lunch period.
Organisation/ Student Groups:
Lesson broken up into sections of instruction, demonstration, individual
work and some small group discussion.


Classroom management strategy:
Set an atmosphere of concentration and focus; explain that there are a lot
of important things to get thought. Use more positive requests and praise
than negatives.
Materials, Resources, Equipment, References/Sources:
Students visual diaries and design files
Students pencils, pens etc.
Design drawing and all sketches, inspiration, research etc that has been generated over the past weeks.
Calculators



Key knowledge and/ or skill focus for the class:

Key knowledge
The Product design process and its application to achieve a product developed within a collaborative team environment
Key Skills
Devise a production plan with reference to working drawings.
Assumed/known prior arts learning of students
Students have settled on their design choices and collected fabric samples.
Students have researched and delved deeply into the script and their characters personality, position, role, needs.
Students have researched the historical period, including the fashionable silhouette, fabrics, lines, cuts, colours, social considerations, and sewing techniques of the
Victorian period.
Students have put thought into how their character should look.
Students have collaborated closely within their small groups and the whole class.
Students have sound, year 11 level literacy skills and ability to calculate basic numbers.

16

INTRODUCTION
Connecting, Engaging and Modeling Inquiry
MAIN BODY
Guiding Inquiry and Practice
CONCLUSION
Sharing, Explaining and Reviewing Inquiry
Have days tasks and equipment required written on
the board prior to class.
Welcome students at the door and give clear
instructions before they come in.
Students to sit at tables and have their design files,
visual diaries, pens/pencils, calculators, tape
measures and the research they have collected out.

Task 1: Working drawings.
Class have previously discussed working drawings,
but give a refresher on what is important when
creating a working drawing. Students are to have a
go at drawing a simple working drawing for their
design. 15mins

Demonstration: working out yardages. Teacher takes
a students working drawing and demonstrates how
to estimate required amount of fabric, referring to
the actors measurements.

Task 2: Students have a go at estimating the required
amount of fabric. Teacher to walk around and assist
as needed pay particular attention to students
with complicated designs

Allow students to play with scrap fabric from the
storeroom on the mannequins to help them
estimate how much fabric might go into any
particular part of the garment.
10mins

Developing a budget
Students are to list all materials including
haberdashery and embellishments that are
required to make their design. Students add prices
against the list these prices should be based on
research and fabric sampling.

Teacher to model this list on the board

Students identify materials that havent thought
about, sampled or researched yet. They will need to
discover the prices of these by their presentation in
order to complete their budget.

Teacher to check in with each student and ensure
they understand how to lay out and calculate their
budget
10mins

Rationales:
Read out some examples of rationales for a design.
10mins
Students talk with their group about what their
rationale might be.
Students assess where they are in their preparation
for the presentations. They set themselves and their
groups tasks and goals to work on over the
weekend.

Students should only need one minute to pack up
their books before being dismissed.

Quickly ask students if they have any
questions/worries about the presentations - they
can come and see me (teacher) if they would like any
last minute help.

Dismiss class with a reminder to have everything
ready to present of Monday.
10mins