a level textiles coursework

A Level Textiles: Beautiful Sketchbook Pages

Last Updated on April 2, 2023

Halima Akhtar is an exceptional student who gained an A* for both Edexcel A Level Fine Art (100% at AS and A2) and A Level Textiles (100% for AS and A2 Coursework projects and 98% for both examinations). This article features her AS and A2 Textiles projects, completed while studying at Woldingham School , Caterham, Surrey, United Kingdom. Halima gained an A Level Art Scholarship and went on to gain a Distinction for her Art Foundation year. Halima’s sketchbooks contain rich, mixed media pieces, sculptural exploration, fabric investigations, manipulation of materials and experiments with stitching, surface and pattern. A journey that begins with first-hand observation and ends with complex, three-dimensional pieces, Halima’s AS and A2 Textiles projects are superb exemplars for others: some of the best A Level Textile sketchbooks that I have seen.

Two of Halima’s sketchbook pages are included in our new book:  Outstanding High School Sketchbooks . This book has high-resolution images so that fine details and annotation are clear, making it an excellent resource for students and schools.  Learn more !

We were lucky enough to interview Halima about her projects. Her responses about first-hand observation and how she approached her themes are particularly valuable.

READ NEXT: How to make an artist website (and why you need one)

It is important for high school Art projects to work from first-hand observation and respond to the world around them. It is sometimes unclear how this applies to a Textiles project. Please explain how you were influenced and inspired by first-hand observation.

Halima: Coming from an Art background at GCSE when I approached my first AS Textiles project ‘Growth and Decay’ I felt it was important to use the skills I had learnt, which included drawing and painting from first-hand resources to record visual information. This way of working has fed itself through my textiles and art to this day. Through my A Level Textiles course I was able to embrace the notion that textiles has much more to offer than making clothes; it is about working with materials and surfaces sculpturally to discover endless possibilities to explore.

As artists we should embrace the sensuous experience, especially within the context of research in textiles. It is not only about how things look but also the way the feel, smell, sit or can be handled. Each of these qualities can provide such rich information about texture, shape, form, colour and structure to inspire work.

With the title ‘Growth and Decay’, the main thing that struck me was the concept that fungi grows as a process of decay and degeneration. I went looking around forests and outdoor areas to find examples of fungi in the natural setting. The tremendous scale, smell and slime that I often saw growing around these forms – observations I could not have made through photographs – inspired my work greatly as I experimented with material qualities. Within my ‘Armour’ project (see further below), I also drew a connection with natural forms and insects, where some of the repetitive and layered protective shapes were similar in these two entirely separate structures.

I feel one of the main reasons that I was able to explore so much in my A Level Art and Textile projects was that not only did I actively take a part in searching for this first-hand experience, but I enjoyed it as part of the natural process of making. The records that I made in drawings and notes also became important references for later.

The idea of working from first-hand resources doesn’t need to be limited to subjects to draw from. Within my work, observing and taking note of processes and the way in which things happen every day helped to widen my perspective. I believe there is a beauty in taking something ordinary and often unnoticed and being able to comment on it, transforming it to make it important and notable.

As I moved on to the second year of the A Level Textiles course, my observations of first-hand resources underpinned my practical work and the exhaustive reflection necessary within my Coursework contextual essay. I was primarily interested in the sequential process of metamorphosis in butterflies and in order to understand this I purchased a small butterfly hatching kit. The insects came in a pot and I observed closely their cocooning, hatching and release. The inspiration I gained from this experience was invaluable. It was breathtaking to see such intricacy and awe in something that happens every single day. The cocooning concept provided the basis for my project, as I was fascinated by this idea of a container with connotations of entrapment and protection. I reflected on how I, too, containing these animals in an artificial setting, had meddled with the boundary between appreciation and being harmful. This brought about the idea of ‘collecting’ within my research and pushed me to develop more conceptual and meaningful ideas in my work. The commonalities and contradictions in placing these two issues alongside each other was interesting and I was able to use the imagery of the metamorphosis and insect infestation to convey the concepts of compulsive hoarding in a creative way, initially unexpected to even myself.

Your work uses a beautiful array of mixed media. Please talk to us about the materials and mediums you used and why you selected these.

Halima: The observations I made in my drawings led organically to textile samples, For example, using wadding to make trappings conveys the quality of translucency and the idea of entrapment that I observed in the compacted wings of the butterfly folded within the cocoon.

On reflection, much of my work and drawings strive from a place within me where I am trying to understand or describe, through marks, a certain texture or form. This is obvious in my AS Textiles Coursework project, ‘Growth and Decay’, where my sketchbook is filled with material tests and drawings in different media, such as paint, ink, pastel, stitching, string and fineliner. When working from the inspiration of fungi, the qualities within the form influenced the mediums and marks I chose. In my experiments – and then my final piece – I used different colours of felt melted together within a sandwich of cling film and then free machine stitched over to create a simple line drawing. I wanted to evoke a tactile moss-like quality that was alluring, despite being inspired by the slimy, almost repulsive texture of the fungi.

For me, there is something compelling about taking textile methods and processes and subverting their functional purpose or worth in more fine art pieces, such as installations or 3D mixed media drawings. Within a fine art setting there can be an unspoken rule of distance between a viewer and the work: with my textile pieces I am really trying to challenge and evoke this desire to connect through touch.

My material sampling developed from basic introductions to processes to those that I discovered on my own. Experimenting with processes and combining different materials through simple actions often provided me with more insightful concepts to push further. I am fascinated by the idea that in each cut, stitch, tear or mark the viewer sees the maker manifested physically. It is incredible how the mind leads the hands and body to create something entirely new. Looking at the work of others with this perspective, an understanding of textiles is universal, as we all are capable of using our hands and challenging the ways we do this. This is why I am drawn to mixed media, as it requires so much workmanship and this attention is visible at the immediate surface.

In my work I always try to convey something fluid; a regeneration or degeneration of materials. I feel there is honesty in materials that are in a state of disrepair or ruin. They reflect a journey and the idea of a coming apart. With my Decay final piece, there is an organic growth and undulation of the 3D textile elements emerging from the drawing and painted marks. The elements of stitched and torn paper that give texture to the drawing help to create an illusion of different 2D and 3D levels. The textile components of the piece are made up of three main techniques. As I researched the concept of degeneration, I began to think about status. This led me to consider Tudor garments and how they convey excess, worth and importance. Interestingly, I discovered a Tudor slashing process, in which clothes are layered and the top material is cut to reveal even more layers of luxury. This emergence interested me and I was drawn to the idea of combining levels of different material qualities. I also incorporated different sized Suffolk puffs which were very quick and easy to make and produce multiples for the scale I desired. The main part of the textile extension of this drawing was made up of many cup-shaped pieces. I found a netted mesh-like material which held the form of a shape when wet and moulded around it. I was able to fold the fabric around the cup and secure with a rubber band, creating pleats that were inspired by the frilled ‘gill’ on the underneath of the mushrooms.

As I researched armour I saw traditional metal suits and shields, but also discovered ancient Middle Eastern armoury and weapons. The irony is that weapons and objects that featured within ancient battlefields – places of such irreprehensible damage – were so beautiful and skilfully crafted. I was inspired by the beauty and strength and wanted to explore these ideas of mixing hard and soft. I began creating panels out of free machine-stitched patterns on muslin and then wired them to give shape around the arm. I also experimented using patterns in a more subtle way, polyprinting onto brown leather. I created the print by softly drawing into a piece of polystyrene and then printing the negative image. The leather was a compelling material to me, as not only was it strong and felt authentic as an ethnic armoury, but it also suggested the idea of a skin. When I looked at the exoskeleton of the beetles and scorpions I was fascinated by having an armoury as a second skin.

For my A2 Textiles Coursework, I looked at cocoons and the idea of collecting and hoarding. My ideas and sampling led me to consider making an installation piece. I wanted to create containers to represent the cocoon shells that were to become vessels for collected objects that were important and therefore safeguarded and protected. With this in mind, the techniques that I used to make pods were very careful and time consuming. With a Japanese pattern cutting book Pattern Magic by Tomoko Nakamichi (Amazon affiliate link) my peers and I experimented with the shape called the ‘Jabara’. I had never done any pattern cutting before, however I wanted to challenge myself and found, with time, I picked it up. I found these forms to be elegant and delicate when made in translucent and soft organdies and silks. These luxurious materials and the care the vessels took to create symbolised the attention a collector takes in preserving items of worth. With these pods I wanted to evoke a sense of accumulation, as occurs with the process of obsessive hoarding, where items with value are lost beneath the rubble of everyday rubbish. I decided to tie the delicate, finely constructed pods with more expressive and messy containers crafted from the collected materials themselves. With the collections becoming the materials, the cocoons are left hollow, just as the collector is left feeling empty emotionally after becoming consumed by these meaningless scraps. To create these more exciting and tactile pieces, I began dying materials using batik to create negative resist images of fragmented wing patterns. I also stitched these butterfly patterns onto a vanishing plastic material, so that when completed the fabric dissolved with water, leaving the fragile skeletal stitched drawing.

Which artists / designers did you study as part of your project? How have these influenced and shaped your work?

Halima: As part of the process of generating textiles, I continually collect visual information, especially inspiration from other artists or designers. I think it is also important not to limit the sources in which inspiration or ideas can come. Because I also studied Fine Art, I drew ideas from sculptors, painters or installations, as well as textile and fashion work. One of the key examples of how seeing other designer’s works in person can affect or inspire work greatly was with my Growth and Decay project. I saw the Future Beauty: 30 Years of Japanese Fashion exhibition, which featured work from designers such as Issey Miyake ,  Koji Tatsuno and Junya Watanabe . Despite there not being any immediate connection with my work, I absorbed as many influences as I could.

Within the exhibition, the pieces featured a clean and simple elegance and aesthetic. There were very prominent sculptural qualities in the way the designers addressed the body and created shape and form. I was particularly fascinated by the curled undulating textures within a dress made from wired mesh and the honeycomb structures in skirts. These fluid forms resonated with me and I began looking at simple materials in new ways. I found very small paper cups and began cutting and twisting them around each other to respond to the shapes I had seen. As I reflected on my work, this gave direction to my final piece, where I experimented with different ways to create the cup form and, through multiples, convey a sense of growing decay.

For my Armoury project I began looking at metal suits and observed how panels were built up in layers and how the composition of the suit featured strong shapes and lines. This led me to look at Robert Delaunay and Marcel Duchamp ’s cubist paintings. They exuded vibrant blocks of colour and colliding fragmented shapes that became an almost abstract pattern. I developed the idea of a deconstructed armoury along with the patterns from the eastern shields I had seen. The designs of Hussein Chalayan were extremely inspiring to this work. The way in which he draped the fabrics, with their extremely embellished surfaces, felt very protective and he toyed with the concept of lighter layers being tied and joined to become a chunkier form around the body.

As I researched my project on Metamorphosis and Collecting I was fascinated by a Malaysian designer, who I discovered online, Ding Yong. Yong’s Metamorphosis collection is visually arresting and alluring. Yong addresses the idea of cocooning, with a sinister edge. Tartan prints shroud and restrain the body, challenging the idea of form and function, as the form beneath is immobilised. Through the designs, Yong creates a feeling of sheltering and suppression within a single body.

As I began to consider the idea of installation for my Textiles project, the work of Yayoi Kusama and Song Dong in his Waste Not  installation were very alluring to me. Both express ideas of repetition, obsession and excess. I was fortunate to be able to see the work of both first-hand and the experience of viewing their work was significant. The pieces were entirely immersive; the scale and the way the space was addressed created a suppressive and consuming atmosphere for all. This resonating impact affected my work extensively as I took my textile samples and looked to construct an installation of my own.

What advice do you have for other high school Art students who wish to gain excellent grades in a Textiles project?

Halima: For me it was always more about personal attainment and whether the work conveyed what I needed it to. I have found it is better to become so involved in the work and process that the grade comes as a secondary result. Exploring something in your work that you are genuinely interested in – or that fascinates you – allows the work to come more easily and organically. When you are pushing for ideas and it becomes a chore, this shows through in what you make.

Within A Level Textiles I would say that it is crucial to show lots of experimentation, processes and ideas, but then be able to reflect on the work and isolate the most successful elements to be pushed forward. Try not to think of the end results at the beginning of the project – allow yourself to be guided and these changes will make for a more exciting final piece. By having a concrete idea of what the work should be you can close yourself off from truly experimenting and learning.

Being able to demonstrate different techniques and skills is also important. For example, it is okay to have something appear messy or raw if this is justified for your purpose and you have shown you are capable of doing it in other, possibly more refined ways. It is often exciting to show contrasts and juxtaposition of different processes in a textile work.

The idea that each of us is entirely unique means that the work we produce is wholly personal and irreplaceable, as it derives from our individual experiences. A quote that I found inspiring is from graphic designer David Carson :

You have to utilize who you are in your work. Nobody else can do that: nobody else can pull from your background, from your parents, your upbringing, your whole life experience.

Reflect on work with peers: often they will have the most interesting things to say. Even if they do not understand what you had intended for the work to be about, as creative individuals they can suggest something to research further and develop within your work.

Be active. Work cannot always be made glued to a chair at a desk; the most exciting things happen when you take a chance and try something.

The main piece of advice I would give would be to embrace all means of creative expression and not be afraid to challenge or blur the boundaries. A Level Textiles is an extremely open subject and if you embrace the creative process, you may discover something unexpected of your work and yourself as a maker.

Did you enjoy this article? Please share it using the social media buttons below!

Amiria has been an Art & Design teacher and a Curriculum Co-ordinator for seven years, responsible for the course design and assessment of student work in two high-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Architecture (First Class Honours) and a Graduate Diploma of Teaching. Amiria is a CIE Accredited Art & Design Coursework Assessor.

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A-Level Fashion & Textiles Coursework Example

Subject: Design, engineering and technology

Age range: 16+

Resource type: Unit of work

Last updated

15 May 2020

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Student’s high level NEA AQA project on the subject of Swan Lake. Includes all of coursework examples, including product analysis and sketches.

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• School of Creative Arts & Media

A Level Textiles

Level: 3 | Duration: 2 Years | Details: September | Exam Board: AQA 

Please note all of our A Level subjects must be studied as part of a full time A Level programme. You will choose 3 A level subjects to study over two years.  

What is this course about? A-Level Textiles is an advanced course for young creatives who are impassioned by the subject, to explore imaginative means of practice and the art of visual communication, through conceptual and practical application methods. The course requires you to be compelled by creation. You will study an array of practical skills within both traditional and contemporary disciplines, through a rigorous programme of practical sessions aimed at developing and discovering your own ability as an artist. You will exhibit your creations, participate in technical workshops and critique-based lessons to develop your textiles and appreciate the integration of technical understanding with practice. The orchestrator of your creativity, you will adopt the role of the maker and will create every lesson. You will be exposed to a succession of workshops that nurture and mould your creative practice, establishing progressive yet innovative ways of working. 

Why choose this course? A Level Textiles at Cronton has been remodelled to provide you with a fresh and enriched creative experience. The course provides an opportunity to discover your meaning and understanding of creativity and endeavor. You will participate in practical and technical workshops alongside professional practicing artists, in addition to university lecturers and graduates from the creative sector. You are expected to work autonomously, as well as collaboratively. You will participate in a series of ‘Pop up Exhibitions, experiencing first-hand what it means to be an artist, to prepare you for the indulgence within the advanced world of enriched craft and textiles. It is these very experiences within our Textiles course that we believe sets us apart here at Cronton. 

Entry requirements: A minimum of 3 x Grade 5’s and 2 x Grade 4’s at GCSE including a Grade 5 in English Language and a Grade 5 in Maths. One of your Grade 5’s must be in an Art related subject. Every student will need to submit an appropriate portfolio at an interview. Plus you must attend a Creative Skills session in college.

What will this course lead on to? This course can prepare you for a variety of career opportunities linked to this course. At university you can further your study in Textiles, Fashion, Fashion Merchandising, Interior Design, Surface Pattern Design, Mixed Media Textiles, Art and Design or Teaching to name but a few. Alternatively, you could progress onto the Level 3/4 Foundation Diploma in Art and Design, that will assist in the development and refinement of your portfolio in preparation for university or a career in the creative sector. 

What will I learn on this course? You will learn technical and practical application methods, to craft sculptural or garment related works, through a rigorous process of artistic development. You will learn the art of fabric manipulation, printmaking: surface pattern design, mixed media textiles and fabric construction practices. Further to this, you will study textiles as a medium; as an art form; to approach and visually communicate your textiles practice through a succession of outcomes, that reflect you as an artist. Prior understanding of a creative practice is required, as it will aid you in embracing a new perspective, changing how you yourself view textiles as a specialist A-Level subject. 

Enrichment Opportunities You will have opportunities to participate in workshops with professional artists, in addition to regular visits to galleries aimed at developing your awareness of both the traditional and contemporary art world. Recent trips have included Berlin, London and The Knit & Stitch Show.

How will I be assessed?

• Component 1: Personal Investigation (Practical Coursework 60%)
• Component 2: Externally Set Assignment (Timed Exam 40%)

Are there any costs associated with this course? You will be provided with a detailed textiles kit list upon your arrival to enrolment. It is recommended that students purchase standard art materials, in addition to a basic sewing kit for the course.

The Cronton Experience: During your time at Cronton Sixth Form College, you will have the opportunity to take part in a number of different enrichment activities in your free time. These will increase your enjoyment of your studies and equip you for further success. Click the image below for more information!

Course Features

• Duration 50 hours
• Skill level All levels
• Language English
• Assessments Yes

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As level / a level textiles (full-time/part-time).

Course Overview

Also available as a Part-Time option – please select ‘Click here to contact us’ for more information.

The AS Level / A Level Textiles is a two-year, full-time course located in the Sixth Form Academy (SFA) designed for students with an interest in learning textile related skills that you will study alongside two other A Levels. Textiles is an ever-evolving art form that is proving popular in the creative world as a credible medium to express an artist’s views and interpretations of the world in which we live. Students will experience a wide range of textile workshops to gain the relevant skills needed for the course.

These include a selection of traditional and contemporary processes including a variety of printing techniques, paper-making, felt-making, hand and machine stitch, image transfer, rag-rugs, dyeing, batik, fabric manipulation and many more. Each student will be given the opportunity to explore these techniques through their individual preferences of textiles, fashion or accessories.

This experimental process will evolve through creating a sketchbook that will develop a range of skills from drawing, gathering relevant primary and secondary research, analysis of work produced and the work of others, producing individual textile samples and creating a series of professional and exclusive outcomes.

Applying for AS Levels or A Levels? Click ‘Apply Now’ on any ONE of the subjects you are interested in studying. Complete the online application form, where you will be asked to specify your other two choices. Then book an Interview appointment to meet the tutors and discuss your preferred choices.

A minimum of six GCSEs at Grade C or above including English. Grade C or above is desirable in Maths. GCSE Textiles/Art recommended or satisfactory portfolio of artwork.

Successful completion of the programme may lead to further studies in Textiles, Fashion Design, Marketing at higher education or employment within the fashion and advertising/media industries.

This subject combines well with AS/A Level Graphic Design, Photography, Art and Design, Film Studies, Communication Studies, English and Languages.

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A Level Textiles

Do you love the tactile qualities of fabrics and stitch? Do you enjoy drawing and visualising your ideas through a hands on approach to materials? The Textiles course encourages you to explore the breadth of approaches available within contemporary textiles today, developing your skills in stitched, printed and constructed textile processes. Different interests and strengths are highly valued, giving you the opportunity to design one off textile art pieces (both two and three dimensional), interior products or wearable accessories.

Key information

Art & Design / Full Time / A Levels and Equivalent

Why choose this course?

This creative course introduces the learners to key skills and knowledge fundamental to the world of Art and Design Textiles. It also explores many skills which are transferrable to other areas of study. The course gradually builds around each student, to meet their creative interests and needs, and prepares them for further study at university or for the workplace.

What will I learn?

This course starts with a project exploring the key skills and principles in art and design, e.g. mark making, line, tone, colour, pattern and texture. During this time, you will learn how to use the Bernina 1008 sewing machines that we use at the college. You will learn how to use both the standard and free motion sewing feet. You will learn how to mix and apply colour to fabrics and collage various materials together to create textile artwork. You will explore mark making with paint, dye and stitch (both hand and machine stitching) to create pattern, texture, line and tone. You will use these mark making techniques along with free motion embroidery to develop your drawing and observational skills. You will complete this introductory project by creating a textile panel which encompasses these foundational skills.

Over the course you will build a comprehensive textiles vocabulary to help you find your own voice within the subject and will take part in a number of textile workshops. You will work on your own personal projects, inspired by various inspirational sources. Workshops are structured to familiarise you with different techniques including appliqué, Bondaweb fusing, collaging, couching and cording, heat transfer printing, weaving, fabric manipulation, screen printing, use of soluble fabrics, and repeat pattern design. We will also explore how contemporary and historic textile makers communicate ideas.

Working in sketchbooks, you will evidence your evolving skills and knowledge, textiles terms and ideas, documenting and constantly reflecting on your creative development through your own personal annotations. There is a fundamental emphasis during this course to critical reflect on the progress of your own work and critically analyse the work of other artists and designers. Understanding the work of other’s, their context, personal themes, motivation, use of processes, materials and techniques is vital to development of your own creative practice.

Over the course you will get assessed across four main assessment criteria: A01 Contextual understanding, A02 Creative making, A03 Reflective recording and A04 Personal presentation.

By the end of the first year, you will have produced a body of coursework, which explores personal ideas through to a final outcome. The second year builds on your learning in the first year. There is one personally negotiated, more focused coursework project and one exam project. In addition to designing and making, there is a written element to the second year of the course where your learning will be supported by group presentations and contextual lectures preparing you well for Higher Education.

Towards the end of the course you are given eight weeks lecture time to prepare for a 15-hour exam. The preparation time forms a personal project responding to a chosen exam theme; the 15 hour exam time is used to create a final piece which resolves this project.

Component 1:  Personal Investigation Internally Assessed. 60% of A Level.

The Personal Investigation consists of a major in-depth, practical, critical and theoretical investigative project/theme based portfolio. Learners will be required to carry out an extended critical and contextual analysis (1000 word minimum requirement).

Component 2:  Externally Set Assignment Internally Assessed. 40% of A Level.

Learners will be required to independently develop a personal response to one of a varied range of stimuli. Learners will develop their response during a preparatory study period culminating in a 15 hour sustained focus study.

Assessment Arrangements

The Art Department is friendly, supportive, ambitious and hardworking. Achievement in this subject relies heavily on your attendance, punctuality and commitment to learning, both independently and within lectures. You will be encouraged to try a broad range of approaches, which you will then refine into ways of working which suit your individual interests, acquiring and developing specialist skills in your chosen discipline. Independent work is fundamental to the course; at least 50% of all work assessed should have happened outside the classroom.

Homework is set weekly. Initially it is set by lecturers and will be tightly specified and closely linked to class workshops; it will be monitored regularly. As the course develops you will be required to set your own homework/independent work based on agreed learning needs. Your ongoing work will be assessed in lessons through focused 1:1 discussion. Sketchbook work will be assessed regularly for reflective, thoughtful, analytical critical evaluation and annotation. Emphasis is upon the development towards a final piece, through observation and technical, aesthetic and conceptual refinement.

You will also be assessed against how your research of art, craft, design, media and technologies in contemporary and past societies and cultures improves your own understanding and practice.

Discussions and presentations are a vital part of our assessment process and you will be expected to contribute to these during your lessons.

Information & Support

Independent practice will be supported through PowerPoints, worksheets and other guides available through our Sharepoint course. We also provide further support through focused boards on Pinterest. College trips to visit museums and galleries will be offered and we encourage our students to visit galleries both locally and nationally to support their work.

What will I need?

The basic requirement is five GCSEs at grade 4 with a grade 4 or higher in an Art based course (to include English Language or Literature at grade 5 or above). A keen interest in drawing to indulge your creativity, as a design stimulus and as a means of gathering creative ideas and making them visible, is absolutely essential.

No previous experience with a sewing machine is necessary, but a willingness to learn how to use this tool carefully, safely and effectively to create a range of textile artwork is essential.

Where will it take me?

You can progress directly to a wide range of degree courses in preparation for a career in textiles, fashion or interior design. Past students have successfully applied to all of the following: Textile Design, Fashion Design, Costume Design, Interior Design, Jewellery Design, Fashion Marketing and Merchandising, and Fine Art Textiles.

Additional Information

Awarding Body: Eduqas

Any enquiries about the course please contact [email protected] (Textile Lecturer)

How to apply to Callywith College

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A Level Textiles

Do you love the tactile qualities of fabrics and stitch? Do you enjoy drawing and visualising your ideas through a hands-on approach to materials? The Textiles course encourages you to explore the breadth of approaches available within contemporary textiles today. Different student interests and strengths are highly valued.

WHY CHOOSE THIS COURSE?

A Level Textiles is a practical, hands-on Art and Design course using textile techniques and processes to make: sculptural textiles, wearable accessories, interior products, or image-based textiles. Studying how other designers and artists work is a significant element to the course, extending knowledge, understanding, and critical analysis. You will partake in a number of workshops specialising in different elements of textile media. You will develop a personal, visual language and learn a variety of skills that will enable you to progress into your chosen career path.

Apply for this course

Start date: 09/09/2024, course code, qualification, top course highlights, learn visually, play with materials, develop technical expertise, guided learning, research skills.

Learn through creating

Combine visual and tactile qualities to create beautiful surfaces and objects. Develop skills and knowledge through playful exploration of textiles processes harnessed in relation to your individual creative interests.

Specialist Textiles workshops

Learn and collaborate in our dedicated Art & Design building and research how modern and historic artists and designers have communicated their ideas in our specialist Learning Centre.

Friendly and knowledgeable staff

The Art & Design team are friendly, supportive, ambitious, and hardworking. Achievement in this subject relies on your attendance, punctuality, and commitment to learning, both independently and within lectures.

WHAT WILL I LEARN?

Year 1:  Start by exploring stitch as a drawing medium. Through creative and exciting workshops in varied textile media develop a personal visual language. Workshops include soluble fabric, heat reactive materials, fabric manipulation, screen printing, collagraph printing, and repeat pattern design. Practical work is supported by research into contemporary and historic textile practices providing a basis for your design development. Working in sketchbooks, you will evidence your evolving skills and knowledge, textiles samples and ideas, reflecting on your creative practice.

Year 2:  Personal Investigation – 60%, personally negotiated coursework project. Externally Set Assignment – 40%, exam.

Creative exploration of textile media remains at the heart of the Year 2 course. In addition to designing and making, there is a written element of the course where your learning will be supported by group presentations and contextual lectures preparing you well for Higher Education.

Component 1: Personal Investigation

Internally Assessed

60% of A Level

The Personal Investigation is a focused practical, critical and theoretical investigative project/theme-based portfolio. Learners will be required to carry out an extended critical and contextual analysis (1000-word minimum requirement).

Component 2: Externally Set Assignment

40% of A Level

Towards the end of the course, you are given eight weeks of guided lessons to prepare for a 15-hour exam and respond to your chosen theme. A final piece which resolves this component is made during the15-hour exam time.

WHERE WILL IT TAKE ME?

You can progress directly from A Level Textiles to any art and design degree including Textile Design, Interior Design, Fashion Design, Costume Design, or Craft Maker. Textile, Fashion, or Interior designer are immediately related job roles, however more broadly related careers include Interior Architect, Visual merchandizer, Costume Prop and/ or Set Designer, Fashion Illustrator, Stylist, Retail Buyer, Fashion Journalist, Curator.

Assessment Arrangements

Achievement relies heavily on your attendance, punctuality and commitment to learning, both independently and within lectures.

You will be encouraged to try a broad range of approaches, which you will then refine into ways of working which suit your individual interests, acquiring and developing specialist skills in your chosen discipline.

Independent work is fundamental to the course; at least 50% of all work assessed should have happened outside the classroom.

Homework is set weekly. Initially it is set by lecturers and will be tightly specified and closely linked to class workshops; it will be monitored regularly. As the course develops you will be required to set your own homework/independent work based on agreed learning needs.

Your ongoing work will be assessed in lessons through focused 1:1 discussion. Sketchbook work will be assessed regularly for reflective, thoughtful, analytical critical evaluation and annotation. Emphasis is upon the development towards a final piece, through observation and technical, aesthetic, and conceptual refinement.

You will also be assessed against how your research of art, craft, design, media and technologies in contemporary and past societies and cultures improves your own understanding and practice.

Discussions and presentations are a vital part of our assessment process and you will be expected to contribute to these during your lessons.

Entry Requirements

In addition to general A Level entry requirements a keen interest in drawing to develop your creativity, as a design stimulus and as a means of gathering creative ideas and making them visible is absolutely essential.

Information & Support

Independent practice will be supported through PowerPoints, worksheets, and other guides available through our Moodle course. We also provide further support through focused boards on Pinterest. College trips to visit museums and galleries will be offered and we encourage our students to visit galleries both locally and nationally to support their work.

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What you could earn

• Arts Officers, Producers and Directors
• Textiles, Garments and Related Trades
• Textile Process Operatives
• Advertising Accounts Managers and Creative Directors
• Furniture Makers and Other Craft Woodworkers
• Other Skilled Trades

RELATED COURSES

A Level Art & Design: Illustration & Graphics

A Level Art & Design: Fine Art

A Level Fashion

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Result Type

Textiles A Level

Textiles is an increasingly popular area of Art & Design. This two year course encourages a creative approach to textile design with some emphasis on Fashion, covering the creative, commercial and technical aspects of the industry.

Many former students have gone on to build successful careers in the Fashion industry and this A Level is designed to give students a head start.

Click on the following links to view galleries from 2023, 2022 and 2021:

Textiles A Level 2023- Reigate College

Textiles A Level 2022 – Reigate College

Textiles A Level 2021 – Reigate College

What goes well with this course?

Some students might opt to combine the Textiles A Level with courses such as A Level/BTEC Business or A Level Economics and move into a business field with a fashion element.  Other students select subjects such as English and Media with the aim of pursuing a career in journalism or creative media. 

All students enjoy the hands-on nature of the course and appreciate the contrast to more academic subjects. 

Progression

Students can use their portfolio of work developed during the course to assist them in applying for Art Foundation Courses or for Fashion related degrees such as:

• Textile Design
• Fashion Design
• Fashion Buying
• Interior Design
• Fashion Management, Marketing & Communication

Apprenticeships are also a popular route for those students not wanting to go to university. In previous years, Reigate College Textiles students have successfully applied to the Arcadia Group to work as Merchandisers (while gaining retail-related qualifications at the Fashion Retail Academy).

Course Content

This course encourages a creative approach to Textile Design with some emphasis on Fashion. During the first year students will work on between three and five assignments, each one exploring a different aspect of Textiles, including: 

• Working in 2D and 3D media
• Mastering practical skills such as pattern cutting, garment design and construction, drawing, photography and illustration. Fabric printing is taught alongside creative explorative workshops in traditional and new technologies
• Working with media and materials, learning textile techniques and processes
• Understanding elements of textile design such as shape, line, scale, pattern and composition
• Exploring other designers’ work and ideas
• Examining major historical design styles and movements
• Looking at the socio-economic influences on fashion, such as street culture and social media
• Considering textiles from a commercial perspective

Students are expected to evaluate and assess their own work throughout the course.

In the spring of the second year, students will focus on a specialist area. This could be as broad-ranging as Textile Design, Menswear Design, Womenswear, Millinery, Contour Design, Costume Design, Fine Art Textiles or Surface Pattern Design, Interior Design, Fashion Illustration and Photography. All of these specialisms will need to have a strong focus and connection with textile design.

One of the best outcomes of this course is the rich and varied portfolio of work that students will have to show at interview.

See some of our students’ recent work in the  photo gallery .

Educational Experiences

Textiles students have the opportunity to take part in a variety of course related experiences. In recent years, these have included:

• Trips to art and fashion exhibitions in London, Brighton and Graduate Fashion week
• Residential Art and Media trips to New York, Paris, Florence and Venice

View Textiles gallery

Activities Programme

In addition to course specific experiences, students also have the opportunity to get involved in the College’s Activities Programme .

Work Experience

All students need to gain an experience of the work place  during their time at College and for students studying vocational courses it should ideally be linked to one of their subject areas.

The course is assessed by coursework (60%) and an externally set and marked project-based exam (40%), which students have seven weeks to prepare for.   

The exam board for this course is  Eduqas . 

Entry Requirements

All students need to have at least five GCSEs at Grade 4 or above (and a satisfactory school reference) in order to be accepted on an A Level/BTEC Level 3 Programme. 

In addition, students should meet the following minimum requirements:

• Grade 5 in GCSE Art, Textiles or Graphic Design (if taken)

Students can still apply for a place on this course without a ‘creative’ GCSE but they will need to create and present a portfolio of work that demonstrates drawing, construction and creative skills that relate to the Fashion & Textiles course. 

Frequently Asked Questions

What subject combination would you recommend to go with this course?

It very much depends on your career goals for the future. 

• Business goes well with Textiles A Level if you would like to take a more commercial route and are considering career roles such as a fashion buyer, merchandiser, visual merchandiser or management.
• English would be beneficial if you would like to pursue a career in fashion journalism.
• Media is a good option for students considering working in publishing such as fashion magazines or online platforms.
• Travel and Tourism can support international work with the fashion industry.

Can I study two creative subjects?

Yes, but be mindful that this will involve a considerable amount of work. Creative subjects have a strong coursework element that is time consuming.  In addition, you would need to be efficient at time management and organisation as coursework deadlines often coincide.

What can I do after college with Textiles?

There is a vast choice of creative degrees and career options open to A Level Textiles students. Many decide to study for an Art Foundation Diploma course at Art College. This free one year course allows students to explore their creative abilities, prepare a portfolio and decide which creative area interests them most.

You could also apply for an apprenticeship, go straight into employment or apply directly for a University degree course.

What university courses do students study after taking Fashion and Textiles at Reigate College?

There are a wide variety of fashion-related university courses available.  In recent years students have been offered places at UAL, UCA, Southampton Solent, Kingston and Nottingham Trent Universities.

As an example, in recent years students have taken up places to study the following degree courses:

• Costume with Fashion – University of Huddersfield
• Fashion Marketing & Branding – Nottingham Trent University
• Fashion Promotion & Imaging – University of the Creative Arts (UCA)
• Fashion Business & Management – University of the Creative Arts (UCA)

Is there a lot of drawing on the course?

Yes, drawing is integral to the course.

Do I need a sewing machine at home?

No, as we have a large number of machines in the department.  However it would be useful to have access to one at home, a second-hand machine would be fine.

I haven’t done textiles before as I did another creative GCSE, will this be a problem?

No, as the first year includes different workshops that teach all the basic techniques and processes associated with textiles.

I have not studied a creative GCSE/ I don’t meet the entry requirements – can I still join the course? 

You will need to create a portfolio of work prior to your application that demonstrates drawing, construction and creative skills relevant for the Textiles course. The Course Leader will then view your portfolio and decide on your suitability for the course. You can contact the course leader Clairiscia Callanan, via email to [email protected] if you would like more guidance.

What are the class sizes?

Historically the classes for Textiles have been small, however the course is growing in popularity.

Will there be a lot of making on the course?

Yes, the course is very practical and you will be expected to be working with media and materials using specialist equipment.

How to Apply

Applications for entry september 2024.

Please apply (from 19 September 2023) via the link on this page: www.reigate.ac.uk/apply

Please see the Admissions timetable for information about the College’s enrolment process.

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Textile Design (Fashion/Interior) A Level

In this course, students will learn the fundamental concepts of textile design in the context of fashion and/or interior design, including the research of professional artists/designers and other essential sources of research to inform the design journey. Through hands-on projects and workshops, students will gain practical experience in developing textile techniques such as, hand and machine embroidery, bead work, laser, creative construction etc. 

Course Objectives:  

• Understand the basic principles of the design process and its application through observational studies and textile samples
• Develop practical problem-solving and critical thinking skills
• Develop and create fashion/interior illustrations
• Develop own theme and create personal outcomes. 

Course Outcomes:  

• Successfully implement the design process and its application through observational studies and textile samples
• Apply contextual understanding through visual and written means
• Produce Fashion/Interior illustrations, related designs, and final personal outcomes. 

Key information

Entry requirements.

• No prior Textile Design experience is required, but a genuine interest and passion for Textile and Design is required
• A minimum of seven GCSE’s grades A*-C, including English Language
• An art-based GCSE at grade C is desirable but not essential.

Course delivery

Assessment:  

Internally assessed, externally moderated.   

Grading criteria:  

Year 1 (100% coursework with no exams)  AS Unit 1 - Personal Creative Enquiry  Non-exam assessment  40% of qualification  Design Journal and Final Outcome. 

Year 2 (100% coursework with no exams)  A Level Unit 2 - Personal Investigation  Non-exam assessment  36% of qualification  Design Journal and Final Outcome. 

A Level Unit 3 - Externally Set Assignment  Non-exam assessment  24% of qualification  Part one: Preparatory Study Period  Part two: 15 hour Period of Sustained Focus (non-exam assessment) 

Progression opportunities

Staying with the college, you could progress onto the  Art and Design Foundation  or the  Foundation Degree in Fashion and Textile Design . A Level Textile Design opens many doors and can be fundamental in creating pathways for a whole array of university courses both national and international.    

The textile industry offers a massive wealth of career prospects and opportunities. A graduate of textiles could follow a career in fashion, surface pattern design, interior design, film/theatre costume design, fashion promotion/journalism, teaching or become a specialist textile artist/designer in textile jewellery, felt making, printing, etc.  

Additional information

The course aims to nurture creativity and personal strengths through independent study. Please note that there is a studio fee of £30 for this course. 

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Similar courses, fine art a level, photography a level, media studies a level.

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A-level Design and Technology: Fashion and Textiles

• Specification
• Teaching resources
• Assessment resources
• Introduction
• Specification at a glance
• 3.1 Technical principles
• 3.2 Designing and making principles
• Scheme of assessment

Non-exam assessment administration

• General administration
• Appendix 1: Links to maths and science

The non-exam assessment (NEA) for this specification is made up of a single design and make project .

Visit aqa.org.uk/7562 for detailed information about all aspects of NEA administration.

The head of the school or college is responsible for making sure that NEA is conducted in line with our instructions and Joint Council for Qualifications (JCQ) instructions.

Supervising and authenticating

To meet Ofqual’s qualification and subject criteria:

• students must sign the Candidate record form (CRF) to confirm that the work submitted is their own
• all teachers who have marked a student’s work must sign the declaration of authentication on the CRF (this is to confirm that the work is solely that of the student concerned and was conducted under the conditions laid down by this specification)
• teachers must ensure that a CRF is attached to each student’s work.

All practical work that is submitted for assessment must be completed under direct supervision. If a student needs to undertake some work that cannot be completed in school/college no credit can be given for the work undertaken off site. You must ensure that you are familiar with the prototype before it is taken off site and also verify it after any off site work has been completed to ensure that the only work that has been completed off site is what has been discussed beforehand.

Students must have sufficient direct supervision for the written element to ensure that the work submitted can be confidently authenticated as their own. If a student receives additional assistance and this is acceptable within the guidelines for this specification, you should award a mark that represents the student’s unaided achievement. Please make a note of the support the student received on the CRF and sign the authentication statement. If the statement is not signed, we cannot accept the student’s work for assessment.

Avoiding malpractice

Please inform your students of the AQA regulations concerning malpractice. They must not:

• submit work that is not their own
• lend work to other students
• allow other students access to, or use of, their own independently sourced source material (they may lend their books to another student, but they must not plagiarise other students’ research)
• include work copied directly from books, the internet or other sources without acknowledgement
• submit work that is word-processed by a third person without acknowledgement
• include inappropriate, offensive or obscene material.

These actions constitute malpractice and a penalty will be given (for example, disqualification).

If you identify malpractice before the student signs the declaration of authentication, you don’t need to report it to us. Please deal with it in accordance with your school or college’s internal procedures. We expect schools and colleges to treat such cases very seriously.

If you identify malpractice after the student has signed the declaration of authentication, the head of your school or college must submit full details of the case to us at the earliest opportunity. Please complete the form JCQ/M1, available from the JCQ website at jcq.org.uk

You must record details of any work which is not the student’s own on the CRF or another appropriate place.

Consult your exams officer about these procedures.

Teacher standardisation

We'll provide support for using the marking criteria and developing appropriate tasks through teacher standardisation.

Example material and guidance will be available at teacher standardisation to help schools and colleges understand the quality of the work associated with the different mark bands and how to apply the assessment criteria.

For further information about teacher standardisation visit our website at aqa.org.uk/7562

In the following situations teacher standardisation is essential. We will send you an invitation to complete teacher standardisation if:

• moderation from the previous year indicates a serious misinterpretation of the requirements
• a significant adjustment was made to the marks in the previous year
• your school or college is new to this specification.

Your school or college will be assigned an NEA appointed adviser who will be able to assist you in matters relating to the NEA.

For further support and advice email your subject team at [email protected]

Internal standardisation

You must ensure that you have consistent marking standards for all students. One person must manage this process and they must sign the Centre declaration sheet to confirm that internal standardisation has taken place.

Internal standardisation may involve:

• all teachers marking sample pieces of work to identify differences in marking standards
• discussing any differences in marking at a training meeting for all teachers involved
• referring to reference and archive material such as previous work or examples from our teacher standardisation.

To meet Ofqual’s qualification and subject criteria, you must show clearly how marks have been awarded against the marking criteria in this specification.

Your comments will help the moderator see, as precisely as possible, where you think the students have met the marking criteria.

You must record your comments on the CRF.

Submitting marks

You must check that the correct marks are written on the CRF and that the total is correct.

The deadline for submitting the total mark for each student is given at aqa.org.uk/keydates

Factors affecting individual students

For advice and guidance about arrangements for any of your students, please email us as early as possible at [email protected]

Occasional absence: you should be able to accept the occasional absence of students by making sure they have the chance to make up what they have missed. You may organise an alternative supervised session for students who were absent at the time you originally arranged.

Lost work: if work is lost you must tell us how and when it was lost and who was responsible, using our special consideration online service at aqa.org.uk/eaqa

Extra help: where students need extra help which goes beyond normal learning support, please use the CRF to tell us so that this help can be taken into account during moderation.

• If it happens early in the course, the new school or college should be responsible for the work.
• If it happens late in the course, it may be possible to arrange for the moderator to assess the work as a student who was ‘educated elsewhere’.

Keeping students' work

Students’ work must be kept under secure conditions from the time that it is marked, with CRFs attached. After the moderation period and the deadline for Enquiries about Results (or once any enquiry is resolved) you may return the work to students.

You must send all your students’ marks to us by the date given at aqa.org.uk/deadlines . You will be asked to send a sample of your students’ NEA evidence to your moderator.

You must show clearly how marks have been awarded against the assessment criteria in this specification. Your comments must help the moderator see, as precisely as possible, where you think the students have met the assessment criteria. You must:

• record your comments on the Candidate Record Form (CRF)
• check that the correct marks are written on the CRF and that the total is correct.

The moderator re-marks a sample of the evidence and compares this with the marks you have provided to check whether any changes are needed to bring the marking in line with our agreed standards. Any changes to marks will normally keep your rank order but, where major inconsistencies are found, we reserve the right to change the rank order.

School and college consortia

If you're in a consortium of schools or colleges with joint teaching arrangements (where students from different schools and colleges have been taught together but entered through the school or college at which they are on roll), you must let us know by:

• filling in the Application for Centre Consortium Arrangements for centre-assessed work , which is available from the JCQ website jcq.org.uk
• appointing a consortium coordinator who can speak to us on behalf of all schools and colleges in the consortium. If there are different coordinators for different specifications, a copy of the form must be sent in for each specification.

We'll allocate the same moderator to all schools and colleges in the consortium and treat the students as a single group for moderation.

After moderation

We will return your students' work to you after the exams. You'll also receive a report when the results are issued, which will give feedback on the appropriateness of the tasks set, interpretation of the marking criteria and how students performed in general.

We'll give you the final marks when the results are issued.

To meet Ofqual requirements, as well as for awarding, archiving or standardising purposes, we may need to keep some of your students' work. We'll let you know if we need to do this.