In Home Economics Miro becomes a dynamic workspace for students to manage complex design projects and showcase advanced thinking. It can be used to map out their wearable product journey, from conceptual sketches to production notes, within a single visual canvas. Students can build style boards to track each phase, upload annotated drawings to explain textile techniques (like seam placements or decorative finishes), and embed photographs of prototypes for critique. As they progress, Miro can be used to reflect on sustainability choices, justify design decisions, and document material experiments. The collaborative features also allow for real time peer feedback, helping students refine their work whilst deepening their engagement.

Miro has many features including the following:

• Miro Talktrack: This is a “board recorder” which allows you to record your actions on the Miro board.

• Intelligence Canvas: Leveraging artificial intelligence, the updated Intelligence Canvas offers plenty of ways to collaborate together faster than ever before.

• Miro AI

• Digital Stickies: Leverage the power of sticky notes virtually.

• Innovation Workspaces: The future of Miro’s endless digital collaboration whiteboard. 

The image above is a demo of a mood board I created to display my fashion inspiration and what trends I am loving at the moment. Students can create boards like this in the classroom to display their ideas and what styles they are into to generate how they can incorporate their selves into assessments.

Human-centred design (HCD) is an approach to problem-solving that puts the people we are designing for at the heart of the process. The human-centred design process begins with empathy for the people we are designing for. The process:

• generates a wide variety of ideas

• translates some of these ideas into prototypes

• shares these prototypes with the people we’re designing for to gather feedback

• builds the chosen solution direction for release

The following textile products that already exist include:

• Adaptive clothing for people with disabilities (e.g., magnetic closures, easy-access designs)

• Sustainable fashion that considers environmental impact and ethical labor

• Cultural garments that preserve identity and heritage while meeting modern needs

The subject Home Economics is inherently human-focused. It teaches students to design for:

• Functionality: Clothing that works for the body and lifestyle

• Wellbeing: Garments that support mental and physical health

• Sustainability: Products that care for people and the planet

By embedding HCD into textiles education, we empower students to become thoughtful designers who make with meaning.

• Google Workspace for Education

Google Workspace includes tools like Google Docs, Google Slides, and Google Classroom, which facilitate collaboration, organisation, and communication in the classroom. For example, students can work together on a shared Google Doc to complete a group assignment in real-time.

• Padlet

Padlet is a virtual bulletin board where students and teachers can post notes, images, videos, and links. It is an excellent tool for brainstorming, sharing resources, and collaborative projects.

• Kahoot!

Kahoot! is a game-based learning platform that allows educators to create quizzes and interactive games. It is particularly effective for reviewing material and engaging students in a fun and competitive way.

• Canva for Education

Canva is a graphic design tool that students can use to create presentations, infographics, and other visual content. It is an excellent way to encourage creativity and visual storytelling.

Teach Educator. (2025, August 26). Web 2.0 Tools for Learning with Examples – Latest. Teach Educator. https://teacheducator.com/web-2-0-tools-for-learning/

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Sustainable fashions is An ethical approach towards designing, sourcing, manufacturing, selling, and delivering clothing in a way that minimizes the industry’s negative impact on people and the planet along the entire value chain.

Sustainable Jungle (2024) believes there are eight issues that illustrate why we needs sustainability in the fashion industry:

1. Human Rights Violations

2. Complex Supply Chains & Lack of Transparency

3. The Rate of Fashion Consumption

4. Chemical Use in Fashion Production

5. Water Waste & Water Pollution

6. Textile Waste

7. Climate Change

8. Greenwashing

Sustainable and ethical fashion focuses on minimising these issues by finding better ways to source, manufacture, design and market clothing so the negative human and environmental impacts are reduced.

Buying sustainable can be difficult which is why you need to look into the following six criteria's when purchasing from a brand:

1. Sustainable Materials

2. Supply Chain & Labour Practices

3. Carbon Reduction & Commitments

4. Green Business Practices

5. Diversity, Equity & Inclusion

6. Community & Charitable Giving

To become more sustainable with your own wardrobe you can repurpose what you own, borrow, swap or rent clothing, purchase used clothing and recycle or donate your unwanted clothes.

Willows, M. (2024, October 8). What Is Sustainable Fashion? A Comprehensive Guide. Sustainable Jungle. https://www.sustainablejungle.com/what-is-sustainable-fashion/

Some traditional fabrics from across the world include:

- Persian Termeh (Iran)

- Banarasi Silk (India)

- Kente Cloth (Ghana)

- Ikat (Indonesia, India, and Central Asia)

- Tweed (Scotland)

- Batik (Indonesia)

- Brocade (China and Europe)

As stated in the video these traditional fabrics are living pieces of history which reflects the skills and creativity of different cultures.

I love using this app and have sold over 150 of my own clothing items and accessories. It's a great way to clean out your closet by giving it a new home and making some cash on the side.

Platforms like Depop are helping shift consumer habits away from fast fashion by championing reuse, recycling, and handmade creativity. Instead of chasing mass-produced trends, users are drawn to one-of-a-kind pieces that reflect their individuality and encourage purposeful shopping over impulsive purchases. It fosters a vibrant community where buyers and sellers connect directly, creating a more personal and meaningful retail experience. These interactions build accountability and inspire more mindful consumption, as users become aware of the impact of their choices.

Depop’s slogan says, “Depop is not a Platform, it’s a Place.” This speaks to fashion as more than just wardrobe updates it’s a space for ethical expression, creative discovery, and aligning personal values with economic decisions. By embracing sustainable shopping and inspiring others to do the same, the current generation has the power to reshape the future of fashion and protect the planet.

Quigley, M. (2024, November 5). Depop: A Dive into Sustainable Fashion—Stop Shopping for a Purchase, Start Shopping for a Purpose. The Vault: Business behind Fashion. https://www.thevaultuwmadison.com/blog/depop-a-dive-into-sustainable-fashionstop-shopping-for-a-purchase-start-shopping-for-a-purpose

You will explore different ways to decorate your item (embellishment techniques) and choose materials that work well for your design. Think about how your choices affect how the item looks, feels, and works.

Create a Project Journal that also documents the whole design process to creating your textile item.

Your designed solution should:

• Be aimed at teenagers and reflect their interests or needs

• Use at least two different embellishment techniques (e.g. embroidery, fabric painting, appliqué)

• Be made from materials that suit the purpose of your product

• Show your understanding of how materials behave and how technologies help in making textile products

• Be creative, practical, and well-finished

Time: 8 weeks, Due Week 9 Friday

Timeframe

• 8 weeks of in-class time for sewing and journal work

• Final submission due Term 2, Week 9 (Friday)

• Weekly progress tracked during Friday classes

• Individual Work

• The project and journal must be completed independently

Safety Compliance

• Follow all safety guidelines, including proper ergonomic setup at sewing machines

Journal Requirements

• Maximum of 10 written pages (excluding visuals)

Design Requirements

• Must use at least two embellishment techniques (e.g. embroidery, appliqué, beading)

• Must be made from appropriate textile materials

• Must be suitable for a teenager’s bedroom

• Must be well-finished, creative, and practical

Considerations

Target Audience

• Design should reflect teenage interests, needs, and aesthetics

Material Selection

• Consider sustainability, cultural relevance, texture, durability, and how materials behave when sewn or decorated

• Functionality & Purpose

• Product should solve a real-life problem or meet a need

• Should have a clear purpose or place in the bedroom

Design Process Documentation

• Journal should include research, ideation, sketches, decision-making, production plans, and evaluation

• Visual evidence (photos, drawings, samples) is encouraged

Skill Development

• Opportunity to learn and apply new textile manipulation and embellishment techniques

• Technologies used should support both construction and decoration

Evaluation & Reflection

• Assess how well the product met the brief

• Peer feedback and SWOT analysis are part of the reflection process

The final textile item successfully integrates embellishment techniques of fabric dye, beads and buttons which all enhance both aesthetic appeal and functionality. The material choices were appropriate for teen preferences and sustainability goals, with the use of recycled towels. I did find it difficult to sew with the towel material at times as it can stretch easily and can also be quite thick for the sewing machine. The online pattern also made it hard for me to get the correct measurements right as I had to measure, draw and cut each piece of the pattern. This allowed for some errors when it came to sewing with there being sometimes too much material or it being uneven. I also ran out of fabric for the front band and pockets and couldn't get anymore. To overcome this challenge, I utilised fabric I already had and joined it with the other fabric on the front band. Overall, the final product demonstrates quality construction, especially in the belt, pockets and sleeve/front bands.

The embellishment techniques were applied with confidence and creativity, showing growth in technical proficiency. My sewing accuracy also improved over time, particularly in seam alignment and edge finishing. I worked really well with the sewing and embellishment skills but found it hard to understand the pattern sometimes. I believe this is because I am still working on the sewing lingo needed to fully understand how to put patterns together.

By following my production plan, I was well-paced in the beginning, but some tasks took longer than I thought they would. Due to some issues with the cutting of the pattern and taking time to figure out the instructions I got pushed behind. To make up this time I just provided myself with more time to complete these tasks. I was meant to blanket stitch the I onto my robe but realised I didn't have any cotton. I then chose to do the embellishment beading for the letter which took much longer than I had planned. In future tasks I will provide more time for these specific tasks and for challenges that may arise.

Reflection of the Design Process

Investigate

I explored and researched teen fashion trends and sustainability needs on tiktok, youtube and google. I also analysed the best materials and technologies for suitability, cost, durability, and aesthetic appeal. Patterns were also investigated for cost and availability.

Generate

I developed a design concept based off my investigation and annotated my ideas to justify my design choices. A production plan was also created to help my time management to complete the task.

Produce

The sequences production plan was followed and adjusted for unexpected challenges (time management, running out of material). The embellishment techniques were applied with care and precision.

Evaluate

I reflected on strengths (creative embellishment, sewing, execution) and areas for improvement (time allocation, amount of material, understanding patterns).

Design and Technologies Knowledge and Understanding

B - The robe demonstrates thoughtful integration of materials and embellishment techniques. The use of contrasting patterned fabrics shows a clear understanding of how properties of textiles can enhance both function and aesthetic appeal. The stitched “I” adds a personal, teen-relevant touch.

Investigating and Defining; Generating and Designing

A - The design choices reflect a strong alignment with teen style—bold colour blocking, playful patterns, and a relaxed silhouette. The combination of embellishment techniques is well-justified and creatively executed.

Producing and Implementing

B - The robe is well constructed: clean seams, near symmetrical placement of trims, and a confident finish. The belt is neatly crafted, and the fabric choices complement each other while maintaining wearability. Safety and precision are evident.

Evaluating; Collaborating and Managing

B - The reflection shows thoughtful evaluation and some future recommendations (e.g., time management improvements). Journal could benefit from deeper analysis of design iterations and peer feedback integration, but production plan was clearly followed and adjusted as needed.

During the Residential School I was both a learner and observer, which revealed the importance of clear communication and adaptability. I realised that effective teaching involves not just imparting knowledge but also inspiring curiosity and fostering confidence in students. Witnessing how different teaching methods influence learning outcomes has helped me learn for when I am ready to teach in an educational setting.

On a personal level, this unit has been a journey of self-discovery. I learned that I am more creative and resourceful than I previously believed, especially when faced with technical challenges. The hands-on nature of textile technology pushed me out of my comfort zone, encouraging me to think critically and problem-solve collaboratively. I also recognised the importance of persistence and an open mind, as setbacks often led to new insights and innovative solutions.

Overall, this term has broadened my perspective on the interconnectedness of design, technology, and education. I now see myself not just as a student of textile technology but as an active participant in a creative community, eager to continue exploring and contributing to this vibrant field. This experience has strengthened my confidence and curiosity, motivating me to pursue further learning and experimentation in textile design and technology.