“The rapid acceleration of globalization in this era also contributed to aspects of GVC design, as it heralded a new wave of imperialism in the form of corporate exploitation of ‘emerging countries’ and global cultures. In the 1990s, Western nations developed a fascination with various global cultures through their increasing visibility in media and consumer products. This was embodied in the buzzwords of the era: ‘new age spirituality’, ‘world music’, ‘tribal’, and ‘global fusion cuisine.’ This overall zeitgeist manifested itself in the appropriation of iconography previously associated with both ancient and Indigenous cultures. In addition, imagery that had previously been associated with the first wave of European colonization—such as Mercator globes, compasses, rigged ships, maritime wheels, heraldic suns and moons—was given a simplified, stylized, and rougher treatment. This particular strain of GVC also generated designs that are problematic in hindsight: ‘globalization gaze,’ tribal figures shown carrying executives, serving coffee, or holding up a stool accompanied by the caption, “designed for those who hanker for the days when porters took the load off their feet.”