âThe 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 âemerging countriesâ 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: ânew age spiritualityâ, âworld musicâ, âtribalâ, and âglobal fusion cuisine.â 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 colonizationâsuch as Mercator globes, compasses, rigged ships, maritime wheels, heraldic suns and moonsâwas given a simplified, stylized, and rougher treatment. This particular strain of GVC also generated designs that are problematic in hindsight: âglobalization gaze,â tribal figures shown carrying executives, serving coffee, or holding up a stool accompanied by the caption, âdesigned for those who hanker for the days when porters took the load off their feet.â