Fashion design and its pedagogy is fundamentally centred around visual representation. A core conceptual component of the fashion industry and design education is mood boards, concept boards or trend boards, which purpose is to communicate design direction or intent and to provide a starting point for the design process. Content for these boards relies predominantly on visual data; due to the internet and social media, students and designers have unlimited access to visual stimulus. Reflecting on personal design constraints and teaching experiences in fashion design at a leading South African design education institution, it became clear that the influx of visual data, both through the use of these boards and freely available images on social media, affects original design thinking.

Starting in the 1990s in South Africa, according to Sauthoff, designers in general and graphic designers in particular have sought to create an inimitable design style that is imbued with a recognisable (South) Afrikan cultural identity. This is in reaction to the entrenched hegemonic influence of Euro-American design practices. Names like Saki Mafundikwa, Karabo Poppy, Garth Walker, and Sindiso Nyoni are on the influential list of designers bracketing a so-called African design aesthetic. How is this ‘aesthetic’ related to design that is culturally significant, according to Twigger Holroyd, and that lends authenticity to an artefact, positioning it as representative of Afrikanness?