“Inevitably, someone has done something similar to you,” says Leo Porto. “Whether you know it or not, whether you subconsciously consume that thing and then your passive memory influenced your work. Or it was just a total coincidence, which is also possible given that there are millions of designers out there doing work, and there’s a finite number of elements that we have at our disposal in terms of shapes, colours, typography. So we’re bound to overlap.”

Originality is something that seems to be preoccupying the design industry more than usual these days, but the Brazil-born designer – who runs the New York-based design agency Porto Rocha with fellow Brazilian Felipe Rocha – believes that “visual culture is meant to be shared. The bad side, if you will, is that we could be turning into a more homogeneous visual culture because of this constant exchange of references, where things start to look the same because there’s no longer very clear delineations of this cultural visual aesthetic versus another. It’s almost like this international style that’s a mush of lots of trends.”

At the agency, they believe the remedy is less about ‘what’ and more about ‘why’. “I think for me, originality has a lot to do with being intentional,” says Rocha. “Sometimes a solution can be something that you’ve seen before, but the intention is there, the message is there, the context is there.” A fitting example is their branding for Nike Run, which cleverly capitalises on the recognisability of the brand’s existing typeface and tick emblem. It feels fresh and yet the clue was there all along.