Every day for six years, Marasela wore a red dress made from ishweshwe fabric - 38 dresses in total for the performance. The dress hangs as it did in Marasela's closet, marking a new day and a new period of waiting.  In her embodiment of Theodorah, Marasela challenges our view of Theodorah and the artist herself as separate individuals. The association of the textile with rural life and traditional Sotho and Xhosa culture was disruptive in the urban and suburban public spaces that Marasela moved in. She would be ignored by men who assumed she had a husband, or be offered food and money, by people who assumed that she was a migrant woman in need.

Ishweshwe was introduced to South Africa during the nineteenth century by French missionaries who gifted it to King Moshoeshoe I of the Basotho kingdom. The textile's history is inextricably tied to histories of ownership, colonial trade, and modernisation. In recent years, ishweshwe has been incorporated into contemporary fashion design as a form of radical appropriation and reclamation of its cultural heritage.