This study offers a comparative analysis of the design philosophies and creative processes of two leading contemporary Ghanaian set designers, Johnson K. Edu and Prince Kojo-Hilton, as evidenced in their respective 2024 productions of Martin Owusu‘s The Legend of Akusika. Framed within the theoretical lens of Comparative Aesthetics and informed by concepts of hybridity, the study employs a qualitative case study methodology, utilising semistructured interviews and visual analysis. It examines how each designer negotiates the triad of Ghanaian cultural heritage, global scenographic trends, and material-economic constraints prevalent in local theatre production. Findings reveal a fundamental divergence in philosophical orientation shaped by their distinct backgrounds. Edu, an academic and fine artist, advocates for a naturalistic and observational approach, prioritising realism and authentic cultural representation to foster audience connection through historical fidelity. In contrast, Kojo-Hilton, a self-taught visual artist, employs a more declarative, synthesis-driven philosophy, viewing design as an emotional ―bridge between tradition and modernity.‖ His work actively integrates indigenous symbols with digital and global aesthetics to create culturally assertive experiences. Despite these differences, both designers demonstrate a core commitment to centring Ghanaian cultural identity, illustrating that the field‘s characteristic hybridity is not monolithic but a spectrum of strategic negotiations. The study also highlights how practical constraints directly shape innovation and how a mentor-mentee relationship facilitates the intergenerational transmission of knowledge and technique. By moving beyond descriptive documentation to a process-oriented analysis, this study contributes a nuanced understanding of artistic agency in Ghanaian scenography, bridging theoretical discourse with applied practice and offering implications for scholarship, professional development, and pedagogical frameworks within African theatre.