This research examines the concept of modernity in Greek graphic design and advertising the period roughly between two key moments in Greek history; the end of the Greek Civil War (1949) and the fall of the Greek military Dictatorship (1974).

Contemporary cultural studies discourse has identified the problematic use of the terms 'modernisation' and 'modernity' in works that overlook the mutual influence that the old and new ways of life may exert to one another (Graham 1995). Deconstructing the false opposition of modernity and tradition is suggested to unpack the problematic baggage loaded to it. An inspiring and thought provoking definition of modernity and 'modern' that describes the complexity and struggle involved in pursuing these conditions is expressed in the writings of Marshall Berman (1982), according to whom: 'To be modern is to find ourselves in an environment that promises us adventure, power, joy, growth, transformation of ourselves and the world - and, at the same time, that threatens to destroy everything we have, everything we know, everything we are.'

Acknowledging this cultural discourse, this study seeks to explore the nuances between these two ends of the spectrum, tradition and modernity, hoping to unravel the complex network of interactions between this challenging 'black-and-white' division. An insight into the changes of Greek society and the developments in the graphic design and advertising profession during the transforming period between the Greek Civil War and the return to democracy after the Dictatorship regime, will provide the framework within which the following enquiry will be addressed: What was 'modern' and how was 'modernity' expressed and experienced in Greek society and specifically in graphic design and advertising during the period (1949-1974)?

A wide range of graphic design applications from advertisements and posters to periodical design that were produced by Athens-based independent graphic designers and advertising agencies is examined. It explores the kinds and forms of modernity expressed in these graphic contexts by discussing the various design innovations as well as contradictions and anguishes in embracing a modern visual rhetoric. Special focus is made to the state's major modernisation programmes (electrification and tourism) and also private initiatives such as the foundation of graphic design schools among of which the Athens Technological Institute (known as Doxiadis Colleges after its founder, Constantinos Doxiadis; a world renowned architect and urban planner) in 1958.