In analysing cuteness as a complex cultural and aesthetic phenomenon, we cannot fail to address the issue of cuteness versus power dynamics. The dynamics of subordination and shifting power structures are evident at every turn in Japanese kawaii culture, in the relationship between cuteness and consumption, and even in the evolutionary biological aspects of cuteness. The qualities of liberation and oppression related to cuteness are embodied in very different and often ambiguous and dynamically changing ways, even within the same area of study. It is my observation that in the graphical realm of the dictatorial regime that prevailed in Hungary in the second half of the 20th century, we often encounter cuteness or sweetness. Cuteness is often used as a communication tool, not only on the packaging of products specifically aimed at children, but also on posters and everyday objects. Could this convergence of cuteness and an oppressive regime be a coincidence? My thesis is centred around the hypothesis that because of the complex power dynamics that are inseparable from cuteness, the aesthetics of cuteness, and in this case, the cuteness of the graphic design world can be a tool of manipulation. And not only in consumer societies, as numerous analyses point out: they can be an important tool of political oppression and/or the pacification of the population, for example in Hungary during the communist period, among other places.