This work investigates the way in which bourgeois ideology operates in the Design Field and, consequently, in the workers who perform this professional activity; as well as how it manifests concretely in the performance of the designer, more specifically the fashion designer. We start from the assumption that the understanding of the dynamics of the field can only occur when we relate them to the concrete totality of industrial capitalist society. Thus, we understand that we cannot explain design by itself, that is, as an activity with an end in itself: it has an important ideological role in capitalist society, precisely because of its economic and cultural aspects. We examine design issues (and more specifically fashion design) with the dialectical method and the categories of historical materialism. Therefore, we use Marx s writings and a theoretical framework anchored in the Marxian Critique of Political Economy in order to demonstrate that the capitalist laws of motion that this thinker described continue to operate and that they impact and define the designer professional performance. Much of the literature used in the formation of designers comes from the dogmas of Political Economy and contemporary administrative management. Thus, the capitalist mode of production is not seen as a transitory phase of the historical process, but as natural and eternal. In addition, the capitalist enterprise appears as the central element of society. We try to reveal the ideological content of this literature through the selection of some of its statements, demonstrating that it is not harmless, because it interferes in the designer professional activity, in the result of his work and in his lack of consciousness about being part of the working class. We start this work by confronting two nomenclatures that arose from theories that seek to understand the social changes that occurred in the twentieth century, late capitalism and post-industrial society. We also approach themes related to the working world that we consider essential to properly understand its configuration in the capitalist mode of production and, therefore, the designer professional activity. We thus reflect on the services economy, end-of-work theories, and immaterial labor. Next, we reflect on the social division of labor and the social role of the designer. We find that, in general, despite being one of the links of the collective worker and being subject to capital dictates, this professional reproduces an entire ideological apparatus that aims to maintain and increase the labor exploitation. Finally, we criticize the concept of Industry 4.0, which proposes intense automation of productive processes, and the entrepreneurial discourse that discloses the possibility of full implementation of the technology corresponding to it. To this end, we reflect on labor control methods, on the continuous increase in industrial productivity and on the complex equation between living and dead labor. We link this debate to data from the fashion industry, with which we elaborate a panorama of the labor relations in this sector contemporaneously.