This dissertation examines the authorship in the Field of Design. It is argued that the notion of authorship hegemonically adopted by the field is charismatic, that is, it sees the designer author as that agent who, through innovation and creativity, builds his objects and/or images in an authoritarian, autonomous and individual way, without no outside interference. This view is considered to come from the Art Field, since the Design Field has inherited many notions from the Art Field, and there is still uncertainty about what belongs to one field and what belongs to the other. Moreover, it is clear that the legitimating agents of the Design Field often do not consider the current mode of production, capitalism, and that in this mode of production what they produce are commodities - these designed by the Design Field - that do not have only use value, but mainly symbolic exchange value. Thus, we study the historical transformations that occurred in the field of art with regard to authorship to understand how the notions that permeate the field of art were inherited by the Field of Design and how these notions were transformed and reproduced to throughout the modern period, in order to make a critique of such notions, which are thought here to be outdated. Therefore, it is proposed that the designer as an author is a way of producing symbolic capital in the Field of Design, and that the promise of authorship promoted in the design schools produces alienation, and that such alienation does not match social needs.