設計的專業化已經一個世紀了，但，設計是如何從資本主義發展過程中萌芽？ 　　由郝格（W. F. Haug）於1971年寫研出版的《商品美學批判：資本主義社會中的表象、慾望和廣告》（Critique of commodity aesthetics : appearance, sexuality, and advertising in capitalist society），認為設計或廣告都是在騙人的。但這是如何發生的？購買者又是如何上當？首先是貨幣介入了物品交換程序，使得不同形式的商品間有統一的量化指標。接著，對應到價值被量化了的產品，人們關於產品的感覺便被抽離出來跟著改變，成為可以評估、比較而得到量化的結果，以致於出現能夠為使用者所認知、意像化了的「使用價值」（use value）－「商品美學」（commodity aesthetics），藉以吸引潛在的使用者。最後，設計或廣告以及各種銷售管道、方式成為用來討好人們官能的手段。人的感官於是被資本主義所重新結構。對郝格而言，「設計」是等同於「流行設計」（fashion design）的。透過商品美學此一概念，將可以釐清工業設計在資本主義發展中的結構性功能：為了阻止機械化大量生產與市場擴張兩者發生矛盾，資本主義透過設計操作，馴訓消費者的審美品味，以促進商品更加快速流通；從而人們被時尚、流行拖著向前跑。

　　　　　The profession of designer has been specialized for about one century, but, how does design come out from the development of capitalism? Critique of commodity aesthetics : appearance, sexuality, and advertising in capitalist society , written by Wolfgang Fritz Haug in 1971, argues that design and advertisement are deceptive. However, how does this happen? How are consumers taken in? first, money mediates the exchange procedure of things, thus there are unified quantitative standards among different commodities. Secondly, people's sensuality correspondent to products splits up to become quantified, evaluative and comparable, with the result that there emerge images of use value of products -‘commodity aesthetics’which can be recognized and fascinated by potential users. Finally, design, advertisement, further channels and types of sales become means to please people. So, the sensory organs of human are reconstructed by capitalism. For Haug,‘design’is equal to‘fashion design’, Through the notion of commodity aesthetics proposing by Haug, it would be possible to explicate the constructional function of industrial design in the development of capitalism: to prevent the mechanical mass production and rapid extending market from conflicting, capitalism disciplines consumers by way of design practice, so as to promote faster circulation of commodities. Thereby people are forced forward by waving fashion.