Assistant designer interview questions and expert answers

Answer example: I have always been fascinated by the way luxury fashion combines strong creative vision with uncompromising craftsmanship. Even as a student, I was drawn more to the construction details and fabric choices than to quick trends. What excites me is the idea that a garment can carry the signature of a house and stay relevant for many years, not just a season. I want to contribute to pieces that clients feel proud to wear and keep, because of their quality, comfort, and quiet confidence.

Answer example: During an internship, I presented a capsule that followed runway trends quite literally. My supervisor explained that while the work was competent, it did not feel like our house. Instead of defending my choices, I asked her to walk me through the archive and point out key design codes. I then reworked the collection, keeping the same silhouette ideas but translating them through the house proportions, materials, and colour language. The revised project was much stronger and taught me that good design in a luxury context starts with understanding brand dna, not just trend direction.

Answer example: In my final year, I worked with three classmates on a luxury menswear project. We divided roles according to strengths: I handled tailored pieces and technical flats, another person focused on knitwear, another on styling and research, and one on presentation. We set up regular reviews where we pinned everything together to check coherence of silhouette, colour, and fabric. When we disagreed on the palette, instead of arguing abstractly we built two full options and asked tutors for feedback based on our target client. We then merged the strongest elements into one direction. The project taught me how to defend ideas while still keeping the shared vision and deadline as the priority.

Answer example: I am confident using adobe illustrator for flats and technical sketches, and photoshop for mood boards, print layouts, and line sheets. I have experience with clo 3d to visualise drape, proportion, and simple construction before we commit to a toile, which saves time for the atelier. I also understand basic pattern making and grading principles, so my sketches and comments are realistic for the pattern room. I am comfortable learning new internal tools and templates quickly so I can adapt to the house way of working.

Answer example: For my final project, I had a small budget but wanted the garment to reflect luxury standards. I prioritised fabric quality over quantity, choosing one beautiful wool that could be cut efficiently instead of several cheaper options. I simplified the number of looks and concentrated on perfecting one jacket and one trouser, focusing on fit, pressing, and hand finishing. I also negotiated with a local atelier to access certain machines in exchange for assisting them on weekends. The result convinced me that luxury is first about thoughtfulness and execution, not about spending as much as possible.

Answer example: I follow the main fashion weeks and key industry publications to understand shifts in silhouette, colour, and lifestyle, but I try not to copy runway looks. Instead, I ask why a certain mood is resonating now and how our client might want to wear it in real life. I keep ongoing research boards that mix runway images with art, architecture, film, and street observations. In my own projects, I test these influences on classic shapes so I can see what still feels relevant a few months later. This helps me build a personal aesthetic that can interpret trends in a way that feels natural for a luxury house.

Answer example: I am most proud of a capsule inspired by japanese textile traditions interpreted through european tailoring. Before drawing, I researched the meaning of certain motifs and spoke with artisans to understand what should and should not be altered. I then applied those ideas to structured jackets and coats, using placement and scale carefully so the patterns supported the cut instead of fighting against it. The project showed me that I can combine respect for craft with a clear modern point of view, which is essential in a luxury environment.

Answer example: I would first get a clear overview of all active projects, their deadlines, and which ones are business critical. Then I would agree with the senior designer on where I can take ownership, for example preparing flats, updating line sheets, organising samples for fittings, and chasing missing information from other teams. I would keep project folders up to date so they do not lose time looking for the latest version of anything. I also try to anticipate needs, such as preparing alternative colourways or fabric swatches ahead of reviews, so they can make faster decisions.

Answer example: I have looked closely at your recent collections and archives and I see a consistent balance between calm, refined lines and very careful material choices. Your work often looks simple from a distance but reveals construction and finishing details up close, which is something I value. My own sensibility is also quite focused on cut, proportion, and fabric rather than loud decoration. I believe I could support your team by translating your codes accurately in technical sketches and by proposing ideas that respect this restrained, confident aesthetic.

Answer example: I start by breaking the brief into smaller tasks and estimating how long each will realistically take. I then prioritise the elements that unblock others, such as technical sketches or information for the atelier, and schedule details like print clean up afterwards. I use simple checklists for quality points I do not want to overlook, even when tired. Keeping my files and workspace ordered helps me move faster without losing information. If I see that a deadline is at risk, I communicate early and propose options instead of waiting until the last moment.

Answer example: If a colleague and I disagreed about a direction, I would first ask them to explain what they are trying to achieve and what they see as the risk in my proposal. I would then share my reasoning in the same way, linking it to the brief, the brand, and the client. Often, putting sketches side by side and comparing them against the reference boards makes the discussion more objective. If we still could not align, I would suggest we present both options clearly to the senior designer with pros and cons. That way the decision is made at the right level and the collaboration stays respectful.

Answer example: I regularly study reference pieces from established luxury houses to understand their level of detail in seams, finishing, and interior construction. When I design, I check proportions, seam placements, and finishing choices against that standard rather than only thinking about the sketch. I make sure my technical drawings are clear and precise so the atelier can execute without guessing. I also invite feedback from more experienced designers and pattern makers, as they often see practical issues that I can correct early. For me, luxury quality starts with the discipline of the design files, not only with the final garment.