How to hire a UX designer
By Sergio Gualda · 9 min read · Updated
Start by deciding whether you need a UX designer or a product designer, because in most companies today the two titles describe the same job and in a few they don't. Then assess the three things a portfolio structurally can't show: what they questioned in the brief, what they cut when the date wouldn't move, and what they refused to ship. Everything else (visual craft, tool fluency, case study narrative) is either visible in the work or no longer reliable evidence of anything.
First, are you hiring a UX designer or a product designer?
At most companies below a few hundred people these are the same job with different titles. Treating them as different is how a role ends up with a job description nobody can satisfy.
Where the distinction holds, it comes down to where the person sits relative to the decision about what to build. Strictly, a UX designer owns whether the thing is usable and coherent: flows, information architecture, interaction, and the research behind them.
A product designer owns whether it should exist in that shape at all, and is expected to argue about scope with the people who set it.
The practical question that settles it: when the roadmap is wrong, is this person expected to say so? If yes, you're hiring a product designer whatever the title says, and you should assess for the argument as well as the craft.
What a portfolio can and can't tell you
A portfolio is good evidence of craft: visual judgment, systems thinking, whether someone can hold a complex flow together. Look at it for that, and trust it for that.
It can't show the shape of the decisions. Every case study is a story about a choice that was made, told after it worked out, usually by one of six people who were in the room.
The four rejected options aren't in there, and neither is the constraint that changed in week three. The version where the whole thing got cancelled never becomes a case study at all.
Since 2024 there's a second problem. A convincing case study, with its structure, narrative, process artefacts and writing, can be generated by someone who has never run a project. The craft in the screens is still real signal. The story around them isn't, and reading the story more carefully won't fix that.
The three things to assess instead
You can get at each of these in a conversation or a written situation, and none of them from a CV.
- What they questioned. Give them a brief with something wrong in it, such as a stated solution that doesn't follow from the stated problem, and see whether they build it or ask about it. The strong ones ask before anything else. It's the most reliable single signal in the process.
- What they cut. Describe a scope that won't fit the date and ask what goes. Watch whether they cut what's hardest to build or what matters least, and whether they can say why in one sentence.
- What they refuse. Ask what they've pushed back on and lost. A designer with no examples has either never faced a hard constraint or doesn't push back, and you'll want to know which before you hire.
A process that fits a team without a design lead
The hardest version of this problem is hiring your first or second designer when nobody on the team can evaluate design work. The instinct is to hire a consultant to review portfolios; the cheaper move is to change what you're evaluating.
You can't judge whether a flow is well constructed. You can judge whether someone's reasoning about a trade-off is sound, because that's a general skill and you use it every day. So put the weight there: give every candidate the same badly specified brief, and score how they handled the specification rather than what they produced.
Then spend your one expert judgment carefully. One paid hour with a senior designer you trust, looking at the two finalists' actual work, is worth more than five hours of the same person helping you write a job description.
What to pay attention to in the interview
Two questions do most of the work, and both ask for particulars rather than opinions.
“Tell me about a decision on this project that you now think was wrong.” A designer who has shipped anything has several. One who describes a mistake that was somebody else's, or a mistake that turned out fine, is telling you how they'll handle being wrong on your team.
“What did you want to do that you didn't get to do?” This surfaces the constraint they worked under, which every case study leaves out. It also tells you whether they can lose an argument and keep working, which is most of the job at any company with more than one opinion in it.
Frequently asked
- What is the difference between a UX designer and a product designer?
- At most companies, nothing but the title. Where there is a difference, it's ownership of what to build: a UX designer owns whether it's usable and coherent, while a product designer is expected to argue about whether it should exist in that shape. Hire for the decisions you need made, whatever word goes in the job ad.
- Should I ask for a portfolio at all?
- Yes, for craft. Just stop treating the case study narrative as evidence of how the person works. It's a story told after the fact by one of several contributors, and it can now be generated wholesale. Look at the screens, not the story.
- How do I hire a UX designer with no designers on the team?
- Shift the weight of your process onto reasoning about trade-offs, which you can evaluate without design expertise, and buy exactly one hour of a senior designer's time to look at the final two candidates' work. Judging reasoning is a general skill and judging craft isn't. Paying for the part you can't do is cheaper than guessing at all of it.
- Is a take-home the right way to test a UX designer?
- Only if it's capped hard, identical for everyone, and scored against a rubric you wrote first. Otherwise it measures who had a free weekend, and your strongest candidates, the ones with three live processes, are the ones who decline.