In 2026, here's what creative recruiters are looking for in juniors

The days when a design degree was enough to catapult you into an entry-level position are long gone. AI, competition and a challenging economy mean that as a newbie, you're going to have to work harder than ever to get a foot on the ladder.

The good news is, there is still work out there, and many recruiters are desperately crying out for new talent. So there's no need to get depressed; you just have to put a bit of work in, get yourself out there, and think carefully about how you approach people.

To help you out, we asked founders, studio owners and creative directors what exactly they're looking for, via LinkedIn and our own personal network, The Studio. Their responses were generous, candid and, most importantly, surprisingly consistent.

Show thinking, not just results

Here's the tip that came up most often. Recruiters don't just want to see what you've made, but how and why you made it.

"The biggest thing for me is: can you explain your thinking behind the work?" says Matt Redway, senior creative director at PlayStation. "I can see you've used the latest typeface from the sickest foundry, but why is it appropriate for the client? I don't care if you've followed a hype trend, as long as you can say why it amplifies the idea. We had a designer come in for an interview once who had an awesome portfolio, but he couldn't explain any of his creative decisions. We're in the business of telling stories."

Daniel Poll, founder at Noramble agrees. "Anyone can execute a beautiful bit of work these days," he reasons. "But it's the understanding of the big idea and the 'why' behind that work that separates juniors. You can teach the execution part, but it's much harder to teach someone to come up with bold ideas that make commercial sense."

James McNaught, senior creative director at Wolff Olins, adds this. "For junior roles, the work doesn't have to be perfect or polished, but it does have to be unexpected and meaningful. It doesn't matter if it's paid work or for a real client; I'm interested in how it makes me feel."

Attitude outperforms talent

Yes, you want to show off your technical skills in your portfolio. But this is not the primary thing managers are looking for. Ask them what they value most, and the word that comes up again and again is "attitude".

"I've always believed attitude will outperform raw talent in the long run," says Edward Dalton, co-founder at HelloYes. "Passion for design is important, but so is curiosity. Design is about solving real-world problems, so the best young creatives usually have a genuine curiosity about the world around them, not just the industry itself. We look for proactive people who are willing to learn, engage with the process and keep pushing themselves forward."

Pablo Marques, co-founder and chief creative officer at Raw Materials, a D&AD design agency of the year, looks for three qualities that are hard to fake and hard to teach: "Good taste, willingness to listen, and fearlessness." Oh, and that common phrase 'fake it till you make it?'; best not overdo it. In contrast, Pablo prizes "young folks who are aware that they don't yet know what they don't know". That shows him that they'll be "more open to learning and progress more quickly."

Ultimately, this boils down to two simple things: be likeable, and be nice. As Jacques Rossouw, creative director at Voicebox Creative, explains: "It's easier to teach someone a skill than it is to teach someone to be a good person. The physical and emotional cost of having to deal with a bad apple on your team can be very damaging, regardless of how talented they are."

What a portfolio actually reveals

Freaking out about your portfolio? That's not unusual when you're just starting out, because there's a lack of work to show, and the work you do show is probably not going to be first-rate.

Don't worry too much about this, though. Studios are well aware that a junior portfolio is unlikely to reach the same standards as a professional one. So what they're really looking for here is evidence of personality and potential.

Take Mélanie Hubert-Crozet, co-founder and creative director at monopo london. "I always find it really exciting to look at junior talent portfolios," she shares, "because you can still see their pure creativity. Before people fully enter the industry, their work is less shaped by the realities of client projects, and we can see more unique styles and ideas. What I look for most is the x-factor, something unique in a portfolio that has a real edge to it."

Tom Muller, founder and creative director at helloMuller, echoes her advice. "What I hope to see in a junior designer's portfolio," he reveals, "isn't technical perfection but great ideas and cool design that shows they have a personal viewpoint and drive to make the good stuff. That's what gets you hired. The rest comes with experience."

Most importantly, try to think differently and be original. As senior designer James Le Beau-Morley says: "I see enough polish in studio portfolios that when it comes to juniors I like to see raw ideas, raw visuals, the weird stuff. It's sad to see a junior fall into line with the industry so early in an effort to please, instead of having their own voice."

How you show up matters

A strong portfolio is only the start, though. How you conduct yourself, before, during and after an interview, is the crucial thing in determining whether you get hired.

"We've had Zoom calls with designers where cameras are off, there's little engagement, and no questions are asked," recalls Edward. "Fairly or unfairly, that communicates a lack of focus, preparation or enthusiasm. Every interaction shapes perception, especially early in your career."

So how can you give yourself an edge? As James puts it: "Show up with energy and thoughtful questions. It's okay that you don't know everything: just make it clear you want to find out and get involved. Show hunger and humility, and a bit of personality. Don't use ChatGPT to write your message."

Alex Dixon, founder at Dacre, still remembers getting a phone call from a student —a rare experience in our overly online age. "Someone in their third year just called up the agency; it was so refreshing," he recalls. "That simple act said everything you want from someone looking to get into the industry."

The person behind the portfolio

Ultimately, all of this boils down to one thing: studios hire people, not portfolios. And, understandably, they want someone they'll actually enjoy working with; someone who'll add to their office culture and produce great work.

As executive creative director Rodd Chant explains: "I look for work and ideas that are not expected. But I also look for someone who can show me they're creative outside the profession they're pursuing: maybe they're in a band, publish their own comic book, have a clothing brand, or have a pop-up concept. That they're comfortable being themselves."

Chris Woodhams, co-founder and creative director of Cafeteria sums it up neatly. "All that you are, outside of your core design skills, makes a huge difference in a studio environment and ultimately to your career," he says. "Adaptability, initiative, willingness to try, to not assume, to not hold a fixed position: I'd take that person over the one with more flair but who is actually one-dimensional, any day."

In summary, the bar isn't perfection. What recruiters want is someone curious, kind, open, and excited about the opportunity. Someone who asks intelligent questions, absorbs feedback and keeps pushing. Technique, everyone agrees, can be developed later. It's what you bring with you on day one that counts.