Totally get where you’re coming from on the color palette drama. I’ve seen that play out on job sites too—what looks great in a sample can be a whole different story once it’s up on the wall. Having stuff in writing about approvals and what happens if things go sideways is just smart. I’m with you on the timeline thing, too. Penalties might sound tough, but when you’re juggling trades and schedules, it’s the only way to keep things moving. The little details at the end—like who’s hauling away debris—always seem minor until nobody wants to do them. You’re not being picky, just practical.
WHAT SHOULD I LOOK FOR BEFORE SIGNING WITH AN INTERIOR DESIGNER?
You’re spot on about the color palette headaches. I can’t count how many times a client’s been sold on a tiny swatch, only to panic when the whole room is painted and it looks completely different under real lighting. One thing I always recommend is getting large samples up on the actual walls—sometimes even a few feet square—before final approval. It’s a bit more work, but it saves a lot of grief (and repainting) down the line.
On the contract side, you nailed it with having everything spelled out in writing. I’d add: make sure there’s a clear process for change orders. Inevitably, someone will want to swap out tile at the last minute or add built-ins that weren’t in the original scope. If it’s not clear how those changes get approved and billed, things can get messy fast.
Timelines are another biggie. Penalties might seem harsh, but they’re honestly just there to keep everyone accountable. Without them, you end up with trades blaming each other for delays and nobody really taking responsibility. I’ve seen projects drag on for weeks over “just one more thing.” That said, sometimes stuff happens (like supply chain hiccups or weather) that really isn’t anyone’s fault, so some flexibility is good too.
It’s funny how debris removal always gets overlooked until you’re tripping over boxes and dust at the end... I usually include a punch list walk-through before final payment, just to make sure all those little details get handled. It’s not being picky—it’s making sure you don’t have to chase people down after they’ve moved on to the next job.
One last thing: check references and actually go see past projects if you can. A slick portfolio doesn’t always tell you how well someone communicates or manages problems when they come up. Sometimes the best designers aren’t necessarily the flashiest ones—they’re just really good at listening and following through.
Anyway, contracts aren’t fun reading, but they save everyone headaches later. And trust your gut—if something feels off in those early meetings, it probably won’t get better once work starts.
WHAT SHOULD I LOOK FOR BEFORE SIGNING WITH AN INTERIOR DESIGNER?
You’re right about the punch list—can’t tell you how many times I’ve had to chase down little fixes after the fact. And yeah, those color swatches are a trap. I’d add: don’t be afraid to ask dumb questions up front. If they get annoyed, that’s a red flag. Trusting your gut is underrated in this whole process.
don’t be afraid to ask dumb questions up front. If they get annoyed, that’s a red flag.
I get where you’re coming from, but sometimes “dumb” questions are actually super helpful for both sides. I’d actually say—look for someone who pushes back (nicely) on your ideas if they don’t make sense for your space. If they just say yes to everything, that’s just as much a red flag as getting annoyed. The best results come from a bit of healthy debate, not just blind agreement.
I’ve learned the hard way that a designer who just nods along is not doing you any favors. Had one a few years back who agreed with everything I suggested, even when I could tell she wasn’t convinced. Ended up with a living room that looked “fine” but never really felt right. I actually appreciate when someone says, “You know, that color might clash with your floors,” or points out practical stuff I missed.
This hit home for me:
look for someone who pushes back (nicely) on your ideas if they don’t make sense for your space.
It’s not always comfortable in the moment, but that back-and-forth usually leads to better results. I’d rather have a little awkwardness early than regret later. Also, I tend to ask a lot of what might sound like “dumb” questions—sometimes those uncover things neither of us thought about. If a designer can’t handle that, I figure it’s better to know before any contracts get signed.
