Why the Idea of "Good Taste" Feels Out of Sync in 2023? A Design Psychology Perspective

Elsie De Wolfe’s Residence via Another

I grew up in an era when good taste was well, good taste. It didn’t necessarily need to be defined, but it implied there was a style standard to aspire to. Now this standard is being challenged, thanks to sociocultural shifts that manage to move the zeitgeist or frame of reference. 

Inspired by Sarah Archer’s article in Architectural Digest, Is It Time to Do Away With “Good Taste”? I set out to explore this idea further. Archer says good taste, once defined by the arbiter of good taste herself, Elsie de Wolfe, reflected “status”, “[old] money”, and “establishment.” We would recognize it today as the roots of grandmillennial style with lots of chinoiserie, chintz, trelliswork, and French antiques. Archer argues that De Wolfe’s idea of good taste reflected a kind of “visual soft power” that made it aspirational and by definition, unattainable at least by those who had not yet made it up the pearly, socio-economic ladder. 

In a similar vein, fashion legend and a leading figure in hip-hop, Dapper Dan told Hot 97 in a 2019 interview, that aspirational fashion is what maintained his brand as people want something that seems “unreachable.” This idea of aspirational fashion or interiors thrives on our desire for the ideal. According to a 2012 study, researchers found that luxury is appealing because it supports the self in everyday living and offers an opportunity for people to live out different selves. So while we may respect interior design elements with aesthetic and financial value, it is the story these elements tell that determine whether we connect with it or not. 

In her latest book, Designing-Women’s Lives: Transforming Place and Self, design psychologist, Toby Israel says that the way we perceive design depends on our perspective. Highlighting legendary architect, Denise Scott Brown who paved the way for women architects in the 50’s and 60’s, Israel writes that Brown was influenced by many “taste cultures”, including the kitschy vibe of the Las Vegas strip; and her “pluralistic perspective” allowed her to embrace “high, middle, low, and other design cultures.” Brown heralded “design-in-everyday-life,” and as she puts it, embraced “context”, “social concern”, “symbolism”, and “the messy vitality of the vernacular.” Interestingly, Dapper Dan said he did not design fashion as much as he “translated culture.”

Home of Denise Scott Brown via Superaggregration

The terms high, middle, or low taste cultures are loaded, and reflective of a societal framework that puts people in categories, for better or worse. Nevertheless, Brown’s ability to connect with and incorporate different taste cultures into her designs, even ones people frowned their noses at, was pretty groundbreaking for its time.  More recently, we have begun to embrace diverse experiences; and the cultural richness that comes from being exposed to different cultures. We see it in our language like “mixing high and low furniture” and while this is usually referring to price point and quality, it speaks to the shifting frame of reference of our time– that is, there is value in both low and high. 

While we don’t need to throw out the idea of good taste, it has different connotations than De Wolfe experienced in her time. That is, today’s “good taste” is not yesterday’s “good taste.” The term continues to imply standards which we need for motivation to attain goals and be better humans, but it’s more inclusive and based on varied values that can very well include De Wolfe’s vision of it. So that leads me to want to answer a few questions about this “new” good taste. 

Home of Denise Scott Brown via Superaggregation

What is good taste in 2023? 

Archer asked a number of designers what good taste is to them, and some memorable ones are “a kind of knowing” and “owning one’s aesthetic choices with confidence.” In other words, good taste is not insecure; and the idea of using your home to validate who you are (often by following a series of generic rules) is antithetical to good taste. Rather, when we design our home in a way that reflects who we are, then we put ourselves in a position to be tastemakers. Archer concludes that prioritizing comfort is a “subtly radical” approach to design, and a hallmark of good taste as it reflects an “authentic hospitality.” This is a willingness to serve others by translating diversity into design in much the same way as Denise Scott Brown and Dapper Dan.

If I had to come up with my own definition of good taste, I’d say it is the ability to translate into design elements, a specific point of view that is unique to you and inspiring to others. This too requires a “knowing.”

Is good taste learned or are we born with it?

I’d say the answer is both. We are all born with sensibilities, and some of us may be particularly sensitive to design and the way we combine design elements. But as De Wolfe says, good taste can be developed. So we have to have enough self-awareness to know what we respond to and why. We all have a working design sensibility we can improve upon. And by improve, I mean make it sharper and more identifiable for you and others. Like with anything, it takes some work to grow and get better.

What are some ways to develop my design tastes?

According to design psychology, our sense of home is impacted by our past experiences with place and the impact it has on our emotional life. So we should be aware of the ways lived experiences impact our affinity for different styles and spaces. One way to do this is through environmental autobiographies that help you better understand your self-place connection. This way, your home reflects you and meets your social, psychological, and aesthetic needs. 

We must also educate ourselves on what different design styles mean, and the impact they have had to better determine if they are suitable for us. Consider ways to use different design metaphors for your experiences so like Dapper Dan, you too can translate culture, for yourself and others.  

Self-Empathy in Design: Using Objects to Create a Fulfilling Space

Years ago when my teenage niece visited my two-bedroom apartment in a very builder’s grade apartment complex, she commented, “my friend [who lives a few doors down] has the same apartment as you…but yours looks so different…Hers is like a box.” My perceptive niece was referring to the contrasting approaches her friend’s family and I had to home design. In typical maximalist fashion, my apartment was filled with color and things. And while I didn’t see her friend’s apartment, I assume the family either wasn’t into decorating and/or didn’t have the (emotional) resources to create a sense of home. 

For some, decorating is not a priority; and simply having a home that meets basic needs for shelter and safety is enough. However, according to the design psychology hierarchy of needs created by design psychologist, Toby Israel, we can have a self-actualized home, i.e., a home that supports the best, most fulfilled versions of ourselves, only if certain needs are met. These include needs for shelter and safety, social and psychological needs, and aesthetic needs. 

While needs for shelter are basic and necessary for survival, psychological and social needs are also important but often minimized or overlooked. These are needs that meet our desire for a sense of love, belonging, and esteem, as well as a need for community and privacy. It’s deeper than just having a pretty home, it’s about having a home that supports us emotionally and allows us to integrate different parts of ourselves, particularly the parts that have been suppressed due to societal constraints. 

In her latest book, Designing-Women’s Lives: Transforming Place and Self, Israel highlights the challenges women architects and other female place-makers have had in creating human-centered projects within the context of a male-dominated field that values objectivity and rationality over subjectivity and emotionality. She proposes that women architects often have to neglect parts of themselves in order to be successful professionals. Nevertheless, many of these women have been trailblazers in creating human-centered spaces. These are spaces that are infused with empathy for people’s stories and elicit strong, positive feelings such as honoring marginalized women’s social needs by creating often overlooked private and social spaces, or otherworldly architecture that symbolizes higher ideals.

Israel summons us to follow the lead of these inspiring women by using our space to more consciously honor the aspects of ourselves we may have hidden so that the home becomes a “catalyst” for wholeness.  One of the ways to do this is to consider the objects of our home and the meanings they have for us. Notably, founders of the popular design website, Sight Unseen, and authors of, How to Live with Objects, Monica Khemsurov & Jill Singer, mirror Israel’s sentiments about using objects to create fulfilling spaces.

In their book, they write that “living with objects we care about–for reasons that transcend their basic function—is always something that has come naturally to humans.” It’s this ability to transcend design with objects and create spaces that reflect the highest versions of ourselves Israel urges us to strive for. As if Khemsurov and Singer plucked the information right out of Israel’s design psychology books, they assert that objects are part of our “personal emotional landscape” and “ reflect us”, “tell stories,” and “make us feel.” 

The authors go on to say, “Your objects can establish your identity...” In other words, in design psychology terms, the objects in your home, consciously or unconsciously, tend to symbolize your persona; and when you become conscious of these symbols you can more easily use objects to help achieve place self-actualization. The authors further reason that when “someone walks into your home and sees the items you live with, they may start to understand you better…and may even see commonalities between your interests and their own…” This shows how meaningful objects may also help to create connections and satisfy social needs. So if you are looking to include more specialized objects into your home, here are some ways to consider using them to create a more emotionally fulfilling space.

Identify objects in your home that you would not want to give up

my Glass Bowl: I Adore it for its swanky 70’s vibe, reminiscent of something that would be displayed at a cool aunt’s house party.

If you were going through the design psychology process, you’d be asked to go through a number of exercises that help you to better understand your experience with place, including an exercise that helps you identify meaningful objects in your home. So consider the objects in your home that you’d have a hard time giving up; and determine why they are meaningful. This will help to bring your unconscious thoughts and feelings to the fore. 

Incorporate similar favorite objects from the past into your current space

My antique writing desk: After painting it all sorts of colors and putting it in the garbage pile, we decided to keep it and now it’s part of our family’s story.

Perhaps you don’t currently have meaningful objects in your space, or you have very few and would like more. If so, consider favorite objects from past, and the reason they were meaningful to you. Then see if you can find similar objects to place in your current space. The objects do not have to be the same, they only need to  remind you of the objects you remember. Note that design psychology is not about re-creating the past, but rather it’s about capturing the essence of past beloved objects. 

Expand your search for meaningful objects

My 1930’s pedastal table: my husband spent a lot of energy striping it , so it’s definitely not going anywhere anytime soon.

Not sure where to find meaningful objects? Many special objects can be found in unexpected places, so don’t rule out any store. Nevertheless, many objects with soul can be found secondhand; and there are a plethora of vintage stores online you can peruse. Often, however, when you go to vintage stores or flea markets looking for a specific object, you’ll be hard pressed to find it. So you will need to have a little patience and trust the process.

Resist the urge to buy an object just to fill up space

My Empire Style stool: It has a wordly, expresive vibe that was part of my ideal home statement.

This brings me to my next point which is don’t just buy any object because you need to fill the space. If you are looking for carefully curated objects that mean something, and are a reflection of you, then leave a space empty until you can find the “right” piece to fill it. The empty space will be a reminder of what’s to come; and will reduce the chances that you will stop looking for the object because you’ve replaced it with something else.

Creating Healing Spaces

Some months back I participated in an online workshop Healing by Design Psychology, with environmental psychologist, Toby Israel. If you don't know what design psychology is, you can read all about it here. But in a nut shell, it's a discipline that combines interior design with psychology to help people create spaces that they connect with on an emotional level.  I love the cross-pollination of design and psychology (so much that I created a blog about it!), and as someone who has worked in a hospital setting, I see how useful design is to help create what Toby refers to as "spaces that sustain, inspire, and help us heal." Not a whole lot is known about the relationship between physical health and healing spaces, but research shows that the quality of the environment supports well-being. This probably doesn't come as a surprise as it isn't a stretch to see how a supportive and welcoming environment, one that makes people feel comfortable and uplifted, can lead to better physical health. You may have heard it referred to as  the mind-body-spirit connection, and many with a strong faith and spiritual life have experienced healing that cannot be explained by science alone.

During the workshop, Toby talked about the keys to creating healing spaces in healthcare facilities including hospitals, nursing homes, and assisted living. Of utmost importance is designing elements that helps patients feel in control, and loved and supported. Patients should be engaged in the creative process (such as through focus groups) and elements should reflect an emphasis on the future and moving forward.

There are many design psychology exercises that can be utilized to achieve healing spaces. I've mentioned some of them here, but you can read more about them in Toby's book, Some Place Like Home. She conducted one exercise with us during the workshop, a guided visualization exercise, and it goes something like this: write down a timeline of all the spaces you've been in from childhood until now. Which one did you enjoy the most-- the one that made you feel most comfortable and refreshed. Now close your eyes and visualize yourself in the space and the way you felt there. What words come to mind as you envision it. With eyes open, write down all the words that you thought of. Now pick your five favorite words and use them to write a sentence or two that describes your ideal healing oasis.

Not too hard, right? My five words were "inspirational," "bright," "refreshing," "greenery," and "liberated." And my idea healing oasis statement read as follows: it's a space that is refreshing and inspirational with bright colors, and a lot of references to greenery and nature. It's makes me feel safe, strong, and liberated.

What words described your ideal healing oasis? Use it to create a room in your home, and let us know if it impacted your emotional connection to your space.

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