orenmeetsworld

Developing taste is easy, actually

1581 summary words 7 min summary Watch video

Start with the signal

7 min read

Summary

At-a-Glance

  • Verdict: Skim
  • Core thesis: Taste is a learned, lifelong capability built by studying established work, articulating personal judgments through a composition-effectivity-vibes framework, making more intentional choices, defending opinions, and expanding real-world experience.
  • Why it matters: For creative strategy, product, and brand work, taste is presented as a practical decision system that improves differentiation, quality judgment, and the ability to explain why a creative choice should win.
  • Best use: Use this as a lightweight framework for improving creative reviews and personal curation habits, rather than as a deep or evidence-based course on design judgment.

Executive Summary

The speaker argues that taste is not innate elitism but an accessible learned practice. The starting point is exposure to historically established work across design, literature, music, and fashion, paired with deliberate reflection on both why other people consider something enduring and whether one personally agrees.

His central evaluation tool is a three-part matrix: composition, effectivity, and vibes. Composition concerns craft and construction; effectivity asks whether the object achieves its intended purpose; vibes capture the harder-to-measure quality of distinctiveness, resonance, and personal appeal. He positions the ability to articulate these judgments as the difference between passive consumption and actual critique.

Taste becomes meaningful when it affects decisions rather than merely producing opinions. The speaker advocates researching purchases, favoring fewer durable and classic goods over frequent low-consideration purchases, and practicing in environments where labels and price signals are removed, such as thrift stores. He further argues that public disagreement, work in demanding domains, and cultural immersion through travel make judgment more rigorous over time.

The video is useful as a clear creative operating philosophy, especially for brand and product leaders who need to make and defend aesthetic calls. It is nevertheless repetitive, highly subjective, and light on empirical support or concrete methods for translating the framework into organizational creative processes.

Key Takeaways

  • Claim: Taste is learned rather than innate, and anyone can begin developing it through intentional exposure and reflection. | Evidence: The speaker recommends regularly engaging with established work in four categories—design, literature, music, and fashion—and says to do one classic or historical exploration per week. | Implication: Ken can treat taste-building as a trainable input to creative judgment: deliberately widen the reference library rather than relying only on current feeds, trends, or personal instinct. | Caveat: The speaker treats some work as 'objectively tasteful' because it has endured or gained broad approval, but longevity and consensus are imperfect proxies for quality and can reproduce cultural canon biases.
  • Claim: A foundation in visual and cultural history gives people a vocabulary for recognizing and discussing why work feels compelling or wrong. | Evidence: For design, the speaker points to typography grids, photographic composition, color, Meggs' History of Graphic Design, and movements including Rococo, Baroque, Art Nouveau, Art Deco, Bauhaus, Memphis, Swiss design, and Frutiger Aero. | Implication: Creative teams make better decisions when they can name the visual lineage or craft principle behind a choice, rather than expressing approval as an unexamined preference.
  • Claim: The speaker's practical critique framework is composition, effectivity, and vibes. | Evidence: He applies composition to material quality, production, musical layers, and literary prose; effectivity to whether a quarter-zip fits and keeps one warm or whether music makes people dance or feel emotion; and vibes to intangible uniqueness or specialness. | Implication: Ken can use the three lenses in creative and product reviews: assess execution quality, task or audience performance, and distinctive emotional/brand resonance separately instead of collapsing them into a single like/dislike reaction. | Caveat: The framework is intentionally broad and subjective, particularly its 'vibes' component; it is useful for structuring critique but does not substitute for user research, business metrics, or domain-specific requirements.
  • Claim: Taste only becomes consequential when it changes real purchasing, design, and lifestyle decisions. | Evidence: The speaker contrasts buying many inexpensive clothes for immediate dopamine with buying fewer, longer-lasting, classic items after research; he describes spending hours consulting friends and researching a $200 knife before purchase. | Implication: Apply taste selectively to high-leverage touchpoints—brand identity, product surfaces, customer environments, durable tools, and public-facing content—where low-quality choices compound. | Caveat: High consideration is not economically rational for every low-stakes decision; the relevant principle is to increase scrutiny where quality, longevity, signaling, or downstream impact justify it.
  • Claim: Constraint-based curation tests genuine judgment better than buying expensive or pre-validated options. | Evidence: His recommended exercise is assembling a relevant thrift-store outfit or furnishing a home from a chaotic, devalued inventory, without relying on designer labels, recommendations, or price as the answer. | Implication: For brand and creative work, test concepts under constraints: remove prestige cues, large budgets, and trend validation to see whether the underlying composition and idea still hold.
  • Claim: Taste matures through defending opinions, accepting credible counterarguments, and gaining direct cultural and production experience. | Evidence: The speaker urges people to publish opinions or debate them with others; he says time in China changed his views on electronics and materials, while travel in Italy led him to explore locally popular music, coffee shops, and clothing brands. | Implication: Ken should create recurring forums where creative judgments must be explained and challenged, while expanding references through direct user, market, and production exposure rather than online consumption alone. | Caveat: Experience broadens perspective but travel anecdotes do not inherently produce informed cultural understanding; depth, context, and humility matter more than simply visiting places.

Detailed Brief

Why taste has become commercially relevant

  • Claims: The speaker believes technology companies have newly recognized taste as commercially valuable after historically treating aesthetic concern as secondary to technical goals.; In an increasingly visual and content-saturated market, creative distinction can signal product quality and separate newer companies from entrenched competitors.
  • Evidence: He cites Claude's brand positioning and pop-ups as an example of taste-led AI marketing.; He cites Quarter as a financial brand using visual direction to create a more distinctive identity than the traditional financial-services category.
  • Caveats: The video does not establish causal evidence that these brand examples drove adoption, revenue, or retention.; Aesthetic differentiation cannot compensate for weak product utility, trust, or distribution.
  • Implications: Treat creative direction as a strategic variable in crowded categories, but evaluate it alongside product performance and customer evidence.; The opportunity is especially strong where categories have converged on functional claims and visually interchangeable communication.

Progression from consumer to practitioner

  • Claims: The speaker distinguishes basic appreciation from deeper taste by whether someone consistently makes choices according to their stated standards.; Professional proximity accelerates judgment because industries such as fashion force repeated decisions and discourse that ordinary consumers may avoid.; The process remains open-ended: each person will ultimately draw different lines, provided they think critically and can explain them.
  • Evidence: He connects his interest in product comparison and critique to a career spanning product development, marketing, and content, and says this orientation helped generate hundreds of millions of views.; He says people will recognize someone's taste when they repeatedly seek that person's opinion on outfits, products, music, or ideas.
  • Caveats: Being sought for opinions can reflect audience, status, or charisma as well as consistently sound judgment.; The speaker offers personal experience rather than a rigorous model for measuring whether taste judgments are correct.
  • Implications: Build credibility by making clear calls over time, documenting reasoning, and revising standards when stronger evidence or critique warrants it.; For teams, regular critique practice can be more valuable than isolated inspiration gathering because it turns exposure into decision capability.

Notable Concepts & Terms

  • Composition: The craft and construction of an object or work: materials, layout, production quality, layers, prose, and formal coherence.
  • Effectivity: Whether something accomplishes its intended function, such as clothing that works in use or music that creates the intended audience response.
  • Vibes meter: The speaker's label for intangible resonance, uniqueness, and emotional appeal that remains after assessing craft and utility.
  • Foundational knowledge: A reference base of historically important work used to contextualize current choices and develop a vocabulary for judgment.
  • Meggs' History of Graphic Design: The speaker's recommended entry-point book for surveying major visual-design periods and their defining conventions.
  • Constraint-based curation: Using thrift stores or similarly uncurated settings to practice selecting and combining good elements without brand, price, or recommendation shortcuts.
  • Taste with stakes: The idea that taste becomes stronger when opinions are made public, challenged by others, and revised or defended with reasons.

Operator Notes / Why Ken Should Care

  • Adopt a lightweight creative-review template for major brand and product decisions: composition, effectivity, vibes, plus a separate evidence field for user or business impact.
  • Create a rotating weekly reference practice for the team: one historical design movement, classic campaign, album, book, or product category teardown, followed by a short written critique.
  • Run one constraint exercise before major visual work: review concepts without brand names, creator names, budget cues, or competitor social proof.
  • Require decision memos for high-visibility creative calls so teams state what standard they are optimizing for and what would change their view.
  • Avoid treating aesthetic consensus, premium pricing, or canonical status as proof of quality; pair taste judgments with audience fit, accessibility, and measurable outcomes.

Source/Metadata

  • Title: Developing taste is easy, actually
  • Transcript words: 4657
  • Duration seconds: 898
  • Timestamp note: No timestamps or chapters were provided; the supplied transcript includes repeated passages near the latter half.
Search this video Resume transcript at 0%
Full transcript 3573 words · 21 min read
0:00

There's an entire cultural conversation now on the idea of having taste. Tech firms are desperate to integrate people into their creative departments who are tasteful. The new generation is exposed to more and more online and learning how to decipher it. And contrary to popular belief, developing taste is easy. In this video, we're going to talk about how to find your taste because while it is easy, it is not innate. It is completely learned, and it is a lifelong journey, but one that you can really enjoy. All it takes to improve, find it for yourself, is just a start.

0:30

In this video, we're going to talk about the foundations of taste, frameworks for finding your own, learning how to critique and decide if things are good and bad in a society that's taught us not to. We're going to talk about how your taste is reflected in your decisions, how to really find your taste in the real world, and the progression of establishing taste over time. I'm excited for it. Hope y'all enjoy the ride. Let's lock in. We're in this time where tech in particular has discovered taste and finally has some value in it. Before, it was almost a countersignaler to have any care about anything in the world except the technological goal.

0:51

But now in a world that's more visual than ever, where people have more standards than ever, and where content is educating them more than ever, taste is ultra important. We see everything from Claude positioning its entire brand in the AI space based on taste, doing their pop-ups to large acclaim. Now exposing the tech world to marketing the rest of us have seen for decades, to financial brands like what Quarter has done, where they've applied interesting visuals and the basics of creative direction to create something tasteful and unique that better reflects their product and helps differentiate it from the old guard. But how do you actually learn it?

1:08

And I want to talk about the foundation. There are two levels to the foundation. One is the concepts of human perception. And then second is the foundational knowledge of what's been established through history. And these both play a role with each other. But we're going to break all the fundamentals of taste into a couple core categories. Visual, audio, and experience in particular. And then in categories like books, fashion, and music. But it's important to talk about the visual nature of things because this is a framework from which taste starts. So if you have ever been into photography, you've heard of the rule of thirds.

1:38

I'm going to use this as an example because there are a number of immutable laws that are around us that help determine if we like something, whether we know it or not. The composition of a photo. The grid system, which controls typography and the layouts of how anything visual we see, whether we find it appealing or not. Whether it just feels wrong or feels unprofessional or just resonates without even knowing. And these have been quantified over time. If you look at books like Cheek Olds and New Typography. If you look at Swiss poster design. If you look at all the best photos that are award-winning over time.

2:09

They follow a set of loose rules where things that abide by them naturally look good. The same thing goes for color. There are certain colors that are more appealing to the human eye. They make us feel certain ways. It's ingrained into our nature. And there will always be outliers or disagreement. But the fundamentals of whether something is good or not often come from how it is enjoyed. And if you want a foundation to begin to understand what is tasteful and not, develop your own opinions about this. You need to get a layer of this from which you can engage. An educational layer. We'll call it the foundations. So if you take books, you take fashion, and you take music.

2:44

Throughout history there are a number of popular objectively tasteful things in all of those categories. And developing a foundational knowledge of it, of knowing what they are, knowing why it was popular, you begin to build out a framework and a groundwork for yourself. Starting with design. We put the four categories out there. Design. Literature. Music. Fashion. Design is fundamental for understanding taste. Because a lot of this has been covered. A lot of people have spent a lot of time achieving different looks and feels that help us decipher the world around us, that almost all visual patterns and styles we see fall into.

3:04

My first real introduction to this was when I was in college and I took graphic design. And I had an intro to graphic design class. And the textbook that we had was Meg's History of Graphic Design, which you can just buy. But why this was important is that over the course of a year of doing this 101 class, we're exposed to all of the different periods of design. And so if you go to that book and you can skip the Sumerian texts and the history of the first with the Gutenberg press and all that, you can start with the key periods. You can look at defining visuals. Look at Rococo and Baroque. The styles of the ornate medieval era.

3:19

Look at Art Nouveau and the illustration that came from it. And then really look at, in the 20th century, the visuals that defined the world we're in now. Art Deco. Bauhaus. Experimental things like the Memphis movement. Swiss design. Frutigre Ero. If you look in a book like this and you go through these different design periods, you're going to have a fundamental understanding of what looks good and doesn't. And you're going to have a vernacular with which you can understand the visuals that you're presented with. And same thing in classic literature, classic music, classic fashion.

3:27

If you want to have a foundation, once a week, I want you to do one thing from one of those categories. Understand a new period of design. Have a new classic album, whether it's from classical music or the Beatles or Jimi Hendrix or whatever it is you've heard of or you can find or a top thing. A prolific book. And engage with it. And what we're going to do is we're going to enter in our second category. The framework. And as you're looking to uplevel your taste, one thing that is definitely worth focusing on is upleveling your writing.

3:46

If you've ever wanted to improve your writing for content of all kinds, from newsletters to LinkedIn to videos, then I recommend you check out this free resource called 20 Ways to Craft Irresistible Content from HubSpot and my guy Sam Parr. This guide has 20 battle-tested writing tips you can apply to hook readers and make better content. It covers everything from finding ideas and writing headlines to editing techniques and the copywork exercise that the pros use to sharpen their skills. My favorite part is the storytelling techniques section. They break down proven patterns for writing and how to hook people and keep them engaged throughout your content.

4:06

Whether written or video. Whether you're writing a newsletter, LinkedIn post, or a video script like I do, these techniques help you structure your content so people actually hang around to finish it. If you want to rise above the written AI sludge that we're seeing on all platforms and sharpen your writing skills, you can get this free guide at the link in the description. And thanks so much to HubSpot for sponsoring this video. When you engage with these things, the objectively tasteful, the things that exist in the world that we as humanity have decided were interesting and good, you need to begin to think about how you feel about it. What is your opinion of it?

4:20

So first ask yourself, why was this appreciated? Why do people like it? Why do they think it's a classic? Be able to articulate that. And then think about, do you appreciate it? Do you like it and do you agree, and why? Or do you not like it, and why? And you'll find that your discovery becomes interesting. Instead of going and listening to whatever the latest album is that comes up on your Spotify, you're diving into some of the classics that exist. The originations of whatever genre you like. The earliest of house music. Begin to put into context all the things around you. And when we start to ask those questions, why do people like this and appreciate it?

4:45

Why do I like it and appreciate it? You open yourself up to the world of taste. And it's easy for the rest of your life when you're making those decisions. You're picking what you do before sleep. Are you going to scroll your phone? Are you going to read a book? Are you going to pick the same music you always listen to and it's on auto, or are you going to choose a classic album? When you go to buy a new item of clothing, are you going to look at what McQueen did in that category and do some research about it and watch a YouTube video first? Or just get the same thing from Zara?

5:04

But if you start making those decisions and thinking about it, you're building the foundation of taste. And this framework leads you into the ability to have critique. To see anything, and based on the body of knowledge you have, what people consider good, and what you think about it, is it good or bad? And a matrix with which to look at this is composition, effectivity, and vibes. Anything that you engage with. Whether it's choosing, do you like this couch? Do you like this song? Do you like this thing? You think of it from your perspective. How is it put together? And it's on auto, or are you going to choose a classic album?

5:35

When you go to buy a new item of clothing, are you going to look at what McQueen did in that category? And do some research about it? And watch a YouTube video first? Or just get the same thing from Zara? But if you start making those decisions and thinking about it, you're building the foundation of taste. And this framework leads you into the ability to have critique. To see anything. And, based on the body of knowledge you have, what do people consider good? And what you think about it, is it good or bad? And a matrix with which to look at this is composition, effectivity, and vibes. Anything that you engage with. Whether it's choosing, do you like this couch?

6:07

Do you like this song? Do you like this thing? You think of it from your perspective. How is it put together? When you begin to objectively think about, is this quarter zip better than that quarter zip? What is its composition? Is it well made? Does the material feel good? Does it feel cheap or expensive? Was it handmade or machine-made? You need to get into these questions around the composition of a thing. Just as much as if you hear a piece of music that sounds well produced. Or has layers to it. Or makes you feel a certain way. Everything starts with its composition. Even when you read literature. Does its prose resonate with you? Does it have that level of quality?

6:46

And it's not the end-all. But it's a thing to think about inside your critique. And then the effectivity. Does it actually work? Does the quarter zip look good on me? Does it keep me warm? Do I like the music? Does it make people want to dance? Do they enjoy it? Do they feel emotion from it? And then we have the vibes meter. The intangible. Do you just like it? Does it have something special to it? Is it unique? Because things can be well composed. Can make you feel something. But they're just missing that last segment. And three of those things together form the basis of how you can critique something. Whether it's excellent. Whether it needs work.

7:30

And then which area it needs work in. Hey, everything's right, but the vibes are off. Hey, the vibes are amazing. But it's not actually well done in any way, shape, or form. These are all levels that exist. You can describe almost any piece of writing, music, or design underneath. And begin to understand why you like it or not. And being able to do that critique is really important. So you can actually articulate what's good and bad. But then the difference between someone who's beginning to understand taste and understand the world around them and someone who is tasteful comes into your decisions. Do you live your taste?

7:51

And really, every single decision you make, from the goods that are in your house, to the clothes that you wear, to what you choose to eat, to the topics you choose to discuss with other people, is all a game of give and take. Of are you letting this decision be driven by your sense of taste? Or are you giving in, in some regard? And this is where you begin to really think critically about everything you engage in. You start to realize that, hey, I'm sacrificing a certain level of quality in the clothes that I buy because I've always wanted to have an outfit where I can have, or a closet where I can have all these outfits.

7:58

But really, in reality, if I wanted to make the tasteful choice, if I wanted to make objective, it's the right choice, I would be getting longer-lasting, more classic things and less of them. And there's a big difference between knowing you should do it and acting on it. And you begin to be considered a tasteful person, begin to live that taste, and better understand those items when you make that decision. When you say, it's actually worth it for me to not get the dopamine for all the little purchases, I'm going to save for the one good thing. Or I'm going to think really critically about my decisions.

8:04

People ask a lot about the product versus brand series that I do and why we know so much about blenders or leather or knives or whatever it is. And it's because I intimately am interested in making the best choice and knowing about it and caring about it. And I'd rather spend hours asking friends and looking at what best knife I'm going to do if I'm going to spend $200 on it than not. I'm consumed with that idea and consumed with the understanding of things that are good or bad. And it's gone into my career. Someone who's done product development, who does marketing, who makes content about things. It's worth it for me to understand it.

8:11

And I want to have as large a framework about as many things as I humanly can. And I want to be able to argue about it and critique it and give an opinion on it. It's become really important inside my life. And it also led me over time to get hundreds of millions of views for people looking to me for my opinion. And the best exercise for this is spending more time in thrift. If you were able to go into a thrift store and put a complete outfit together that looked good and would be completely relevant, you're doing that through taste, not through buying the answer. Anyone can go spend top dollar to buy something that will look amazing.

8:23

But can you, based on only the things that you know in your mind about how fashion should be, your feel, the composition, effectively, like we talked about before, go into an environment that's essentially chaos, where everything has been devalued, and put something together for cheap? And once you can start doing that, same thing with how you compose your home, you're able to save yourself a significant amount of money. And then you're also able to have that exercise and remove the labels from it, remove the designer names, remove who's recommending it. And let me put something together based on my style. It's a great exercise to do.

8:32

Go actually put that outfit together for the weekend, go furnish the new apartment, whatever it is. And then that's the end of the foundation. Then there's a next layer to this. Once it's absorbed in your life, you begin thinking about it, you begin trying things on it, you also begin to notice, you think critically about everything around you. You become more valuable at work. You understand more of the world. You have a better eye for things. People respect you more naturally. But to get really good at it, you have to defend it. Real taste has stakes.

9:03

Between work, content if you make it, and your friends, you begin to know when you have taste and it's defendable because people are going to ask you. They're going to be like, that guy has great outfits. That person's always had an interesting thing to say. What do they think about X? You'll begin to know you have it when people come to you for it. But if you want to get really good at it, you want to actually feel comfortable in it, you can't just have that innately. You need to put your opinions out there for others to judge and then to have those conversations. And I have those conversations a lot with friends. I have opinions on things. I want their opinions on them.

9:33

And I want to go back and forth on them, whether that's what coffee machine they chose to get or how they feel about whatever album or a piece of content on social media or an idea. It's an important part of discourse and how you can engage and have real conversations with a lot of people that aren't just about current events.

9:38

I would encourage you, if you really want to get those opinions formed, to put them out there in some way, whether that's the written word, whether that's making content, whether that's a lot of aggressive conversations with real people, you have to be able to defend those things until you're able to articulate that matrix we had before about something's composition, how effective it is, its vibes, and be able to go back and forth with someone and help convince them into your point of view or be able to accept that, hey, actually, I need to change my framework. That elevates you to another level of understanding.

9:44

That's why people who work in certain industries where everything is one of those decisions and there's conversation around it. If you work deep inside fashion, you're going to have a different regard for what fashion is than if you're just a consumer. You begin to get into these frameworks. And then there comes experience. You can only get so far from the world that you're in. A lot comes from traveling all around. I learned an awful lot in the time I've spent in China about how things are made and put together and the quality of them and what to respect and not. That's changed my opinions a lot on everything from electronics to material.

10:09

The more you experience in the world and the more you engage in it, look at it from that level. Whenever I go to a country, when we were in Italy over the summer, I want to only listen to the music that was popular then in Italy and popular the last few years and immerse myself in what's considered good there and what people like and how it's made. And I learned a lot and got engaged in a lot of interesting things in the process. Same thing when you go look at what are the coffee shops to attend to, You begin to get into these frameworks. And then there comes experience. You can only get so far from the world that you're in. A lot comes from traveling all around.

10:24

I learned an awful lot in the time I've spent in China about how things are made and put together, and the quality of them, and what to respect and not. That's changed my opinions a lot on everything from electronics to material. The more you experience in the world and the more you engage in it, look at it from that level. Whenever I go to a country, when we were in Italy over the summer, I want to only listen to the music that was popular then in Italy and popular the last few years, and immerse myself in what's considered good there and what people like and how it's made. And I learned a lot and got engaged in a lot of interesting things in the process.

10:50

Same thing when you go look at what are the coffee shops to attend to, what are the clothing brands people are wearing. You can begin to actually learn a lot about what that looks like globally, and it will shape your opinion. You can only get that through experience, and that comes in time. And then, to end, this is a progression. This is a lifelong experience. The title of this video says having taste is actually easy. To begin to look at things from this lens and decide what you like or not, and build a foundation around it, any person can do. Now, becoming amazing at it is a lifelong journey, is a thing that's going to change constantly.

11:19

But it's about having that curious mindset, about talking about ideas instead of about other people or about other events, about thinking about every decision you make critically and acting on it in your life. It's going to be something that carries with you forever. And you can start whether you start when you're 50 or you start when you're 12. It doesn't matter. It just matters if it keeps going and progressing over time and that you learn. And you'll find where you want your lines to be. It's going to be different for every person. The important part is you think about it critically and can articulate it and you care.

11:40

But as I mentioned before, I'll be on tour in the new year. You can check out the dates of where we're going to be live down below in the description. I have a webinar coming up. It's around January 13th on creative strategy in the new year. And if you want to apply principles of taste to work for organic and paid content, we're going to talk a lot about that. Just have a big community call where we have discussions about what happens in this space. I am gearing up to release another video about the new year and working your plan for the new year looks like. So expect that coming soon. I appreciate y'all so much for watching. I want their opinions on them.

12:03

And I want to go back and forth on them, whether that's what coffee machine they chose to get or how they feel about whatever album or a piece of content on social media or an idea. It's an important part of discourse and how you can engage and have real conversations with a lot of people that aren't just about current events. I would encourage you, if you really want to get those opinions formed, to put them out there in some way, whether that's the written word, whether that's making content, whether that's a lot of aggressive conversations with real people, you have to be able to defend those things until you're

12:26

able to articulate that matrix we had before about something's composition, how effective it is, its vibes, and be able to go back and forth with someone and help convince them into your point of view or be able to accept that, hey, actually, I need to change my framework. That elevates you to another level of understanding. That's why people who work in certain industries where everything is one of those decisions and there's conversation around it. If you work deep inside fashion, you're going to have a different regard for what fashion is than if you're just a consumer. You begin to get into these frameworks. And then there comes experience.

12:55

You can only get so far from the world that you're in. A lot comes from traveling all around. I learned an awful lot in the time I've spent in China about how things are made and put together and the quality of them and what to respect and not. That's changed my opinions a lot on everything from electronics to material. The more you experience in the world and the more you engage in it, look at it from that level. Like whenever I go to a country when we were in Italy over the summer, I want to only listen to the music that was popular then in Italy and popular the last few years and immerse myself in what's considered good there and what people like and how it's made.

13:23

And I learned a lot and got engaged in a lot of interesting things in the process. Same thing when you go look at what are the coffee shops to attend to, what are the clothing brands people are wearing. You can begin to actually learn a lot about what that looks like globally and it will shape your opinion. You can only get that through experience and that comes in time. And then to end, this is a progression. This is a lifelong experience. Like the title of this video says, having taste is actually easy. To begin to look at things from this lens and decide what you like or not and build a foundation around it, any person can do.

13:50

Now becoming amazing at it is a lifelong journey, is a thing that's going to change constantly. But it's about having that curious mindset, about talking about ideas instead of about other people or about other events, about thinking about every decision you make critically and acting on it in your life. It's going to be something that carries with you forever. And you can start whether you start when you're 50 or you start when you're 12. It doesn't matter. It just matters if it keeps going and progressing over time and that you learn. And you'll find where you want your lines to be. It's going to be different for every person.

14:18

The important part is you think about it critically and can articulate it and you care. But as I mentioned before, I'll be on tour in the new year. You can check out the dates of where we're going to be live down below in the description. I have a webinar coming up. It's around January 13th on creative strategy in the new year. And if you want to apply principles of taste to work for organic and paid content, we're going to talk a lot about that. Just have a big community call where we have discussions about what happens in this space. I am gearing up to release another video about the new year and working your plan for the new year looks like.

14:49

So you expect that coming soon. I appreciate y'all so much for watching.

Reading tools

Type to find a passage

Appearance
Ask this transcript

Notebook

Export Markdown

Add a note