Issue One

Summer 2014

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R A N G E

S U M M E R 2 0 1 4

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Hi,

This is RANGE Magazine.

We are a creative bunch of atypical, open-air

enthusiasts from all walks of life. Our genuine

intention is to offer an alternative, design-driven

voice to the outdoor industry by calling attention to

the brands, designers, photographers and storytellers

doing their thing and doing it well.

RANGE is inspired by the concept of “flying your

own flag,” which basically means living the life

you want to live and doing what you love everyday.

Historically associated with exploration and

identity, the flag marks new territory or signifies

a goal has been reached. To us, it represents a

personal achievement: finishing a weekly to-do

list, getting lost in the woods, or meeting friends

for a sunset bike ride. These small victories shape

us as individuals and keep us thirsty for more. One

thing we can all agree on is that we are bound to

each other by an indescribable need to explore.

On mountains or trails, in oceans or rivers, alone,

in groups, with pets, or without pants. It doesn’t

matter. As long as you love the outdoors, we

welcome you to join us. We’ll meet you where

creativity and adventure cross paths.

— Jeanine Pesce, Editorial Director

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B E H E R E N O W

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C O R D U R A ® :

F A S H I O N + F U N C T I O N

V I C T O RY P R E S S S H R E D S A M E R I CA !

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M A D E - I N - U S A

Y O N D E R J O U R N A L :

W E S T E R N R E C R E AT I O N

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K E E N : D O M O R E + D E S I G N B E T T E R

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S O U T H O F N O W H E R E

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V E N T U R E O U T @ O R S M

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P I R AT E R A D I O

B E S T H AT S E V E R !

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S I E R R A D E S I G N S

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R E V I V A L R E T U R N

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T H E E D I T

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O U T D O O R T R E N D Z

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A R E Y O U N O R M C O R E

O R O U T D O O R ?

O N T H E C O V E R

D U N E S

B R I A N M E R R I A M

C O L L A G E B Y

J O N AT H A N C A M M I S A

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R A N G E

“You’ve got the purists, the loyal

soldiers of the outdoors that have

shaped the foundation of the

industry for the last 20, 30, 50 years,

and then you’ve got this emerging

younger generation. The youth, some

of them definitely posers, are co-

opting an outdoor look and forcing

a more urbanized industry shift. Not

downstream, certainly not upstream,

but just plain old mainstream.”

very major company in the world

uses some form of trend anal-

ysis to inform their design and

strategy, but are they using it the right

way? Are we forecasting so far ahead that

we are missing what’s “new” right now?

Trend represents new-

ness within the market,

taking something that ex-

ists, whether it is a physi-

cal product or a marketing concept, and

reinterpreting it with a fresh, modern

perspective. The big question: how do

we make sense of something so intan-

gible? The irony is that many makers

of the outdoor gear we know and love

are in constant pursuit of the next big

thing. It’s an obsession, and too often

the industry loses sight of what is actu-

ally happening right NOW. It’s really rad

that at some point everything, including

personal hygiene products, will be 3D

printed to perfection, but why can’t we

make a simple t-shirt that fits the right

way? Or a hardshell that doesn’t make

you look like a thumb?

Buzzwords like “luxe,” “minimal,” “natu-

ral” and “romantic” are making the rounds

in every office, but are they really making

an impact on product, especially func-

tional product, at retail? The stories and

gear that define the outdoors get more

technical and more complicated year after

year. At what point are we solving prob-

lems that we don’t even have yet? We want

something simple, something we don’t

have to think about. The need should be

obvious, but simple isn’t easy. In fact, it’s

one of the most challenging qualities to

achieve, especially from a design perspec-

tive. The solution to this, at least in our

opinion, is to be a “now-ist.” Instead of

trying to capture the next trend du jour,

take a snapshot and trim the fat. If we

were running for office, our slogan would

be “designing better product now instead

of chasing trends tomorrow.”

So what’s everyone’s favorite trend to

chase? It’s millennials by a landslide. You’ve

got the purists, the loyal soldiers of the out-

doors that have shaped the foundation of

the industry for the last 20, 30, 50 years,

and then you’ve got this emerging young-

er generation. The youth, some of them

definitely posers, are co-opting an outdoor

look and forcing a more urbanized indus-

try shift. Not downstream, certainly not

upstream, but just plain old mainstream,

S U M M E R 2 0 1 4

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“Social media or that new app

you just launched should inform,

not define your brand.”

“Visionaries who start trends

rarely do it intentionally.

It’s a natural progression.”

for better or for worse. A lot of articles pub-

lished recently ponder why “kids” aren’t

going outside, why they aren’t backpack-

ing, and why they don’t relate to the way

things have always been done. We have to

keep in mind that this new generation of

users maybe isn’t as legit as their prede-

cessors, but eventually they will be (fingers

crossed) if they don’t get distracted by the

next cat meme. As a rule of thumb, there

is always a balance. The trend pendulum

must swing both ways, but at some point,

it always lands in the middle, so let’s focus

on medium. Let’s focus on now.

These “kids” are programmed different-

ly and they’ve inherited an entirely differ-

ent set of socio-economic circumstances.

Yes, they want instant gratification from

the moment they wake up and grab their

smartphone to the moment they pass

out with that same smartphone less than

a foot away from their heads. However,

they are still human beings who respond

emotionally and have an innate connec-

tion to the outside world. Even so, brands

are obsessed with capturing millennials

with the Next Big Thing, forgetting that

nothing looks more pathetic than des-

perately trying to relate.

Here is some advice from an expert POV:

Pay attention to your surroundings. An

incredibly talented designer once told us

that he gets more inspiration out of go-

ing on a bike ride with his peers, talking

shop about product and gear than he gets

from a whole week at work. But don’t take

our word for it. Go to a climbing gym, a

coffee shop, or a local surf break. Chanc-

es are you’ll find that these elusive young

people care less about products and more

about the places they can take them and

the moments they can share with friends.

And clearly they aren’t shy about shar-

ing those moments, but don’t forget it’s

all grounded in real life, or “#IRL.” In

other words, social media or that new

app you just launched should inform,

not define your brand. People respond to

a genuine connection, and smartphones

and selfies haven’t changed that. Tumblr,

Instagram, Vine, etc. are great platforms

to experiment with new styles of photog-

raphy and storytelling, but talk is cheap,

and it’s even cheaper online. If you want

to grab young people’s attention, make

your values clear, take a stance, and be

clever about it. Being everything is the

same as being nothing.

There are no rules when it comes to cre-

ativity. We believe that if you are speaking

from the heart, you should be good to go.

Visionaries who start trends rarely do it in-

tentionally. It’s a natural progression.

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R A N G E

Combat Wool

Think Denim

f o r t h e c l i m b ,t h e s t r e t c h , t h e l e a p ,

t h e o n e - h a n d - h o l d

o r j u s t f o r h a n g i n ’ o u t .t h e w o m e n ’ s c r e e k p a n t

f r o m b l a c k d i a m o n d

i s p o w e r e d b y c o r d u r a ® f a b r i c . s l i m - c u t .

r u g g e d . b r e a t h a b l e .

a l e x v a l d m a n

t h i s c l a s s i c d u r a b l e n y l o n r i p - s t o p i s r e b o r n

w i t h w o o l a s i t s n e w a t t r i b u t e . l i g h t w e i g h t , l u x u r i o u s a n d d u r a b l e :

t h i s i s t h e p e r f e c t e v e r y d a y j a c k e t f o r

m i l d w e a t h e r .

c o r d u r a ® x a l e x v a l d m a n c o l l e c t i o n :

t h i s c a p s u l e o f t e c h n i c a l c i t y e s s e n t i a l s i s

i n s p i r e d b y t h e y o u t h f u l s p i r i t o f t a k i n g d a y

t r i p s . t h e b l e n d i n g o f a c r e d i b l e a n d d u r a b l e

p e r f o r m a n c e w o o l s t r e t c h i n a s t y l e t h a t ’ s

d i s r u p t i v e c a n o n l y b e d o n e w i t h c o r d u r a ®.

When CORDURA® developed its latest technol-

ogy termed “Combat Wool,” it knew it had won

half the battle. There was the need to combine

fashion and function. There was the tool to do

it—a durable wool that was just as soft as it was tough. But the best

intentions couldn’t replace great design, and that’s where designer

Alex Valdman came in. The rest was execution.

Nothing comes more naturally to Valdman than apparel de-

sign. For multiple generations his family has worked in the textile

industry, and his father worked for Adobe, which provided exposure

to design software at a young age. Building on that legacy and skill-

set, Valdman has worked with the likes of Kanye West and Levi’s,

and more recently serving as Design Director at Giro, the cycling

brand that just launched its first apparel collection last year. Vald-

man brought CORDURA’S®: Fashion + Function to life with the

CORDURA® x Alex Valdman Collection.

r a n g e What makes Fashion + Function relevant, and why

do we need it?

a l e x v a l d m a n At the end of the day, the clothes have to work

for the conditions they claim.  Otherwise, it’s just fashion. If I can nail

the need (function) and the want (desire), then it’s well rounded, and

I don’t feel like I’m just putting out more stuff.

Where did you find the

inspiration?

As someone that is look-

ing to downsize quite a bit, I’m

inspired by having less things

that do more. I felt like I didn’t

have a pant in my closest that

was durable and had a soft

feel; something that I could

wear across town, on a bike,

while climbing or camping

with friends.

Why use wool?

Wool historically has al-

ways been very comfortable,

but it wears out. Now with the

CORDURA® Combat Wool, it

will wear in. The heart of this

project was the concept fabrics

that CORDURA® provided me. They are nylon6,6 on the face and wool

against the skin. You get durability, and the soft, next-to-skin feel all in one.

What design features make the CORDURA® x Alex

Valdman Collection functional? Multipurpose?

The pants were mostly about having a relaxed fit with a bit of anti-

fit in the seat for comfort when climbing, cycling, moving around or just

chilling. I also tried to articulate the lower thigh and knee without the

use of bulky darts or paneling. It eliminates fabric constraint so you have

a full range of movement.

As for the jacket, I wanted to bring out the fabric’s natural comfort

to build a versatile, three-season piece. The jacket also plays with pro-

portion, which compliments the silhouette of the pants.

As a designer did you take any risks or try anything you

hadn’t done before?

The knee articulation concept was something I experimented with.

It’s all about pushing our level of comfort. For me, that means trying

new silhouettes. That’s where the fantasy and dialogue of new forms can

meet the more utilitarian side of function, meaning once all the func-

tionality boxes are checked, it’s exciting to dream up the rest.

No one wears jeans in the rain. No one wears

jeans on a hot day. And no one who wants free-

dom of movement, thinks of denim. But jeans

are an American icon; they are both the work-

man’s uniform and a staple of leisure and comfort. Why can’t denim

behave like we want it to? It can.

Denim is now more durable. It can be warm. It can be cool. Spe-

cially engineered fibers can channel moisture, repel water and move

air through a hollow core. The idea of wearing jeans is now more com-

fortable and more versatile. If you want to ride your bike in the rain or

climb on a hot day, think denim. And thank CORDURA®.

There’s a movement happening in the outdoors. We don’t want

a kit or a uniform for everything we do. Adventurers, urban

explorers, the restless souls that spend every waking moment

on the move, want the gap between their lifestyle and the

activities that define them to be seamless. We are demanding

more from the clothes we wear everyday.

To build that bridge, CORDURA®—a leader in fabric

technologies—is manipulating lifestyle fabrics like denim and

wool, and injecting them with performance qualities. Everyone

touts durability, stretch, moisture management,

etc., but don’t let a sea of features cloud the end

result. There are only two things that matter here:

Fashion and Function.

S U M M E R 2 0 1 4

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Got Your Back

The New Guy

a n d r e a w e s t e r l i n d , f o u n d e r o f

a b o v e t r e e l i n e

“CORDURA® is one of those fabrics that possess  so many different qualities—durability, water resistance, texture and even the way it takes color. That’s why it’s been such a revolutionary and timeless choice for bag makersdecade after decade.”

Manhattan

Portage

Our buddies Jon and Jess at Victory Press shredded

across the country from BK to LA to set up their pop-

up shop at Space 15 Twenty in Hollywood. Here are

some fresh snapshots from their epic journey.

b r y c e

c a n y o n

u t a h

n o r r i s

g e y s e r

b a s i n

w y o m i n g

y e l l o w s t o n e

n a t i o n a l p a r k

w y o m i n gc u s t e r

n a t i o n a l f o r e s t

m o n t a n a

Before CORDURA®, alpinists had very limited

options when it came to climbing gear.   Canvas

was heavy and wouldn’t stand up to the elements

of the big international mountains. When Klet-

terwerks was born in 1975, the now famous designer, Dana Gleason,

envisioned a new approach towards climbing gear – lighter weight

and more water resistant, without losing durability.  In the early

‘70s, fabric technology within the furniture industry was booming,

so Dana took a cue and invested in a few rolls of woven Nylon.  It

was tough, lightweight and very water resistant; all the characteris-

tics mountaineers needed.  After some initial testing, it was proven.

CORDURA® Nylon would become the future of the outdoor industry.

Thule is known for car-top gear closets. At some

point, everyone’s dad has said, “Just throw it in

the Thule, dammit.” Thule isn’t yet known for

backpacking, but that might change. The brand

is unveiling its first line of technical packs, one of the most compet-

itive product segments in the outdoors. Keep in mind, Kletterworks

has been doing this since the 1970s!

So what material does the “new guy” decide to make its packs

from? CORDURA® nylon6,6 fabric. Why? The strength-to-weight

ratio is rugged and extremely lightweight. There are a lot of details

that define a good backpack, but you start with the right fabric.

The beauty of the outdoor industry is that it has

nearly a century of experience in producing the

most technically advanced materials, and now

the Big Apple urban brands are catching on.

CORDURA® and Manhattan Portage recently

unveiled a collaborative line of daypacks, messenger bags and lug-

gage—all with the goal of lightweight durability. The colors pop, too.

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R A N G E

D U C K W O R T H S U P P LY C H A I N

S H E E P R A I S E D I N M O U N T A I N S

O F B O Z E M A N , M O N T A N A W H E R E

W O O L I S H A R V E S T E D .

W O O L S H I P P E D T O

N O R T H C A R O L I N A A N D T U R N E D

I N T O “ T O P ” ( W O R K A B L E F I B E R S )

S E N T T O Y A R N S P I N N E R

I N N O R T H C A R O L I N A

A N D C U T A N D S E W N

I N N O R T H C A R O L I N A

S H I P P E D F R O M T H E R E

T O R E T A I L / W A R E H O U S E

i l l u s t r a t i o n b y l u c y e n g l e m a n

What is Made-in-USA? Is it a hang tag?

A premium price tag? Is it a heritage-

inspired fashion trend, where we make

new stuff look old-timey? Does it mean

that we source our materials overseas

and assemble at home? Is it worth it?

U.S. manufacturing is a story laden in rust

and gold. Little argument needs to be made for

the value of a strong industrial economy, and

the biggest, most damaging myth is that domes-

tic production is dead.

According to data from the World Bank, the

United States is still the third-largest manufac-

turer in the world in terms of total value, behind

the European Union, and of course, China. It’s

a large gap, but the global economy is shifting

in a way that can accommodate a strong resur-

gence in Made-in-USA products. This is some-

thing the textile industry—the people who make

all of your swag—is seeing with a rise in smaller,

localized movements.

But that’s not why you should care. You should

care because we aren’t the best. The leading

technology, quality and capacity is overseas. Ask

yourself why Patagonia, The North Face, Nike--all

of the top active lifestyle brands--prefer to navigate

a logistical nightmare of sourcing, shipping and

producing thousands of miles away than to commit

to making their products at home. It’s because it’s

easier. They’ll tell you we don’t have the infrastructure,

the talent pool, and the service, but many will argue

(silently), it’s because we’ve lost the mentality.

That’s why the resilient, die-hards who continue

to go against the grain and manufacture in the U.S.

are the real rebels, the real American revolutionaries.

These are people like Robert “Bernie” Bernthal,

the president of Duckworth. Duckworth is a

maker of wool apparel that is owned by a fourth

generation ranching family, who has been raising

sheep in Montana for over 150 years. Every step of

Duckworth’s supply chain, from harvesting wool to

yarn spinning and cut-and-sew, is done right here

on American soil, employing American people.

Bernie really said it best:

“There are so many of us out there; these in-

dustrious craftsmen trying to beat the system.

It takes a punk attitude to say, ‘Okay well we’re

gonna prove it can be done.’ The challenge is

taking that spirit to massive multi-national busi-

nesses. You can grow a beard and act like you

started producing in the Civil War, but, we want

to make the most technically advanced garments

at a price that can compete on a global scale.”

According to Bernie, the next chapter of

American manufacturing will depend on if we

actually believe in it. It can’t just be a market-

ing message or a fashion trend. As producers,

it has to be prioritized and treated as a long

term investment that’s just as much a part of

our culture as it is our economy. As consum-

ers, we have to ask ourselves if we want to

buy products from companies who aren’t up to

that challenge.

So what is Made-in-USA? It’s what we choose

to make. It’s also what we choose to buy.

S U M M E R 2 0 1 4

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I

Problem solvers, inquisitive innovators, or whatever you want to call them, at KEEN, thoughtful,

meaningful design reigns supreme.

The day after the fourth of July was HOT. Our friends Emiliano

Granado and Daniel Wakefield Pasely of Yonder Journal had just

started their month-long journey across the country in search of

a little lady called “leisure.” She is the siren that calls to us in

the night. She is the voice of un-reason that reminds us there is

more to life than just work. There is play. There is “recreation.”

Ridin’ around and gettin’ it in a 1998 4runner, outfitted with a Yakima

Skybox 1, HoldUp bike hitch and LoadWarrior basket, a Poler Le Tente, and

two Shinola bikes, these incredibly talented photographers and self-pro-

claimed “Cultural Anthropologists”, were on a road trip to enlightenment.

Hoping to capture the many ways Americans—specifically those residing

in the West—are living life to the fullest, the “Yung Yonder Boyz” explored

everything from campgrounds to parks, bodies of water to deserts, and

mountains to valleys.

f o l l o w t h e i r j o u r n e y a t

w w w . y o n d e r j o u r n a l . c o m / w e s t e r n r e c r e a t i o n

Just for reference, prime examples of “recreating,” as stated by YJ, in-

clude Swapmeeting, LARPing, Mountain Man Rendezvousing and Arm

Wrestling. Ice Pop eating is also a highly-respectable form of recreating in

their book, so really, the definition is open to interpretation.

According to Granado, “Most trips in the past have been about doing

one specific thing or just general road tripping. This one is really different

in that we are committed and focused on the concept of “recreation.” It’s

incredibly important for us to produce work/projects that are focused. Too

much “outdoor lifestyle” stuff lacks any value to the greater human narra-

tive. We’re not trying to get rad shots of people mountain biking. We are

just simply documenting what the state of recreation looks like. As long

as you are outside doing your thing or interacting with the land, it works.”

Hashtag fun. Hashtag good times.

f you have ever walked the floor at

Outdoor Retailer in Salt Lake City,

there is a good chance you have been invited to

stop by the KEEN booth for a beer. Like visiting

Moab or Zion, when in Utah, making an ap-

pearance at the up-cycled universe that KEEN

has created is a rite of passage in the outdoor

industry. The walls are built out of used pal-

lets, the doors have been carefully rescued from

abandoned buildings, and old skateboard decks

double as display shelves. Local music fills the

convention center with sounds broadcasting

live from an elevated stage made from old sta-

dium bleachers. Like the pied piper of footwear,

they know what it takes to spearhead a move-

ment, amassing a cult-like following comprised

of “newbies,” “oldies” and “outdoorsies” from all

walks of life.

In 2003, KEEN began by asking a simple

question, which at the time, had yet to be an-

swered: “Can a sandal protect your toes?” By

adding a signature “bumper” to a simple silhou-

ette called the Newport, KEEN singlehandedly

created a new category of “hybrid” footwear that

would change the way outdoor enthusiasts in-

teracted with sandals forever.

Fast forward 11 years. KEEN has grown from 10

to 230 employees. They have six brick and mortar

stores called “KEEN Garages” and wholesale ac-

counts in over 60 countries at 5,000 retail loca-

tions. KEEN is no longer just a “hybrid” footwear

brand. It is a global force to be reckoned with on

a mission to make responsible, functional goods

bringing communities together around the world.

“As a brand, we haven’t stood still at all in

our really short history,” explains KEEN’s Brand

Marketing Director Linda Balfour. In addition

to producing footwear, accessories, socks, bags,

and most recently, apparel, “KEEN is really

driven by making a positive difference for our

fans through our products, but also through

our business practices and the way that we act

as a company.” By offering grants and support

through their giving program Hybrid.Care,

KEEN partners with a range of nonprofits and

community organizations such as Leave No

Trace, The Conservation Alliance, and the Euro-

pean Outdoor Conservation Association to help

build strong communities across the globe.

Problem solvers, inquisitive innovators, or

whatever you want to call them, at KEEN,

thoughtful, meaningful design reigns supreme.

Everything has a purpose and a clear reason

for existing.  Balflour also describes KEEN’s

obsession with fit: “The big question we ask

ourselves is how do you make a shoe that fits

your foot unlike anything else out there?” And

that doesn’t just stop at footwear. They make

pants with “no right angles” for increased

range of movement, and socks specifically for

the left and right foot to avoid bunching at the

toes. This innovative ethos was even applied to

their headquarters in Portland, Oregon when

relocating from Alameda, California in 2005.

“We stripped a lot of material out that didn’t

need to be there, and then repurposed it into

areas that made more sense,” Balfour said.

When it comes to color, silhouette and

materials, the designers and product line

managers at KEEN are definitely paying

attention to what’s going on in fashion and

ironically enough, the “it” shoe of the moment

just happens to be the strappy sport sandal.

“Functional footwear never goes out of style.”

According to Balfour, “Some of the models

have gotten lighter, brighter and faster, but

the essence of what they are—‘hybrid’—hasn’t

changed.”  This movement towards design-

driven product is clear with the launch of

their newest “open air shoe” called UNEEK,

pronounced “unique.” The sandal-meets-shoe

cross-breed, comprised of “two cords and a

sole,” truly embodies the brand’s commitment

to progression, even if it meant going back

to the drawing board and literally forgetting

everything they knew about making footwear.

“We kept focusing on this idea of combining

freedom of movement and support. We wanted

it to feel like you are wearing nothing. We wanted

it to feel like the absence of a shoe,” explains

Balfour. To accompany the much-anticipated

release of UNEEK, KEEN shot a lifestyle look

book aimed at a non-endemic outdoor audience

to showcase all the places, from the city to the

coast, where the colorful shoe could be worn.

“UNEEK really fits into all of those places and

makes a different kind of statement about the

person who is wearing it.”

As the outdoor market continues to segue into

the lifestyle sector and redefines what it means

to be a traditional “outdoors person,” KEEN in-

tends to evolve the way it interacts with the mar-

ket. Speaking authentically to their ever-chang-

ing customer is incredibly important to the

team, not only in terms of connecting with their

community, but also in regard to grassroots sto-

rytelling. “One of our main goals is to earn loyal

fans. When people cheer the brand on and are

excited when we roll things out, it allows us the

ability to take some risks. We’ve be super fortu-

nate, and having these ongoing conversations

with our fans has really put our heads in a space

where we are looking for answers to problems

our fans face in their everyday lives.”

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R A N G E X W E S T E R L I N D

p h o t o g r a p h s b y h a l l e y r o b e r t s

l o o k s b y w e s t e r l i n d , s n o w p e a k , a r m o x l u x a n d g r a m i c c i

Photo Essay

1 1

Central coast of California,

North of somewhere and South of nowhere.

Socked in, and soaked up.

Pockets of sunshine, moments of clarity.

Unmarked trails, push down to the beach.

Camp life, real life, stand still, keep moving.

Washed out tones fade into the waves.

Grey skies, clear skies, they all set in the west.

S U M M E R 2 0 1 4

1 2

E V E N T S & S E M I N A R S

D A Y 1

W E D N E S D A Y , A U G U S T 6 , 2 0 1 4

“New Now”—outdoor trends in design,

marketing and social media.

w h e r e Venture Out, Pavillion 2

w h o Jeanine Pesce, founder of Range

w h e n 3:30 pm to 4:30 pm

VIP Happy Hour—special select craft brews

from Sierra Nevada, free steel pints & music.

w h e r e Venture Out, Pavillion 2

w h o Media + Retailers, Invitation Only

w h e n 4:30 pm to 6:00 pm

RANGE Magazine Launch Party—tunes,

trendz and friendz.

w h e r e Venture Out, Pavillion 2

w h o Everyone

w h e n 5:30 pm to 7:00 pm

Industry Party—food trucks, tailgating, beer

garden & live music.

w h e r e Street Scene—The Pavilions @ OR

w h o Everyone

w h e n 6:00 pm to 8:00 pm

D A Y 2

T H U R S D A Y , A U G U S T 7 , 2 0 1 4

“The New Outdoors”—how to engage with

emerging consumers by talking trend and

design, complete with qualitative data.

w h e r e New Product Zone in the Main Hall

w h o Christie Hickman, VP of Consumer

Insight at OIA; Jason Belaire,

Western District VP at IDSA;

Benji Wagner, Creative Director

& Co-Founder at Poler Stuff;

Gordon Seabury, CEO at Toad&Co/

Lizard Lounge, Andrea Westerlind,

Westerlind.US

w h e n 10:00 am to 11:00 am

Happy hour and live music—presented by

Sanuk & Teva.

w h e r e Venture Out, Pavillion 2

w h o Everyone

w h e n 4:30 pm to 6:00 pm

D A Y 3

F R I D A Y , A U G U S T 8 , 2 0 1 4

“Form & Function”—Creativity, Design and

Merchandising for the New Outdoors.

w h e r e Venture Out, Pavillion 2

w h o Michelle Rose & Sam Ward,

Founders of Struktur Creative Conference

w h e n 3:30 pm to 4:30 pm

Cocktail Happy Hour—presented by Stanley

& High West Distillery

w h e r e Venture Out, Pavillion 2

w h o Everyone

w h e n 4:30 pm to 6:00 pm

Walking the floor at Outdoor Retailer, the premier

outdoor tradeshow in the world—yeah, we said it—

feels a lot different today than it felt a decade ago

when we started visiting Salt Lake City. Not only is

it packed to capacity with a boatload of new com-

panies queued up for the opportunity to exhibit, but

there are also “city folk” and “OR hipsters” roaming

the halls dressed, well, well. OR has taken note of

this movement that is ushering outdoor out of the

backcountry and into the spotlight, and decided to

launch a new area of the show called Venture Out.

“It will be home to like-minded brands that repre-

sent the growing urban and lifestyle trend that has

influenced and invigorated the modern outdoor

movement,” according to Margie Lelvis, Director of

Marketing at Outdoor Retailer. Located in Pavilion

2, Venture Out will feature a mix of brand presenta-

tions, media, design, common space, food and cul-

ture to help showcase this burgeoning outdoor trend.

We sat down with Scott McGuire, President of

The Mountain Lab, to pick his brain about just how

the new area came to light since he and his team

have been enlisted to make Venture Out a reality and

not just a conversation.

r a n g e When did OR decide to

launch Venture Out?

s c o t t m c g u i r e There had been a

conversation brewing between me, Outdoor

Retailer and several other people within the

industry. We were really asking OR how they

were going to address this emerging trend.

We met in the spring and started discussing

working on the concept for the next 12-18

months, and maybe do it for Winter Market

in 2016, but the reality was that the time was

now. The trend was happening now and it

was important to respond to it right away.

Why do you think there has been a

shift in the traditional outdoor sector?

The short version of that answer is I

think that customers have become more “ur-

ban” and as a result, they are always engaged

in their own version of an outdoor environ-

ment, but are equally seeking an analog expe-

rience. There is a general interest in returning

to basic fundamentals. This idea of the “ur-

ban woodsman” or the “lumberjack” trend

just seems a bit complicated. I just think that

people really like the idea of connecting with

something simple. Sitting on the ground in

front of the campfire, toes in the dirt, drinking

a beer, playing games, and being outside in the

trees with your friends is pretty humanizing.

The challenge is that there is a whole

group of consumers coming into the market

that aren’t having that experience the same

way the previous traditional outdoor gener-

ations have done it. They’re bringing in their

urban aesthetic, capturing images on a digi-

tal device, and sharing them through Tumblr.

They’re not necessarily just going off trying to

be Thoreau, taking a long walk in the woods.

Their trips tend to be shorter. They are not

going for weeks or months at a time, they are

going for weekends or shorter periods.

Why is it important to engage with

this younger/influencer audience?

I don’t think modern customers are only

subscribing to being just an “outdoors” per-

son. 20 years ago, someone may have iden-

tified as being a strictly “outdoors” person

and that was their thing. Now their thing is

being into multiple activities. “I am into road

biking, yoga, skateboarding, bouldering and

camping, and by the way, I have my own Etsy

site.” That is the new norm. The new norm

is a really subversive set of experiences that

people want to have, and so they are bringing

that mindset with them to the outdoor in-

dustry. The younger audience today is more

interested in self-creation. They pick and

choose, build for themselves, and put their

own spin on it. They don’t want to be handed

some pre-packaged outdoors experience.

Who are some of the key players/

brands on deck?

Brands that have signed on to partici-

pate include Poler, SeaVees, Pendleton, Iron

& Resin, Sanuk, Teva, Stanley, Timberland,

Coalatree, Parks Project, Mad Huey’s, Duck-

worth, tentree, Zeal Optics and Topo Designs.

There are also brands that have been at the

show previously and have committed to being

in the main hall already that we see as being

part of the Venture Out mindset, whether they

are physically in the space or not. I look at a

brand like Snow Peak, Nau or Alite and think

they’re part of Venture Out, but they did it at

Outdoor Retailer. They have been floating on

their own island and carrying this torch for a

while. Outdoor Retailer has an obligation to

grow the outdoor industry. If you’re a retailer

and you want to be relevant in the next 20 or

30 years, proper exposure to what is happen-

ing with this trend is what is going to allow

you to grow in that space.

So it is a mutually beneficial

opportunity for everyone?

Exactly. It’s not just “we” need a brand to

come in and buy space to validate the reality

of the show, or the brand needs “us” to create

a space for them to come in and be validat-

ed. It’s more symbiotic than that. It is really

about connecting the

retailers, the brands, and

the entire event concept

of what Venture Out

stands for because that

is what is good for the

entire outdoor industry,

not just a little niche.

Who is the target con-

sumer? Will all the

buyers be invited over?

The space is located in

The Pavilions. Origi-

nally, the pavillion was

the “back 40,” where no

one wanted to be, but over the last couple

of years, especially with what the paddling

community has done, some of the new buy-

ers have made it their first destination and it

has become a little more fun and energetic.

There is a little bit of a more rebellious nature

out in the pavilions, which suits the concept

of the show really well. All of the retailers and

the attendees are invited, so there is no “list”

to get in. We are certainly targeting specific

retailers based both on their size and the po-

tential to grow, but the space is open to any-

one. Everyone can come in there.

What will the space look/feel like?

The space is as much about coming

in and engaging with those brands as it is

about wrapping your head around what is

this part of the industry. Certain retailers

really get it like Lizard Lounge in Portland.

They are aware of the trends, and really

know that this is something that needs to

be addressed. Still, there are a lot of re-

tailers that have a sense that maybe their

current buys are out of touch with the next

generation and they have to do something

about it, but it is pretty foreign to them, so

we are trying to make that engagement a

little easier. The layout is an open floorplan,

so they don’t have to feel like they’re walk-

ing to the front of a booth and because they

don’t know the rep or have an appointment,

it’s impossible to walk through.

Imagine going to a community artists’

fair in the park, where everyone has their

space to present their creations, but it has

some flow. It is kind of linear and kind of

not, and there are places to go sit and have

meetings. There are trees. You get to wan-

der around and you don’t feel like you have

to walk into a monolithic fortress of a booth

and figure out where you are. You can stand

there and poke around and look since all

these features are inside of the area. The in-

tent now and in the future is to make this

much more of a community experience. We

want it to be a place where if you are a PR

or media person, you can engage with the

brands. If you are a designer who is think-

ing about your portfolio before you go pitch

a company, this is a place where you can sit

down, get a decent cup of coffee, and clear

your head. We would like the space to be a

hub for creativity. The space will be activated

with movie screenings at night, there will be

a premium coffee shop inside the location,

and our events and seminar line-up is key.

Galleries and exhibits are something we will

work towards for the Winter Market.

What is the goal of Venture Out?

What we are trying to focus on with Ven-

ture Out is that the brands that are coming

in all have a legitimate functional story. They

are making good product. They are not just

some fashion brand that has said, “Oh, there

is an outdoor trend going on, so we can slap

some rip-stop on it and call it a day.” These

are brands that are very, very committed to

the function and the experience. The brands

that are going to motivate somebody to have

a great time in the outdoors, and come home

and want to do it again are the ones we want

to help grow and evolve.

1 3

S U M M E R 2 0 1 4

Decentralized communication: no towers, no routers, no networks

T

i l l u s t r a t i o n b y a n d r e w g r o v e s

“Weatherproof because summer

storms can’t keep us indoors.”

Did you get the memo? Baseball hats are on the

upswing, so if you’re considering pulling the trig-

ger on a new hat, we suggest it’s the Fairends

Ripstop Ball Cap. Made in the USA from 100%

ripstop Nylon, this one-size-fits-all beauty boasts

a fancy Terrycloth sweatband with an adjustable

nylon webbing strap. Available in bold, bright

hues, including red, green and blue, it’s basically

like wearing a dome tent on your head, plus the

street cred and minus the guylines.

F I N D O U T M O R E AT

W W W . G O T E N N A . C O M

here’s something rebellious about the idea of

communicating outside of a central network—no IP

address, no badge or identification number. Maybe we’ll never

escape the NSA, but in a world where privacy exists at odds with

interconnectivity, people are embracing technologies that make the

individual stronger and less dependent on central services.

But even though we carry super-computers with us at all times,

we can’t communicate unless a cell signal or wifi router is available,

the type of network connectivity which tends to fail when we need it

most - in emergencies or on backcountry excursions.

This was the problem Daniela Perdomo, CEO and Co-founder of

goTenna, sought to solve as she sat in the darkness--both metaphorical

and literal--during Hurricane Sandy. This was a time when all electric-

ity and cell towers were down in her hometown of Brooklyn, New York.

“I wanted to know if my brother was okay or if my neighbors

needed help.”

After the storm cleared, she and her brother, Jorge Perdermo,

architected a de-centralized, entirely off-the-grid means of

communication. The result was goTenna.

The technology itself is a small, rugged device that fits in a pocket

or attaches to a piece of gear. It pairs wirelessly with your phone

enabling users to send and receive text messages, images and GPS

data for free via a phone app. Additionally, the application allows

you to contextualize GPS data on an offline map. This is a means

of communication anyone can use anywhere on the planet or even

other planets--there is no dependence on wifi or cell signals.

You can send messages to an individual,

a group or even a “shout-out” blast to any-

one in range. You can also pin-point each

active user on a map. There are countless

headlines of hikers, backpackers, day-time

adventures--even really experienced peo-

ple--who get separated from the pack and

lost in the wilderness.

With that in mind, the outdoor or emer-

gency-use case for goTenna is the most

compelling, but the technology’s applica-

tions are far reaching. By taking communication off-grid, you are

giving new functionality to a device that’s already so powerful as a

social connector.

“You can be two people in Yosemite, a group of friends traveling

in a foreign city or hundreds of people at Coachella. Maybe it will

become a public chatroom, I have no idea,” said Perdomo.

The best part is, it’s a network on your own terms. If you don’t

want to be discovered; if you only want to send and receive messages

from specific people; then it’s up to you, for better or for worse.

While the ultimate success of goTenna depends on the number of

users, it represents a powerful shift in thinking. Within the last decade

we have become cable-cutters, file sharers, 3D printers, etc. And now,

the less connected we are, the more connected we can be.

How radical are you willing to be?

t h i g h l e n g t h

a w n i n g v e n t s

h i p b e l t v e n t

u l t r a l i g h t

w a t e r p r o o f

b r e a t h a b l e

m e m b r a n e

Elite Cagoule

Tensegrity Elite Tents

1 2 ”a w n i n g s

l a r g e d r o p d o o r

o p t i o n a l

s t a r g a z i n g

Backcountry Bed Elite

o v a l

e n t r y / e x i t o p e n i n g

1 4

R A N G E

“I knew the brand wanted to be

bold. We wanted to challenge

the mummy bag and the dome

tent, and really confront the

fundamental products that have

defined things over time, which

we truly believe are just defective.”

S ierra Designs is one of the

outdoor industry’s original ren-

egade brands founded in 1965 by a pair

of Bay Area hippies with a penchant for

the Sierra Nevadas during the golden age

of backpacking and climbing. As they ap-

proach their 50th anniversary in 2015, they

are focused on getting back to the spirit

that the brand was built on by challeng-

ing the status quo, returning to their roots,

and carving out an entirely new product

portfolio. This approach, combined with

an intuitive new website and a pared-back

logo, will pave the path, or in this case the

trail, towards a bright future with tons of

potential for growth within the market.

In the outdoor industry, we have a ten-

dency to throw flashy words around to feel

more exclusive or accomplished. Vision-

ary, state-of-the-art, technologically-ad-

vanced, ultralight, packable, breathable

and ergonomic — the list goes on, but

what does it truly mean to be directional or

fundamental products that have defined

things over time, which we truly believe

are just defective.”

So how exactly does a legendary brand

with so much history that so many people

know, love and trust redefine itself with-

out alienating its core customer? Like a

bull in a china shop, that’s how. “We came

up with the plan of obsoleting the existing

product line over the first couple of years

so we could move in a completely differ-

ent way. We viewed it as running back to

our heritage rather than running away

from it. What Sierra Designs is doing now

is much more in the spirit of the legacy of

the brand,” explains Glavin. “Everything

the outdoor industry is doing today has

descended from 1950s British style ex-

pedition mountaineering. After over 50

years of doing the exact same thing, when

people say, ‘How can you be so innova-

tive?’ It’s like, ‘How can everybody NOT

be so innovative?’”

radical? We sat down with Michael Glavin,

the VP and Brand Manager of Sierra De-

signs, to talk about the current dormant

state of the industry and how his company

is gearing up to move things forward.

“We just think the industry needs a new

‘take.’ It has gotten so bogged down in

itself, and it’s frustrating because nobody

out there, from our perspective, is doing

anything that feels ‘new.’ We are interested

in forcing people to re-think. When I

came on board at Sierra Designs in 2012,

I knew the brand wanted to be bold. We

wanted to challenge the mummy bag and

the dome tent, and really confront the

The traditional “three-layering” system

everyone under the outdoor-sun abides by

was also up for debate when Glavin joined

the team. “It desperately needed to be ad-

dressed. The whole base-layer-mid-layer-

shell-layer idea is based on the fact that

environmental conditions and your level

of exertion will make you want to change

all these different layers. Our whole system

is ‘Go, Stop, Rain.’ When you look at our

collection, it’s not called ‘shells’ or ‘hard-

shells.’ It’s called ‘rainwear.’ That’s why we

included a Cagoule and Chaps in the 50th

anniversary collection, products we were

doing in the ‘70s. No one is doing rainwear

right today. Waterproof, breathable moun-

taineering suits with short jackets and

technical pants are fundamentally flawed

because even in an ideal scenario, they

can’t breathe enough when you’re working

hard wearing a pack.”

As far as gear goes, according to Glavin,

“People still believe they have to choose be-

tween being comfortable and being light-

weight, and the whole idea behind the Sier-

ra Designs Elite Collection is that you don’t

have to choose, and why should you? Sleep-

ing bags have been our biggest success right

out of the gate because the design just came

together. It’s all really based on feedback

from customers. A lot of people don’t want

to go backpacking because of hassle and

comfort. The mummy bag is a tough design

because it’s not built around anything other

than thermal efficiency, and for most peo-

Sierra Designs isn’t just solely commit-

ted to making smarter gear, they are in the

process of figuring out just who is their new

“guy” in the apparel department as well. “De-

sign is getting overly complicated and gratu-

itously overdone, especially for apparel. We

want to find a sweet spot in all of that where

it is just REAL. We have really minimized

the use of the logo, and that’s one of the main

reasons we redesigned it. What surprised us

most is we are resonating with new, young-

er customers in their 20s, which we think is

because of our whole classic, minimal and

honest design approach. When you do classic

right, it can be very wearable for any age.”

ple, it’s so different from the way they sleep

at home, they can’t get comfortable. And if

you aren’t comfortable, it’s not fun.”

When all is said and done, it’s really about

enjoying ourselves and maximizing our col-

lective experiences outdoors, right? Sierra

Designs may have started as a “backpackers’

brand” back in 1965, but today, they pride

themselves on ensuring that everyone, from

the recreational car camper to the ultralight

hiker, is well-equipped and confident in

their gear and technical apparel.

Much like the bohemian artists, musicians and writers that flocked to Big Sur or Yosemite Valley

in the 1950s and ‘60s to escape conformist attitudes of government and big city living, we see a

new guard of creatives emerging and returning to a more primal relationship with their work.

o b i , c h i e f s t o r y t e l l e r , j u n i p e r r i d g e

c a b i n t i m e , “ r o a m i n g c r e a t i v e

r e s i d e n c y ”

S U M M E R 2 0 1 4

1 5

T he indie craftsman is on the rise in

fashion, home furnishings, and not

surprisingly, the outdoor industry. In a landscape

where self-reliance and a return to nature rule,

we’re seeing objects handcrafted with materials

sourced straight from the Earth.

Take Heathermarie Heaton, a Washington farm

girl turned L.A. stylist, now designing handcraft-

ed, up-cycled footwear in Mexico City. Her Mox

Boot Travel, soled with recycled tires and sewn

entirely by leather braided stitches, satisfies the

needs of an outdoor explorer as well as the convic-

tions of the designer herself.

Both creator and consumer are also rewarded in

the work of Andrew Grove of Miscellaneous Ad-

ventures. A designer and illustrator by day, Groves hews outdoor prod-

ucts by hand and gathers materials using traditional forestry techniques

from the English countryside where he lives. For example, his Waves

Sycamore Scoop capitalizes on the naturally antibacterial property of

the Sycamore and shapes it into a multi-use utensil best suited, as his

website declares, for the “splendor of the great outdoors.” According

to Groves, his mission is

to inspire other digital

makers to connect with

nature on a visceral lev-

el. “We run workshops,

teaching people how to

make wooden things,

and we specifically tar-

get other illustrators

and graphic designers to

try and get more people

away from their comput-

er screens and out into

the woods.”

Just as Groves touts

the pleasure of trans-

forming a hunk of wood

into an artful and functional finished item, each Coltellerie Berti

pocketknife is produced by a single artisan, their initials etched onto

the blade of their finished product, a detail the company has includ-

ed since 1895. This emotional connection to the actual hands creat-

ing a handcrafted object lies at the heart of the Maker Movement’s

past and present.

The Arts and Crafts movement of late Victorian England was

born from the anxieties of the Industrial Revolution. People craved

the quality of a handmade object,  the joy it brought to the maker

himself, and the sense of community that small scale, locally sourced

operations produced. We talk about this like it’s a new trend, but

really it’s just a return to the

old ways of doing things, which

humans repeatedly do, grant-

ed with a twist.  Today, brands

like Juniper Ridge call direct

attention to the place and

people involved in each batch

of their nature-inspired per-

fumes. Breathing in the scents

of the trails they hike, Juniper

Ridge employees scour forests

and countrysides in search of

ingredients. A harvest number

on the front of each bottle al-

lows consumers to discover the

exact plants and crew members

who contributed to their small

batch fragrance. 

Much like the bohe-

mian artists, musicians

and writers that flocked

to Big Sur or Yosemite

Valley in the 1950s and

‘60s to escape conform-

ist attitudes of govern-

ment and big city living,

we see a new guard of

creatives emerging and

returning to a more pri-

mal relationship with

their work. Cabin Time,

“a roaming creative

residency,” founded by

Geoffrey Holstad, an illustrator and graphic designer and Ryan

Greaves, a photographer, offers artists the opportunity to create, live

and collaborate with other artists in remote environments all over

the country. They feel strongly about this idea of being “present”

with each other, away from the distractions of cell phones and the

Internet, they can truly focus on their craft and make art in a range

of mediums from film to sculpture.

Even in our assembly-lined,

global economy, we find Juniper

Ridge reviving perfuming tech-

niques of the past, while others

like Coltellerie Berti continue the

traditions began by their Italian

artisan forefathers over a century

ago. So let’s look for, and welcome,

objects that provide  a  sense of

place, allow us to be a part of a sto-

ry we’re proud of, and for outdoor

enthusiasts, objects that facilitate

the connection to the natural sub-

lime we seek because purity in the

materials used and the produc-

tion process itself strengthens our

connection to the Earth, and ulti-

mately, to each other. 

b i o l i t e

k e t t l e c h a r g e

Looking for a quick pick me up? Small

but mighty, this stovetop water-based

generator produces an impressive

10 watts - enough energy to charge

tablets, smartphones and headlamps.

s n o w p e a k

t i t a n i u m s p o r k

Break free from boring camping

utensils on your next outdoor

excursion. No one ever gets bummed

when you hand them an anodized,

candy-colored titanium spork.

a l i t e

t h e g r e a t e s c a p e d u f f e l

Is it a duffle bag or an overnight pack? It’s

both silly! The interior is roomy enough for

all your weekend getaway essentials and

the exterior is armed with durable straps for

securing sleeping pads, tents or yoga mats.

o y o

f r i s b e e + c a m p m u g

Guaranteed “life of the party” status when you toss a

Wham-O Frisbee made from recycled polyethylene into

the mix. May as well get crazy and pour some whiskey

into this 100% corn plastic mug, while you’re at it.

1 6

R A N G E

Want to impress your friends this summer? RANGE is here to highlight the “must-have”

products of the season.

p h o t o g r a p h s b y k a t i e m c c u r d y

Designers,

Good design is powerful. Great design is always evolving. Game-changing designers are never satisfied, constantly seeking better solutions.

Designers play an essential role in the creation of outdoor apparel & equipment, yet they don’t have the recognition, visibility, or community designers in other fields experience. That’s why we created Struktur Event- to grow a talented, creative community of designers, working at the intersection of business, entrepreneurship and creativity.

Struktur Event brings us together. It’s the place to share ideas, overcome challenges and be inspired. It’s an opportunity to connect with a diverse group of talented people and gain exposure to new processes, techniques, and materials. We bring expert voices from within the industry, and beyond, so you get the widest range of professional perspectives.

It’s not a place where you’re talked at, but one where you’re a part of the conversation. Struktur Event is a home for the misfits, the rebels, the weirdos, the designers pushing the boundaries of creativity and adventure.

Join us in Portland, Oregon next spring to elevate and celebrate design in the outdoor and active lifestyle industry.

Sincerely,

P.S. And the drinks are on us!

Overwhelmed by emerging trends? From ‘70s-era mountaineering to ‘90s hypercolor climbing,

make sure to reference the checklist below and you’ll always be ahead of the “cool guy/girl” curve.

S U M M E R 2 0 1 4

Apparel

1 Technical chinos

2 Slim joggers

3 Packable, insulated vests

4 Baggies

5 Simple, crew neck tees

6 Short-sleeved henleys

7 Printed leggings

8 Overall shorts

9 Chore coats

10 Rainwear

Design Details

1 Scout patches

2 Hand embroidered accents

3 Oversized cargo pockets

4 Elastic ankle cuffs

5 Contrast pockets

6 Decorative bonded seams

7 Non-branding

8 Macrame & braiding

9 Contrast plackets

10 Anodized hardware

Colors

1 Blush

2 Dandelion yellow

3 Mint

4 Cornflower blue

5 Grape

6 Dove grey

7 Eggshell

8 Khaki

9 Indigo

10 Magenta

1 7

Print & Pattern

1 Conversational prints

2 Micro repeats

3 Mineral patterns

4 Paisley

5 Carousel stripes

6 Confetti & “squiggle” patterns

7 Photorealistic collages

8 Watercolors

9 Fruit & vegetal motifs

10 Topographic prints

Accessories & Footwear

1 Croakies

2 Sport sandals

3 Water bottle slings

4 5-paneled hats

5 Colored hiking boot laces

6 Paracord friendship bracelets

7 Novelty bandanas

8 Webbed, nylon belts

9 Retro hiking boots

10 Moccasins

i l l u s t r a t i o n s b y l i z z y j a n s s e n

BOULDER

DO YOU LIVE I N

BUSHWICK

DO YOU LI KESE I N FE LD?

YES NO

DO YOU WEARSPORT SAN DALS?

YES NO

HOW LONG HAVE YOUHAD YOU R PATAG ON IA FLE ECE?

COTTON

M E R I NO

WOU LD YOU CONSI DE R“MOM” J EANS

“HOT” R IG HT NOW?

YES NO

DO YOU WEARA H E M P N ECKLACE?

YES NO

WOU LD YOU WEARA G RAPH IC TE E?

YES NO

DOES YOU R DOG WEAR A BAN DANA?

YES NO

DO YOU KNOW WHODEV HYN ES IS?

YES NO

DO YOU KNOW WHATSEAPU N K IS?

YES NO

WOU LD YOU ROCKA FAN NY PACK?

YES NO

DO YOU OWN AM I N IVAN?

YES NO

DO YOU CAM P I N IT?

YES NO

HAVE YOU EVE R OWN E DWH ITE R E E B OKS?

YES NO

DO YOU LI KECAT M E M ES?

YES

DO YOU WEARTH E M WITH SOCKS?

YES NO

HAVE YOU EVE R B E E NBACKPACKI NG?

YES NO

THISSEASON

SINCECHILDHOOD

PICK ON E:

WOU LD YOU WEARA TU RTLE N ECK?

YES NO

B EAN I E

BASE BALL HAT

IS STEVE JOB SYOU R FASH ION ICON?

YES NO

SE R IOUSLY?

DO YOU DR I N KCRAFT B E E R?

YES NO

NO

i l l u s t r a t i o n b y s e t h n e i l s o n

Start Here

1 8

R A N G EAre youNormcore

or Outdoor?Fashion is a strange thing, mutating, growing, consuming influences,

and spitting them out unrecognizable. Recently, after a decade of

hipsters peacocking all over the place in skinny jeans and tattoos, the

cool kids are turning toward the mundane for fashion inspiration. Yes,

we’re talking about normcore, the trend that’s got wacky 19 year-olds-

dressing like dads and moms from Portland to, well, Portland. Normcore

borrows a huge chunk of its influences from outdoor gear, with fleece,

technical outerwear, and sport sandals as key components of the

look. But how can the average outdoor enthusiast tell if they’re simply

keeping it active, or caught up in this new, subtle trend? Well, it’s easy

friend, follow this easy guide to find out if you’re normcore or outdoor.

There now, don’t you feel better? See, now you know where you

and your sport sandals stand (with socks: normcore, without

socks: outdoor). If you got “outdoor” congratulations, keep up the

good work, enjoying the rivers, rocks, and mountains of this world

all while supporting forward thinking sustainable design. If you got

“normcore” that’s cool too, you’re on the cutting edge of fashion,

not that anyone could tell. But don’t worry, people will catch on

and soon you’ll be the coolest thing in Bushwick and Boulder.

S U M M E R 2 0 1 4

1 9

p u b l i s h e r

Range

e d i t o r i a l d i r e c t o r

Jeanine Pesce

a r t d i r e c t o r

Joel Speasmaker

p r o d u c e r

Joe Gomez

e d i t o r

Alex Gomes

c o n t r i b u t o r s

Andrew Luecke, Tiah Rubin

s o c i a l m e d i a / p r e s s

Sydney Halle

p h o t o g r a p h e r s

Brian Merriam, Halley Roberts, Katie McCurdy, Ian Durkin,

Meg Haywood Sullivan

i l l u s t r a t o r s

Seth Neilson, Andrew Groves, Lizzy Janssen, Jonathan Cammisa, Lucy Englemen

s p e c i a l s h o u t - o u t t o

Cooper Gill, Sydney Hall, Julie Atherton and “the girls” at JAM Media

Collective, Jeffrey Thorpe, Scott Kaier, Andrea Westerlind, Emiliano Granado,

Daniel Wakefield Pasely, Scott McGuire, Jennifer Holcomb, George Rocha,

Nina Stotler, Caleb Woods, Dustin Beatty, Shannon Davenport, Kelsey Goodrich,

Ron Croudy, Martin Carvajal, Ben Ferencz, Jules Davies, Jedd Rose

J E A N I N E P E S C E

Jeanine Pesce is a writer, a stylist

and the founder of RANGE, an

editorial platform and creative agency

specializing in active and outdoor

trends. With a background in fashion

and trend forecasting, Jeanine

has seamlessly merged a love for

writing and sports with an extensive

knowledge of design and production,

thus establishing a distinctive voice

within the industry. She currently lives

in San Francisco, California.

t h i s i s r a n g e . c o m

@ t h i s i s r a n g e

A L E X G O M E S

Alex Gomes resides in Brooklyn, New

York, and after being a grant writer

for a number non-profit organizations

over the years, has developed a

keen knack for grammar. She helps

copyedit and writes for RANGE

as well as Green Label, an online

magazine featuring the latest stories

and emerging trends in art, music,

action sports, and lifestyle.

b r o o k l y n - b a k e d . c o m

@ a l e x i l a w l e s s

S E T H N E I L S O N

Seth Neilson is an illustrator,

photographer, designer and creative

director with a penchant for moderate

alpine routes, lake swimming, and salt

and vinegar potato chips. He lives,

works, and plays in Bozeman, Montana

with his wife and four children.

s e t h n e i l s o n . c o m

@ s e t h s q u a t c h

H A L L E Y R O B E R T S

Originally from Santa Fe, New Mexico

and now a west coast wanderer,

Halley is a photographer and designer

with an MFA in collaborative design.

She is currently the creative director

at Westerlind as well as being the

head of digital and e-commerce.

When not wrangling digital files and

winding film, Halley enjoys being on

the road, cooking a good meal, and

swimming in a big river.

w e s t e r l i n d . u s

@ h a l l e y r o b e r t s

B R I A N M E R R I A M

Brian Merriam is a photographer and

musician based in Brooklyn, New

York. His work seeks to document the

forgotten corners, empty roads, and

nowhere places of America and beyond.

t h e g h o s t o f b r i a n m e r r i a m . c o m

@ b r i a n h m e r r i a m

w e w o u l d l i k e

t o t h a n k o u r

s p o n s o r s , b e c a u s e

w i t h o u t t h e m , t h i s

i s s u e w o u l d n o t

b e p o s s i b l e . m a j o r

h u g s a n d h i g h f i v e s

a l l a r o u n d :

C O R D U R A ®

K E E N

V E N T U R E O U T

S I E R R A D E S I G N S

S T R U K T U R E V E N T

W I T H O U T W A L L S

W E S T E R L I N D

A L I T E

S N O W P E A K

B I O L I T E

Y A K I M A

R A N G E

I S S U E O N E

S U M M E R 2 0 1 4