Range

Issue One
Summer 2014
W W W . T H I S I S R A N G E . C O M
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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 ofer 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 NOW
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C OR DU R A : FA S H I ON
ME E T S F U NCT I ON
V I CTORY P R E S S S H R E DS A ME R I CA !
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MA DE - I N- USA
YON DE R J OU R NA L :
WE ST E R N R E CR E AT I ON
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K E E N: D O MOR E + DE S I G N B E T T E R
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SOUT H OF NOWH E R E
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V E NT U R E OUT @ OR S M
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P I R AT E R A DI O
B E ST HAT S E V E R !
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S I E R R A DE S I G N S
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R E V I VA L R E T U R N
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T H E E DI T
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OUT D OOR T R E N DZ
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A R E YOU NOR MC OR E
OR OUT D OOR ?
O N T H E C O V E R
D U N E S
B R I A N ME R R I A M
C O L L A G E B Y
J ONAT HA N CA MMI SA
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R A NG E
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R A NG E
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 ofce, 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 afer
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
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 diferent-
ly and they’ve inherited an entirely difer-
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
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 ofce, 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 shif. Not downstream, certainly not
upstream, but just plain old mainstream,
cofee 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.
“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 shif. Not
downstream, certainly not upstream,
but just plain old mainstream.”
“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.”
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R A NG E
When Cordura developed its latest technolo-
gy 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 sof 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 sofware 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 meets Function Collection to life.

R A N G E What makes Fashion Meets 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’mjust putting out more stuf.
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 sof
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 proj-
ect 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 sof, next-to-skin feel all in one.
What design features make the 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
newsilhouettes. That’s where the fantasy and dialogue of newforms can
meet the more utilitarian side of function, meaning once all the func-
tionality boxes are checked, it’s exciting to dreamup 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.
Specially engineered fibers can channel moisture, repel water and
move air through a hollow core. The idea of wearing jeans is now
more comfortable and more versatile. If you want to ride your bike
in the rain or climb on a hot day, think denim. And thank Cordura.
Before Cordura, alpinists had very limited op-
tions when it came to climbing gear. Canvas was
heavy and wouldn’t stand up to the elements of
the big international mountains. When Kletter-
werks 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.  Afer 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.
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.
Combat Wool
Think Denim
Got Your Back
The New Guy
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 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
A L E X V A L D M A N
“Cordura is one of those
fabrics that possess  so many
diferent 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 makers
decade afer decade.”
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. Cor-
dura and Manhattan Portage recently unveiled a
collaborative line of daypacks, messenger bags and luggage—all with
the goal of lightweight durability. The colors pop, too.
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 G
C 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
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 .
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 .
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R A NG E
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. KEENhas grown from10
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 diference for our
fans through our products, but also through
our business practices and the way that we act
as a company.” By ofering grants and support
through their giving program Hybrid.Care,
KEEN partners with a range of nonprofits and
DUCKWOR T H S U P P LY CHA I N
I
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 youwedon’t havetheinfrastructure,
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.
arethereal rebels, thereal Americanrevolutionaries.
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 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
Problem solvers, inquisitive innovators, or whatever you want to call them, at KEEN, thoughtful,
meaningful design reigns supreme.
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.” 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
1 1 1 0
R A NG E X WE ST E R L I N D
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 MME R 2 0 1 4
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 3 1 2
S U MME R 2 0 1 4
Decentralized communication: no towers, no routers, no networks
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, NewYork.
“I wanted to know if my brother was okay or if my neighbors
needed help.”
Afer the storm cleared, she and her brother, Jorge Perdermo,
architected a de-centralized, entirely of-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 ofine 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 of-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 shif 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.
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 themthrough Tumblr.
They’re not necessarily just going of 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 aminto 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
showpreviously 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 cofee, 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 cofee 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.
T
E V E NT S & S E MI NA 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
VI P 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 I DSA;
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
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 A T
W W W . G O T E N N A . C O M
How radical are you willing to be?
i erra Desi gns i s 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 efciency, 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 diferent 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.
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 NG 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
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.
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 handcrafed with materials
sourced straight fromthe Earth.
Take Heathermarie Heaton, a Washington farm
girl turned L.A. stylist,  now designing handcraf-
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 creatorand 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 handandgathers materials usingtraditional 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 fromtheir 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 handcrafed object lies at the heart of the Maker Movement’s
past and present.
The Arts and Crafs 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
Geofrey Holstad, an illustrator and graphic designer and Ryan
Greaves, a photographer, ofers 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 craf 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. 
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 MME R 2 0 1 4
1 5
T
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.
OY 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 NG 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 MME 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
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BOULDER
DO YOU LI VE I N
BUSHWICK
DO YOU LI KE
SEI NFELD?
YES NO
DO YOU WEAR
SPORT SANDALS?
YES NO
HOW LONG HAVE YOU
HAD YOUR PATAGONI A FLEECE?
COTTON
MERI NO
WOULD YOU CONSI DER
“MOM” J EANS
“HOT” RI GHT NOW?
YES NO
DO YOU WEAR
A HEMP NECKLACE?
YES NO
WOULD YOU WEAR
A GRAPHI C TEE?
YES NO
DOES YOUR DOG
WEAR A BANDANA?
YES NO
DO YOU KNOW WHO
DEV HYNES I S?
YES NO
DO YOU KNOW WHAT
SEAPUNK I S?
YES NO
WOULD YOU ROCK
A FANNY PACK?
YES NO
DO YOU OWN A
MI NI VAN?
YES NO
DO YOU CAMP I N I T?
YES NO
HAVE YOU EVER OWNED
WHI TE REEBOKS?
YES NO
DO YOU LI KE
CAT MEMES?
YES
DO YOU WEAR
THEM WI TH SOCKS?
YES NO
HAVE YOU EVER BEEN
BACKPACKI NG?
YES NO
THIS
SEASON
SINCE
CHILDHOOD
PI CK ONE:
WOULD YOU WEAR
A TURTLENECK?
YES NO
BEANI E
BASEBALL HAT
I S STEVE J OBS
YOUR FASHI ON I CON?
YES NO
SERI OUSLY?
DO YOU DRI NK
CRAFT BEER?
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 NG E
Are you
Normcore
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 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 our 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.
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, Jefrey 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
Al ex Gomes resi des i n Brookl yn, New
York, and after bei ng a grant wri ter
for a number non-profi t organi zati ons
over the years, has devel oped a
keen knack for grammar. She hel ps
copyedi t and wri tes for RANGE
as wel l as Green Label , an onl i ne
magazi ne featuri ng the l atest stori es
and emergi ng trends i n art, musi c,
acti on sports, and l i festyl e.
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
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