Pratica di Shadowing: 8 Designs That Inspired i-D Magazine's Editor in Chief | Source Material - Impara a parlare inglese con i video
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Hi, I'm Tom Betridge and this... is my source material.
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Okay, so your producers were like, hey, are there any magazines we can get you?
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I was like, I'd really like the first issue of Joe's Magazine.
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Which was this magazine, Joe McKenna, who's one of the most legendary stylists in history made.
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And it was unbound, so this is just folded paper.
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And the cover's this amazing painting of a sort of renaissance woman smoking a cigarette, I guess.
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It's so fashion and it's so chic.
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This kind of text layout I think is incredible.
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You know, Marc Jacobs in conversation with Polly Mellon, Carleen Cerf.
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I don't know, I think Joe's is an amazing example of how a magazine can really be almost a way of thinking out loud.
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Colors Magazine was funded by United Colors of Benetton.
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Technically it was kind of like a corporate branding project.
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And it was created by Olivero Toscani, who is like a creative director who kind of for me
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is the ultimate blueprint of like image making in the modern age.
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And I thought Colors was a really incredible magazine because it almost sought to like document the world.
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This tension between an image and then when you put a text on top of it, you make it something totally different.
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And that's really like the core principle of magazine making.
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National Geographic went to art school and was on acid.
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This is a magazine, they were handing these out at this retrospective exhibition they did for Demna at the Blenciaga HQ right before he left there.
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It was such a perfect expression of his thesis.
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The magazine takes after the glossy People magazine kind of printing,
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and even the graphic design very much refers to that kind of mass market thing.
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But then inside of it you have like this really thoughtful exhibition catalogue.
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Actually kind of rigid and like very Swiss looking in a lot of ways.
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They had a stack of them there and I was just like...
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This is like...
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O3 2 C issue 33, 2017.
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Frank Ocean shot by my friend Petra Collins, styled by my friend Mel Ottenberg, who was the fashion director at the time.
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I just really love the cover story of this magazine, because it kind of encapsulates this sort of teenage wasteland feeling.
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Frank has become such a mythical figure since then.
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It's one of those things that I feel like really ages, interestingly, with time.
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I also wanted to do an unboxing.
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I was in Paris last week.
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My friends who make this magazine called All In were launching the new issue that they made, and they also have an incredible fashion brand called August Barron.
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And it was funny because when I was teaching at Central St. Martin's earlier this year, all the students, when I asked them what their favorite magazine was, they all said All In Magazine.
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It's such an obscure, kind of like niche publication.
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Something that really resonated with the students was this kind of like material quality to it.
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It comes in this box, there's like confetti in it.
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When you think about, you know, people's fatigue with the digital world, print is very much a way to kind of like counter that.
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I like to think about print in the most tactile terms possible.
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Obviously, they have a lot of freedom, being kind of like a boutique publication to do crazy printing techniques and stuff.
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It's so fun kind of parsing through this imagery
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and having to go through it in this funny way because it's not bound and stuff.
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It's just a really great expression of what I think the power of magazines is today.
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So this was the first issue of High Snobody magazine when I was the editor-in-chief there.
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And like, I was obsessed with this idea of of having a bunch of little Migos all over the cover.
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Kind of reminded me of Richard Scarry.
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There's this genre called Vimmel Builder, which are images that are really ornate and have lots of detail.
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Hieronymus Bosch or Where's Waldo are both Vimmel Builder.
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Magazines are usually about sexy face, close-up, and soft focus or whatever, but I like the idea of having Vimmel Builder of Migos on the cover.
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John and I really wanted to make a magazine that looks like a fashion magazine
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and like play off the tropes of 90s GQ.
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I actually have pages that have product recommendations.
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16 Sandals is like, I'm like, that still kills me.
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Or like, Damn Shorty for like our short shorts thing.
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This is my first issue as editor-in-chief of ID.
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We spent a lot of time in the archive, you know, in the early decades, 80s, 90s especially, they would just find cool people
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that they met going out or whatever and they would just put them on the cover, turn them into icons.
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I kind of wanted to do like the 2025 version of that.
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So we did a nationwide casting call with Jen Vendetti, who's a really amazing casting director.
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And Jen helped us find Enza, who was our unknown cover star.
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So she was a senior in high school in suburban Cleveland, Ohio.
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Was like the star actor at her school plays and aspiring model, LARPer.
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We went to visit her for three days, me and Aiden Zemiri, who shot the story.
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And we spent just like the first day just like hanging out
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and seeing her world and where she goes with her friends.
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On the shoot days, we shot her in her environment, in her room, in her living room.
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This picture was like at the drama club that she's in in school.
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So this was like a really special magazine for me
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because it was sort of like about this idea of like the reference system.
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I got really down a rabbit hole in like the ID history
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and like so much of the stuff in here is a reflection of that nerd out session.
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This is the second issue I did of ID.
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I was really into the idea of ID being a youth culture magazine, but I was like, what's more youth culture than a baby? baby.
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We had just discovered that 2025 was like the first year where like people born are gen beta.
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So we wanted to kind of have like the first like gen beta magazine cover.
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We did this photo shoot with this beautiful baby on the cover winking, which was really great.
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What we did was we actually, in lieu of a profile, we asked like a lot of important artists and politicians
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and figures in the world to give advice to someone born in 2025.
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It's funny because we actually design on Figma.
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You know, we kind of create sort of formulas and we kind of see how things fit in those formulas, but then we break the formulas.
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You know, because graphic design can be very systematic.
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I think something
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that was a real innovation for ID was it used graphic design in this very expressive way
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and this very DIY kind of way.
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Collaborative tools where you can just drag and drop stuff
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and multiple people can feast on it at once is like a really fun way to design a magazine
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and like not the way I came up designing magazines.
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Vocabolario e note di pronuncia per questa lezione
Questa lezione di conversazione di livello B2 si basa sul video “8 Designs That Inspired i-D Magazine's Editor in Chief”. Le parole che ritornano più spesso: magazine, cover, issue, design. Questo video contiene 88 frasi e 1236 parole da ripetere con lo shadowing. Il parlato dura 6:50. Chi parla va veloce, circa 181 parole al minuto: aspettati suoni legati e ridotti. Il 83% delle parole rientra nelle 3.000 più comuni dell’inglese; conviene studiare le altre prima di iniziare.
Vocaboli chiave di questo video
Le 15 parole più avanzate del video, con pronuncia e significato:
| Parola | Pronuncia | Significato |
|---|---|---|
| aspire verbo | /əˈspaɪɚ/ | aspirare |
| blueprint sostantivo | /ˈbluːˌpɹɪnt/ | cianotipia |
| confetti sostantivo | /kənˈfɛ.ti/ | coriandoli |
| expressive aggettivo | /ɪkˈspɹɛsɪv/ | espressivo |
| glossy aggettivo | /ˈɡlɔsi/ | lucido, patinato |
| mythical aggettivo | /ˈmɪθɪkəl/ | mitico, leggendario |
| obsess verbo | /əbˈsɛs/ | ossessionarsi |
| resonate verbo | /ˈɹɛz.əˌneɪt/ | risuonare |
| retrospective aggettivo | /ˌɹɛt.ɹə(ʊ)ˈspɛk.tɪv/ | retrospettivo |
| sandal sostantivo | /ˈsændəl/ | sandalo |
| wasteland sostantivo | /ˈweɪs(t)ˌlænd/ | terreno brullo, brughiera |
| boutique sostantivo | /buˈtik/ | boutique |
| interestingly avverbio | è interessante che… | |
| rigid aggettivo | /ˈɹɪd͡ʒ.ɪd/ | rigido |
| thoughtful aggettivo | /ˈθɔːtfəl/ | pensieroso, pensoso |
I phrasal verb che sentirai
| Parola | Significato |
|---|---|
| come up verbo | venire fuori, emergere |
| go out verbo | uscire, andare fuori |
| go through verbo | attraversare |
La grammatica di questo video
Le strutture che chi parla usa di più, con le parole esatte del video:
| Struttura | Nel video |
|---|---|
| Forma passiva be + participio passato — conta ciò che accade, non chi lo fa | is just folded · was funded · was created |
| Frasi relative who / which + frase — un’informazione in più su una persona o una cosa | friends who make · Builder, which are · winking, which was |
Pronuncia a cui fare attenzione
Chi parla usa 4 contrazioni e forme ridotte, come I'm, don't, I'd. Pronunciale nella forma breve, così come le senti.
- I suoni “th”: mythical /ˈmɪθɪkəl/, thoughtful /ˈθɔːtfəl/, thesis /ˈθisɪs/
- I suoni “sh” e “zh”: chic /ʃik/, nationwide /ˌneɪ.ʃənˈwaɪd/, recommendation /ˌɹɛkəmɛnˈdeɪʃən/, politician /ˌpɑ.ləˈtɪʃ.ən/, reflection /ɹɪˈflɛkʃən/
- Parole lunghe — attenzione all’accento: encapsulate /ɪnˈkæps(j)ʊˌleɪt/, retrospective /ˌɹɛt.ɹə(ʊ)ˈspɛk.tɪv/, collaborative /kəˈlæb.ə.ɹə.tɪv/, systematic /ˌsɪs.tɪˈmæt.ɪk/, recommendation /ˌɹɛkəmɛnˈdeɪʃən/
I suoni difficili per chi parla italiano:
- Consonante finale — senza aggiungere una vocale dopo: blueprint /ˈbluːˌpɹɪnt/, encapsulate /ɪnˈkæps(j)ʊˌleɪt/, expressive /ɪkˈspɹɛsɪv/, obsess /əbˈsɛs/, ornate /ɔɹˈneɪt/
- /æ/ — più aperta della “e”: encapsulate /ɪnˈkæps(j)ʊˌleɪt/, sandal /ˈsændəl/, tactile /ˈtæktaɪl/, wasteland /ˈweɪs(t)ˌlænd/, collaborative /kəˈlæb.ə.ɹə.tɪv/
Come esercitarsi con questo video
- Ascolta tutto il video una volta senza parlare e annota le parole che non conosci.
- Inizia a velocità 0,75×, fai shadowing frase per frase e torna alla velocità normale quando diventa facile.
- Registrati e confronta con l’originale, facendo attenzione a parole come aspire, blueprint, confetti.
Cos'è la tecnica dello Shadowing?
Shadowing è una tecnica di apprendimento delle lingue supportata da studi scientifici, originariamente sviluppata per la formazione dei traduttori professionisti e resa popolare dal poliglotta Dr. Alexander Arguelles. Il metodo è semplice ma potente: ascolti un audio in inglese di madrelingua e lo ripeti immediatamente ad alta voce — come un'ombra che segue il parlante con un ritardo di solo 1–2 secondi. A differenza dell'ascolto passivo o degli esercizi di grammatica, lo shadowing costringe il tuo cervello e i muscoli della bocca a elaborare e riprodurre simultaneamente i modelli di discorso reale. La ricerca dimostra che migliora significativamente la precisione della pronuncia, l'intonazione, il ritmo, il discorso connesso, la comprensione dell'ascolto e la fluidità del parlato — rendendolo uno dei metodi più efficaci per la preparazione alla prova di speaking dell'IELTS e per la comunicazione reale in inglese.