シャドーイング練習: 8 Designs That Inspired i-D Magazine's Editor in Chief | Source Material - 動画で英語スピーキングを学ぶ

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Hi, I'm Tom Betridge and this... is my source material.

Okay, so your producers were like, hey, are there any magazines we can get you?

I was like, I'd really like the first issue of Joe's Magazine.

Which was this magazine, Joe McKenna, who's one of the most legendary stylists in history made.

And it was unbound, so this is just folded paper.

And the cover's this amazing painting of a sort of renaissance woman smoking a cigarette, I guess.

It's so fashion and it's so chic.

This kind of text layout I think is incredible.

You know, Marc Jacobs in conversation with Polly Mellon, Carleen Cerf.

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.

Colors Magazine was funded by United Colors of Benetton.

Technically it was kind of like a corporate branding project.

And it was created by Olivero Toscani, who is like a creative director who kind of for me

is the ultimate blueprint of like image making in the modern age.

And I thought Colors was a really incredible magazine because it almost sought to like document the world.

This tension between an image and then when you put a text on top of it, you make it something totally different.

And that's really like the core principle of magazine making.

National Geographic went to art school and was on acid.

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.

It was such a perfect expression of his thesis.

The magazine takes after the glossy People magazine kind of printing,

and even the graphic design very much refers to that kind of mass market thing.

But then inside of it you have like this really thoughtful exhibition catalogue.

Actually kind of rigid and like very Swiss looking in a lot of ways.

They had a stack of them there and I was just like...

This is like...

O3 2 C issue 33, 2017.

Frank Ocean shot by my friend Petra Collins, styled by my friend Mel Ottenberg, who was the fashion director at the time.

I just really love the cover story of this magazine, because it kind of encapsulates this sort of teenage wasteland feeling.

Frank has become such a mythical figure since then.

It's one of those things that I feel like really ages, interestingly, with time.

I also wanted to do an unboxing.

I was in Paris last week.

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.

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.

It's such an obscure, kind of like niche publication.

Something that really resonated with the students was this kind of like material quality to it.

It comes in this box, there's like confetti in it.

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.

I like to think about print in the most tactile terms possible.

Obviously, they have a lot of freedom, being kind of like a boutique publication to do crazy printing techniques and stuff.

It's so fun kind of parsing through this imagery

and having to go through it in this funny way because it's not bound and stuff.

It's just a really great expression of what I think the power of magazines is today.

So this was the first issue of High Snobody magazine when I was the editor-in-chief there.

And like, I was obsessed with this idea of of having a bunch of little Migos all over the cover.

Kind of reminded me of Richard Scarry.

There's this genre called Vimmel Builder, which are images that are really ornate and have lots of detail.

Hieronymus Bosch or Where's Waldo are both Vimmel Builder.

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.

John and I really wanted to make a magazine that looks like a fashion magazine

and like play off the tropes of 90s GQ.

I actually have pages that have product recommendations.

16 Sandals is like, I'm like, that still kills me.

Or like, Damn Shorty for like our short shorts thing.

This is my first issue as editor-in-chief of ID.

We spent a lot of time in the archive, you know, in the early decades, 80s, 90s especially, they would just find cool people

that they met going out or whatever and they would just put them on the cover, turn them into icons.

I kind of wanted to do like the 2025 version of that.

So we did a nationwide casting call with Jen Vendetti, who's a really amazing casting director.

And Jen helped us find Enza, who was our unknown cover star.

So she was a senior in high school in suburban Cleveland, Ohio.

Was like the star actor at her school plays and aspiring model, LARPer.

We went to visit her for three days, me and Aiden Zemiri, who shot the story.

And we spent just like the first day just like hanging out

and seeing her world and where she goes with her friends.

On the shoot days, we shot her in her environment, in her room, in her living room.

This picture was like at the drama club that she's in in school.

So this was like a really special magazine for me

because it was sort of like about this idea of like the reference system.

I got really down a rabbit hole in like the ID history

and like so much of the stuff in here is a reflection of that nerd out session.

This is the second issue I did of ID.

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.

We had just discovered that 2025 was like the first year where like people born are gen beta.

So we wanted to kind of have like the first like gen beta magazine cover.

We did this photo shoot with this beautiful baby on the cover winking, which was really great.

What we did was we actually, in lieu of a profile, we asked like a lot of important artists and politicians

and figures in the world to give advice to someone born in 2025.

It's funny because we actually design on Figma.

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.

You know, because graphic design can be very systematic.

I think something

that was a real innovation for ID was it used graphic design in this very expressive way

and this very DIY kind of way.

Collaborative tools where you can just drag and drop stuff

and multiple people can feast on it at once is like a really fun way to design a magazine

and like not the way I came up designing magazines.

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このレッスンの語彙とスピーキングのポイント

このB2レベルのスピーキングレッスンは、動画「8 Designs That Inspired i-D Magazine's Editor in Chief」を教材にしています。繰り返し出てくる語は次のとおりです：magazine, cover, issue, design。この動画には、シャドーイング用の文が88文、単語が1236語あります。音声の長さは6:50です。話す速さは速く、1分あたり約181語です。音のつながりや弱く発音される音が多くなります。単語の83%は英語の頻出3,000語に含まれます。残りは練習の前に確認しておきましょう。

この動画の重要語彙

動画の中で特に難しい単語15語を、発音と意味つきで紹介します。

単語	発音	意味
aspire 動詞	/əˈspaɪɚ/	希求する, 熱望する
blueprint 名詞	/ˈbluːˌpɹɪnt/	青写真
confetti 名詞	/kənˈfɛ.ti/	紙吹雪
glossy 形容詞	/ˈɡlɔsi/	艶やか
mythical 形容詞	/ˈmɪθɪkəl/	神話の
obsess 動詞	/əbˈsɛs/	取り付く
sandal 名詞	/ˈsændəl/	サンダル, 草鞋
wasteland 名詞	/ˈweɪs(t)ˌlænd/	荒地
boutique 名詞	/buˈtik/	ブティック
chic 形容詞	/ʃik/	シックな, 素敵な
rigid 形容詞	/ˈɹɪd͡ʒ.ɪd/	硬い
imagery 名詞	/ˈɪmɪd͡ʒɹi/	画像
obscure 形容詞	/əbˈskjʊɹ/	朦朧とした, 不明瞭
niche 名詞	/nɪt͡ʃ/	壁龕
fatigue 名詞	/fəˈtiːɡ/	疲労, 疲れ

動画に出てくる句動詞

単語	意味
come up 動詞	上がる, 登る
go out 動詞	出る

この動画の文法

話し手がよく使っている文型を、動画の実際の表現とともに紹介します。

文型	動画での表現
受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てる	is just folded · was funded · was created
関係詞節 who / which + 節 — 人や物について情報を加える	friends who make · Builder, which are · winking, which was

注意したい発音

話し手はI'm, don't, I'dなど、短縮形や弱形を4回使っています。聞こえたとおりの短い形で発音しましょう。

「th」の音: mythical /ˈmɪθɪkəl/, thoughtful /ˈθɔːtfəl/, thesis /ˈθisɪs/
「sh」と「zh」の音: chic /ʃik/, nationwide /ˌneɪ.ʃənˈwaɪd/, recommendation /ˌɹɛkəmɛnˈdeɪʃən/, politician /ˌpɑ.ləˈtɪʃ.ən/, reflection /ɹɪˈflɛkʃən/
長い単語（アクセントの位置に注意）: encapsulate /ɪnˈkæps(j)ʊˌleɪt/, retrospective /ˌɹɛt.ɹə(ʊ)ˈspɛk.tɪv/, collaborative /kəˈlæb.ə.ɹə.tɪv/, systematic /ˌsɪs.tɪˈmæt.ɪk/, recommendation /ˌɹɛkəmɛnˈdeɪʃən/

日本語話者が苦手な音：

/r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: blueprint /ˈbluːˌpɹɪnt/, collaborative /kəˈlæb.ə.ɹə.tɪv/, reflection /ɹɪˈflɛkʃən/
/v/ — /b/ にならないように、上の歯を下唇に当てる: expressive /ɪkˈspɹɛsɪv/, retrospective /ˌɹɛt.ɹə(ʊ)ˈspɛk.tɪv/, collaborative /kəˈlæb.ə.ɹə.tɪv/, archive /ˈɑɹˌkaɪv/
/f/ — 「フ」ではなく、上の歯と下唇で出す: confetti /kənˈfɛ.ti/, thoughtful /ˈθɔːtfəl/, fatigue /fəˈtiːɡ/, feast /ˈfiːst/, fold /ˈfəʊld/

この動画での練習方法

まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
自分の声を録音して元の音声と比べます。aspire, blueprint, confettiなどの単語に特に注意しましょう。

シャドーイングとは？英語上達に効果的な理由

シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。

シャドーイングのやり方: ステップ別の完全ガイドを読む →

シャドーイング練習: 8 Designs That Inspired i-D Magazine's Editor in Chief | Source Material - 動画で英語スピーキングを学ぶ

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