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MOUNTAINGUIDES C H A M O N I X

G R I N D E L W A L D

PHOTO-GRAPHY

F A C ET O F A C E

S A F E T Y M A T T E R S

RISE UP COLLECTIVE

SKIFREETOURING

N E W G E A R P R E V I E W

r i s e u pIt all starts when we leave the ground moved by a force

that calls us from the heights. This need of altitude is in

our nature. We nurture it through our achievements. Our

first one was in 1950 with the Annapurna Millet team. Great

legends followed: Bonatti, Messner, Profit, Escoffier…

They all made history. Our team work makes us grow. And we

continue to move forward. Together we design our equipment,

tested peak after peak. It is most reliable and innovative.

Mountaineering is an inexhaus-tible source of inspiration. It

makes you face difficulties but never give up. The spirit of those

who always look up. Conditions are tough? It makes it more

fulfilling. Because once you reach the top, the feeling of freedom

dominate everything else. In the end, you feel you have grown.

This is Rise Up.

ed

ito

4 REPORTAGEChamonix - Grindelwald : A certain idea of the mountains

C O N T E N T S

30 VERTICAL LIFEA common enthusiasm for the vertical dimension and for photography.

24 GEAR PREVIEWSafety matters: backpack and jacket.

14 COMMUNITYRise Up Collective : Disruptive creativity and excitement for the optic nerve.

Cover & edito photo : 6:00 am, -15°C, Jungfrau© Andres Beregovich

EDITORMillet France - 21 rue du Pré Faucon - PAE Les Glaisins74940 Annecy Le Vieux - www.millet.fr

CONTRIBUTING EDITORGuillaume Desmurs / DD & Fils

DESIGNJulien Bouthet

PHOTOGRAPHERSJon GriffithJeremy BernardAndres BeregovichGuillaume DesmursStudio Bergoend

PRINTINGImprimerie ICA - PEFC certified paper

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CHAMONIX x GRINDELWALD

W I T H A L E X D E VO UA SS O UX A N D LO R E N Z F R U T I G E R

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In Chamonix as in Grindelwald, they have always had a certain idea of alpinism. An imaginary line links these two global capitals of mountaineering. A community of minds reaches between France and Switzerland, between Mont Blanc and the Eiger; between the Aiguille du Midi and the Jungfrau. They are two faces of the same deep rootedness in the beauty of places, as embodied by the guides. We went to meet Alex Devouassoux in Chamonix, and Lorenz Frutiger in Grindelwald. Two personal variations on a theme: having a certain idea of one’s profession.

c h a m o n i x - g r i n d e l w a l d

a certain idea ofthe mountain

WO R D S A N D P H OTO S : G U I L L AU M E D E S M U RS

Alexandre Devouassoux Compagnie des Guides de Chamonix Mont-Blanc.

Lorenz FrutigerGrindelwald Mountain Guides Association.

lex Devouassoux is 31 years old, Lorenz is 36, and they are both guides. They live surrounded by

mountains. Austere rock faces, dusted white in early autumn, and glaciers disgorging seracs, have been part of their scenery since childhood. The geographic scenery, of course, but also in their imagination. When Lorenz scaled his first 4,000m peak (Mönch) aged 14 with his father, or when Alex skipped school to go and ski in fresh powder, they were both exercising, as children, their inalienable right to explore the mountains.They were not born guides; they became them. Both preferred skiing at first, before the mountains cast their spell. For Alex, it was skiing and snowboarding, on increasingly sheer terrain, which convinced him to become a guide as one enters mountain orders. For Lorenz, the process was staggeringly fast, a sudden revelation – when he was 18, an age when you pledge allegiance to your passions. Alex plays host to us in the house he is

building; the ridge of the roof points towards the Aiguille du Midi. Lorenz serves a cup of chai tea – what memories of South American experiences does this milky drink conjure? – in a Grindelwald bar that he helped build, where the old guides’ office previously stood.Their gestures have the slowness of those whose job is to grip material. They operate with humble efficiency, a legacy of the high mountains’ hostility. Up there, you must be able to earn acceptance. And that helps to make life better down below.One has a typical Chamonix surname, Devouassoux, which is carved on the façade of the Maison des Guides, and on tombstone marble in Chamonix cemetery. The other bears on his face the effects of icy ascents, abrasive rock, and the winds of Greenland and Patagonia. They live and work in two of the world’s mountaineering epicenters: Chamonix and Grindelwald.One is French; the other, Swiss. Yet they both have exactly the same accent

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I ’ V E B E E N A F U L L - T I M E G U I D E S I N C E 2 0 0 5 , A N D I S T I L L L O V E I T A S M U C H A S E V E R .A N D A F T E R E V E R Y S E A S O N ,I T H I N K T O M Y S E L F , “ T H A TW A S M Y B E S T E V E R ! ”

“In this business, you can easily get exhausted during the summer high season. You can be on your knees after two months’ sleeping in packed refuges! So it’s nice extending the season slightly, as far as October. Guides often stop in mid-September, even though in October,

weather permitting, you can still get work. I’ve been a full-time guide since 2005, and I still love it as much as ever. And after every season, I think to myself, “that was my best ever!” So if my body’s still up to it, I’d like to keep on guiding for the next thirty years!”

“Many guides have two jobs. I work in artificial snow, and in winter I’m also a grooming-machine mechanic. I go guiding during my holidays and in the summer. That way, I don’t feel any pressure and continue to really enjoy my work. When

I head into the mountains, I still get as excited as I ever did, even though it’s now my profession! I love guiding, and I appreciate the fact that it’s not my whole livelihood.”



I S T I L L G E T A S E X C I T E D A S I E V E R D I D , E V E N T H O U G H I T ’ S N O W M Y P R O F E S S I O N !

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“Skiing was my route to the mountains. My heroes were all snowboarders and skiers – Marco Siffredi, Guerlain Chicherit, Luc Alphand. Then I got into ski touring, and bought my first crampons and ice axes to climb steep slopes, and from that I moved

on to mountaineering. All these granite spires and these faces – they really whet the appetite! Even though I love mountaineering in summer – Les Drus, the Aiguille Verte, the Arêtes… – skiing has remained a visceral thing for me. I couldn’t bear winter without skiing.”

A L L T H E S E G R A N I T E S P I R E S A N D T H E S E

F A C E S – T H E Y R E A L L Y W H E T T H E

A P P E T I T E !



“My father was a guide, and my grandfather was a climber, though not a guide. But despite that background, guiding was never a job that interested me. I didn’t climb much; skiing was my thing. Then one day, when I was eighteen, I met

a young guide. We talked about his work, and at that moment I thought to myself: “I want to become a guide.” I can’t explain how it happened, but it did! Three years later, I was climbing an icefall pitch on-lead with the same guide!”

L O R E N Z A L E X

W H E N I W A S E I G H T E E N , IT H O U G H T T O M Y S E L F :“ I W A N T T O B E C O M EA G U I D E . ”

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“ We’re proud to be part of the Grindelwald Mountain Guides Association. It has a long history – a heritage stretching back to 1899! Each guide has their own character and personality, but is also part of a community whose members can rely on each other. The Association was set up when wealthy British tourists began coming

to explore the mountains around Grindelwald. It was the golden age of mountaineering – as it was in France, too – and the first guides were local farmers who the tourists hired to show them the way to the summits. We’re the heirs to these mountain folk.”

“ The Chamonix Guides Company is a symbol. An institution that dates from 1821. There are nearly 160 working guides. When you join the Company, you join a family, a tight-knit nucleus. You always feel supported – if you get injured, for instance. The Company was actually founded to institute solidarity between the guides.”

W H E N Y O U J O I N T H E C O M P A N Y , Y O U J O I N A F A M I L Y , A T I G H T - K N I T N U C L E U S .

Y O U A L W A Y S F E E L S U P P O R T E D

E A C H G U I D EH A S T H E I R O W NC H A R A C T E R A N DP E R S O N A L I T Y , B U TI S A L S O P A R T O F AC O M M U N I T Y W H O S EM E M B E R S C A N R E L YO N E A C H O T H E R .



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“The Eiger, the Mönch and the Jungfrau are our answers to Mont Blanc! The Mönch is the summit that people aim for most often. And the Eiger, of course, is also a tremendous attraction. What’s unique around here is how close the mountains are to the villages. The faces, like the north face of the Eiger, really are at your fingertips! Because of its geography, Grindelwald is a unique

place. The Jungfrau train, like the Aiguille du Midi cablecar, takes you up to the high mountains very quickly. Personally, I’m traveling more and more with my clients: Greenland, Iceland, Sweden, Norway, Bulgaria, and all over the Alps from the Dolomites as far as Nice. My next trip is climbing in Patagonia. In fact, I’m in the middle of getting my gear ready… .”

Millet is the exclusive apparel technical partner of the Compagnie des Guides de Chamonix and the Bergführer Verband Grindelwald.

L O R E N Z

“One of the standout attractions here is Mont Blanc. It’s what most of our clients come for. Of course, we also guide mountain lovers who aren’t necessarily looking to notch up this summit. Last week, for example, I led a 35-year-old guy who had loads of dreams about the mountains – he just wanted to spend some time up there! What’s special here are the lifts, which provide quick and

easy access to a concentrated cluster of peaks. A day trip here would take three days anywhere else, because for starters it takes a day to get to the refuge. Here, you can easily rise to 3,800m after a twenty-minute cablecar ride. You kick on to the Arête des Cosmiques, then return to the cablecar’s top platform – it’s an enjoyable taster that takes a good half-day.”

A L E X

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For mountaineers, hikers, skiers and climbers, the mountains are an

empty page. They roam all over it, inventing new and ever more surprising

routes. The witnesses of their adventures are photographers. Which is why

we are letting them have their say (and show their work) with the Rise Up

collective. Their only guideline? Disruptive creativity and excitement for

the optic nerve, while challenging the senses and verticality. The Rise Up

collective is a playground where photographers must throw down the

gauntlet to their own creativity. It’s an all-season open-air artists’ residency.

Another way of seeing things.

Because beauty is in the eye of the beholder.

ki touring, whether competitive or free touring, entails a design challenge: how best to combine

performance fabrics, lightweight materials, and comfortable constructions. Millet has built its expertise primarily with the Spain ski-mountaineering team and with freeriders (such as the Austrian Eva Walkner). To chart the creation of the ski-touring range for 2017-2018 – from idea to snow, from fabrics selection to first skiable prototypes – we handed over control to the photographers of the Rise Up collective: Jeremy Bernard and Andres Beregovich. Bernard focused on the design phase at Millet’s HQ in Annecy, while Beregovich took the prototypes to the Jungfrau glacier in Switzerland to put them through their winter paces.

Here’s their story…

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SMARTLY SUPPORTED BY

Jeremy Bernard AndresBeregovich Esteban Deronzier ©G. Desmurs

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CORKPINBOARDIn order to show the first steps in the design journey – between computer screen, sketchpad, lab tests and prototypist’s scissors - photographer Jeremy Bernard opted to use the product managers’ own tools…

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Rise Up collective

J E R E M Y B E R N A R D

or a photographer it’s a serious task, but Jeremy Bernard – who specializes in skiing, mountain-biking, and

anything that moves outdoors – is used to extreme conditions! “There’s artificial light in the offices and workrooms, which is tricky for taking photos. To showcase the process, I had the idea of moving in close and capturing close-ups with a small area of sharpness to emphasize the details – the minutiae of the work.” So Jeremy spent time with the product managers, Noémie and Pauline, plus Marina and Chloé and all the fairy hands in the prototype-making workroom. Once back in his studio, Jeremy reworked his photos, boosting the highlights so that only certain parts of the photo were visible, thus concentrating the gaze on what really matters. He then printed them on standard paper. With this rich raw material, he returned to Millet and spent a whole day in a third-floor office. “I borrowed the cork panels that the girls use for their collections. They’re covered in pinned-up sketches, notes and photos. I placed my pictures on these panels,” explains Jeremy. In a sense, he joined the dots by adding moments, faces, emotions, smiles and gazes to a work document. “I tracked the various stages – choosing the fabrics and the trims (a term covering zips, logos, hood closures) – and then I showed the designers’ sketches, the selection of the colors, the lab tests, and finally the pattern making. For that, we went down to the workroom to build a skiable prototype, and make the final tweaks to the fit sample – Noémie and Pauline make sure the zip is in the right place, that the hood comes down

far enough, that the snow skirt is in the right place… .”Lastly, Jeremy photographed the cork panels that blended his photos and work documents, in order to produce original compositions – a way of taking a visual plunge into the hectic swirl of the creative process being played out before our eyes.

f

jeremybernard

FRENCH - 27 years

freeski photographerBased in theFrench Alps.

Canon EOS 1D X Mark II

R I S E U PC O L L E C T I V EM E M B E R

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‘‘ I H A D T H E I D E A O F M O V I N G I N C L O S E A N DC A P T U R I N G C L O S E - U P S W I T H A S M A L L A R E A O FS H A R P N E S S T O ’ E M P H A S I Z E T H E D E T A I L S ‘‘

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I T R A C K E D T H E V A R I O U S S T A G E S – C H O O S I N G T H E F A B R I C SA N D T H E T R I M S – A N D T H E N I S H O W E D T H E D E S I G N E R S ’S K E T C H E S , T H E S E L E C T I O N O F T H E C O L O R S , T H E L A B T E S T S ,A N D F I N A L L Y T H E P A T T E R N M A K I N G .

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Winter is not always about soft gradients. And the rigors of bitterly cold conditions are best for validating the quality of prototypes. Once the first fit samples leave Millet’s workrooms, they must be tested at altitude and in action. Photographer Andres Beregovich tracked the testers on the Jungfrau glacier, at 3,600m altitude. Wake-up call: 4.30am…

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A N D R E S B E R E G OV I C H

fter devising and shooting the ur-ban-climbing photos for Millet last summer, Andres has now turned

his creative energy (lens and pencil) to the Jungfrau glacier in Switzerland, at 3,600m altitude. Seizing the opportunity of a brief one-day weather window, the Millet team boarded the rack train and took up two huge bags stuffed with prototype jackets, pants and backpacks.“What’s special about a prototype test is that the apparel is halfway between the design sketches and the finished product. I wanted to convey the sense of it being an intermediate stage – an incomplete process.” explains Andres. “So I mixed illustration and photography in the same image, using my preparatory sketches and everyone’s comments during the test ses-sion. During a prototype test, there’s lots of discussion, people give their opinion, and relate their experiences on the length of a jacket, the thickness of a fabric, the straps of a backpack and so on.” As well as crucial details such as the cuff opening of a pair of racing pants, which must let through the Scarpa Alien boot’s distinctive lever!As usual, Andres wrote a great deal ahead of the shoot. Opening a big yellow pad co-vered with notes and drawings, he explains that he “writes to turn my ideas into words, which helps me conceive my photos better. Shooting in the mountains demands very precise timetabling, and you mustn’t waste any time. I know exactly when the sun is going to hit slope X, and exactly when it’s going to move behind ridge Y, “he says. “The transfers between locations are long, so you have to be efficient and turn up with very clear ideas.”Andres delivers his intensely personal and

novel interpretation of this photo session on the snow: “The Rise Up collective gives me the chance to go further than in a conventional catalogue shoot. I won’t be satisfied with a photo of a hero crafting his turn? In two words: think differently.”

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ANDRESBEREGOVICH

GERMAN - 36 years

OUTDOOR photographer

Based in MUNICH

NIKON D810, 14-24MM

MOUNTAINSDON’T LIE

R I S E U PC O L L E C T I V EM E M B E R

Esteban Deronzier © Andres Beregovich

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D U R I N G A P R O T O T Y P E T E S T,T H E R E ’ S L O T S O F D I S C U S S I O N ,P E O P L E G I V E T H E I R O P I N I O N ,A N D R E L AT E T H E I R E X P E R I E N C E S

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Esteban Deronzier © Andres Beregovich

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T H E R I S E U P C O L L E C T I V E G I V E S M E T H E C H A N C E T O G O F U R T H E R T H A N I N A C O N V E N T I O N A L C ATA L O G U E S H O O T.

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Pauline Christin, Apparel Product Manager © Andres Beregovich

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“ W H AT ’ S S P E C I A L A B O U T A P R O T O T Y P E T E S T I S T H AT T H E A P P A R E L I S H A L F W A Y B E T W E E N T H E D E S I G N

S K E T C H E S A N D T H E F I N I S H E D P R O D U C T.

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Portfolio

J O N G R I F F I T H

CAM ANDCAMERA

Mountaineers tend to use both hands. Jon Griffith, however, is a rareified race of climber: he makes do with just one, as the other is busy with a magic little button, the one that triggers his

camera – the camera that took the pictures in this portfolio. Jon often works for Millet.The brand sends him on assignment at high altitude, like an astronaut.

“I go on Millet shoots for the sheer thrill!”

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angling from these vertical routes, Jon Griffith enjoys walking a tightrope in order

to capture the intense moment that will encapsulate a whole trip (and sometimes an entire life): a bare hand on the north face of the dark ogre; a shrunken face being grated raw in a crack; an arrangement of colorful bodies in perfect balance, amid the fearsome geometry of Beyond Good and Evil.“Generally speaking, photos for brand catalogues usually get shot on easy routes. But Millet assignments are always difficult climbs, and that’s the kind of route I like working on!”, he explains. “It’s unusual for a brand to take that approach, because there’s a higher chance of things going wrong. On an easy route, you know everything will run smoothly and you’ll bring back the photos. But on tough routes, there’s often only a slim chance of everyone completing the route and you getting good shots. You run the risk of ending up without a single worthwhile picture.”Griffith, who recently became a father, is a discerning connoisseur of the crags above Chamonix. For his photographic work, he has always aimed high – in both altitude and difficulty. “I’ve never fancied snapping people on Aiguille du

Midi or Cosmiques Arete, while I’m 300 meters away. That’s not the mountain world I want to show people and experience! I’ve always been keen to shoot athletes who are pushing their limits, and to do that I need to be as good as they are.” What drives the Briton, now aged 33, is a common enthusiasm for the vertical dimension and for photography, which his pictures convey: you sometimes have to grip the table to avoid falling into the void. “I love the mountains and photography together. I love the commitment it calls for. When I come back with beautiful photos from legendary routes, like on the Jorasses, I’m pleased that no one’s done it before. It’s a bit like doing a first ascent and sharing it with everyone!”

D

I’ve never fancied snapping people on Aiguille du Midi or Cosmiques Arete, while

I’m 300 meters away. That’s not the mountain world I want to show people and

experience!


“In the Jorasses, and a chunk of ice has just hit me in the eye. I couldn’t see with my right eye, so it was hard taking photos. It wasn’t great for carrying on climbing, either! That often happens, it wasn’t my first time.”

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AIGUILLE DES PELERINSBEYONd GOOD AND EVILPHOTOSHOOT FOR MILLET TRILOGY F W14.15

“Seb Ratel in the legendary groove of Beyond Good And Evil.He’s free-climbing, whereas most people aid-climb it! I’d gone up the day before to check the route was fit for shooting, and to see if we could get up it.”

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!”.


GRANDES JORASSES NORTH FACECOUZY-DESMAISON VARIANTPHOTOSHOOT FOR MILLET TRILOGY F W 15.16

Portfolio

“A key pitch on the Couzy-Desmaison route in the Jorasses. Sébastien Bohin is looking to place his protection. We waited a long time for the right conditions, and I’m the only photographer who’s shot this route. It’s not new, it’s a variant! Shooting this place was just mind-blowing.”

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EIGER NORTH FACEJAPANESE ROUTEPHOTOSHOOT FOR F W16.17

Portfolio

“Unlike the granite of Chamonix, the shitty limestone on the north face of the Eiger means that using an ice axe is a big ask – especially in winter. It’s more

effective climbing with bare hands. Here, Louis Laurent had to warm them up every thirty seconds.”

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safetymattersMillet commits to your safety in the mountains by designing the right gear.

y selecting quality fabrics and technologies we let you enjoy your

day in the safest possible conditions. In the mountains, safety depends on details: all the tiny points that mean everything once you’re on the slope, knee-deep in snow, with harness taut and skis tugging at your backpack. In our design workrooms, safety is considered at every stage – whether for a backpack fitted with the Alpride airbag system, a ski-touring jacket, or a mountaineering jacket.

AIRBAGThe airbag’s shape protects the user’s back & head. After inflation, the user can continue to ski with a complete field of vision.

1NEO BACKFlexible, breathable, and ergonomic back system in Ariaprene Foam. Polypropylene frame. Breathable ergonomic harness.

2MECHANICAL INFLATORit inflates the 150 litres avalanche airbag within 3 seconds. Mechanical device : No battery, No fan.

3CARTRIDGESBased on the same technology as lifejacket cartridges. Requiring no maintenance, they are certified without leaks and have been used in the Navy for almost 50 years.

4RESCUE POCKETQuick access to emergency equipment Shovel & probe.

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MAIN COMPARTMENTSpacious design leaves enoughroom to carry equipement for multi-day ski tour.

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w e i g h t - c a pac i t y40 Liters - 2700 g.

f e at u r e sAlpride® System

Ariaprenetm Back panelsHigh capacity

A 40-liters free touring backpack, with built-in Alpride 2.0 airbag system. Ideal for multi-day ski raids, it offers generous divided capacity for transporting and organizing all your safety kit and other gears.

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Protective jacket in Schoeller® 3L fabric, with wool back for optimized in-action comfort. This jacket’s design reprises the styling of the V ICON, which epitomizes the current Trilogy line, and its exclusive sapphire color. A product that’s both technical and versatile thanks to a clean-cut, understated build with the finest materials.

This innovative jacket, in Polartec® NeoShell® 3L Light, is specially designed for free touring and committing freeride excursions. Its soft fabric and athletic cut offer skiers a technical, lightweight and protective product. The protective high helmet hood, plus direct-access DVA chest pocket and Recco® reflector, are vital technical features for skier safety and comfort.

Dynamic air exchange at the surfaceof the Polartec® Neo Shell 3 layers provides the unrivaled ability to stop water and wind permeation without restricting the release of excess body heat and moisture vapor.

The RECCO® Rescue System is two-part technology. Ski resorts and rescue teams carry RECCO® detectors. The detector sends out a directional search signal, which is echoed by RECCO® reflectors worn by skiers, riders and other outdoors people. RECCO® reflectors do provide another chance.

Free Touring series I Protective Shells

Chest pocket with internal zipfor direct DVA access. It’s just a matter of time !

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Fully welded seams with wool backing for natural comfort.Water repellent zipper. Front pockets useable with a harness. The devil is in the details.

Schoeller® Wool 3 layers consists of a recycled polyamide plus elastane face for strength, and an all-wool backing to regulate temperature. A perfect balance between breathability and warmth retention.

Dual techtm construction ensure precise application of the required fabric on specific part of the body according to their own caracteristics: Insulation, breathability, stretch, resistance...

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Trilogy Limited series I Protective Shells

trilogy v iconwool 3l jkt

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‘‘It all starts when we leave the ground moved by a force that calls us from the heights’’

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