Parallelo

21:15 min • 07/12/2025

Depuis vingt hivers, Pierre Guyot et Victor Galuchot skient côte à côte. Parallelo raconte cette histoire unique : deux trajectoires qui ne cessent de se croiser, se répondre et s’inventer, saison après saison. Des premières descentes jusqu’aux lignes les plus engagées, le film explore ce que veut dire partager une passion au fil du temps, quand l’amitié devient une manière de skier, et le ski une manière de raconter sa vie.

Athletes

Pierre Guyot Victor Galuchot

Locations

Les Menuires

Pierre Guyot

Profile and significance

Pierre Guyot is a French freeskier, storyteller and coach whose career traces the evolution of European freeskiing from early halfpipe contests to viral web edits and playful backcountry films. Raised in the Belleville valley and long linked to the club at Les Menuires, he first made his name in the early 2000s as a park and pipe specialist. He won the French Cup in halfpipe in 2003 and joined the national freestyle team for a five-year stint, stacking results on the SFR Tour and other European circuits before drifting away from pure competition. That competitive background gave him the technical base and confidence that still underpin his skiing today.

What truly sets Guyot apart, however, is the way he blends strong riding with humour and narrative. Over the past two decades he has moved from FIS start lists into an eclectic portfolio: parts in GPSY Feelin films, appearances in the “Bon Appétit” web series alongside Victor Galuchot, tongue-in-cheek commentary sketches and the infamous fake “quadruple backflip” clip that fooled a large portion of the ski internet. As an ambassador for black crows, he has become a kind of poet-laureate for “ski libre”: someone who can make serious terrain look welcoming and who never hesitates to laugh at himself while doing it.

Competitive arc and key venues

Guyot’s competitive arc is unusual because it starts in classic freestyle and bends gradually toward freeride and filming. As a young rider from Les Menuires he specialised in halfpipe and slopestyle, riding for the French freestyle team after his 2003 national halfpipe title. In those years he spent winters chasing SFR Tour stops and European open events, sharing start lists with the generation that pushed French park and pipe skiing toward international relevance. Results mattered, but what stuck with many observers was his ability to combine real amplitude and technical tricks with a relaxed attitude.

Midway through the 2010s, Guyot pivoted toward backcountry and freeride. He appeared in projects associated with the Freeride World Tour environment and in recap pieces from major stops like Chamonix, where he shared the mountain with riders such as Flo Bastien and Nikolai Schirmer. His focus shifted from perfect halfpipe walls to natural spines, couloirs and wind lips, without abandoning tricks entirely. At the same time he stayed close to the Belleville scene, ultimately returning as a freeride ski coach for the junior group of the valley’s freeski programme, based around Les Menuires and the broader Trois Vallées playground. These days his “main venues” are not bibbed courses but the lines he films for web episodes, the backcountry routes above his home valley and the faces he helps young skiers discover safely.

How they ski: what to watch for

On snow, Pierre Guyot skis like someone who has seen every side of the sport and decided that joy is the main objective. His halfpipe roots show up in the way he uses transitions: whether it is a natural quarterpipe, a wind lip or a shaped takeoff, he reads the wall early, sets his edge cleanly and lets the curvature of the terrain do much of the work. The result is takeoffs that rarely look forced and landings that tend to touch down high on the sweet spot rather than deep into the backseat. Even when he is simply arcing turns in a freeride line, his stance has that pipe-rider balance—hips stacked, hands forward, edges engaged from tip to tail.

Guyot’s trademark, though, is the way he tucks tricks into otherwise straightforward skiing. In web edits and in the many short clips he and his BatardGuyot partners have released on video platforms, you see nose butters on convex rolls, shifties into small drops, little backflips over trail knolls and playful grabs on medium-sized kickers that other skiers would simply straight-air. His infamous “quadruple backflip” prank—shot during a Shred It session and edited to look like a genuine four-time rotation—worked precisely because his real backflips and corks are so clean that viewers were willing to suspend disbelief. When you watch him ski, pay attention to the small details: how he uses terrain features that others ignore, how early he plants his edges, and how unfussy his upper body stays even when he adds a stylish twist to a simple feature.

Resilience, filming, and influence

Resilience in Guyot’s case is as much creative as physical. He has navigated the full cycle of a freeski career: up-and-coming contest rider, national-team regular, injuries and setbacks, then a second life as a filmer, journalist and coach. Along the way he has written for ski media, commentated events in a deliberately provocative, tongue-in-cheek style and built a backlog of short films under banners like BatardGuyot. His body of work includes touring pieces, “sauvage” ski episodes in the Alps, park edits and conceptual shorts that mix cooking, comedy and skiing—most famously the long-running “Bon Appétit” universe with Victor Galuchot, where food jokes and big lines share equal billing.

That mixture of substance and satire has made him quietly influential in francophone freeski culture. Younger skiers have grown up watching him and Galuchot treat serious terrain with a light touch, and the idea that a ski video can tell stories, invent characters and poke fun at its own clichés owes a lot to their approach. More recently, the film “Parallelo” has celebrated two decades of parallel careers between Guyot and Galuchot, presenting their shared lines and intertwined lives at festivals like High Five and reminding audiences how long he has been part of the landscape. At the coaching level, his role with the Belleville freeride juniors means that his philosophy—ski hard, stay humble, and remember that skiing is supposed to be fun—filters directly into the next generation.

Geography that built the toolkit

Geographically, Guyot is a pure product of the French Alps, but he has explored that terrain in many different ways. His home base of Les Menuires, in the Vallée des Belleville, sits inside one of the world’s largest interconnected ski areas. As a youngster he split time between snowpark laps—learning halfpipe and slopestyle skills for his national-team days—and long top-to-bottom runs that introduced him to variable snow, bumps, and the fast, directional skiing that would later feed into freeride lines. Being based in a resort with big vertical and extensive off-piste let him develop both park precision and mountain sense without ever leaving his valley.

Film projects expanded that map across the Alps. With partners like Victor Galuchot he has skied touring lines above remote villages, hunted storms in lesser-known corners of the French and Swiss Alps and visited destination resorts whenever a story or filming opportunity called for it. Clips and webisodes show him following or leading through couloirs, high-alpine faces and tree-lined pillows, often framed as part of a narrative rather than just a raw descent. At the same time, simple powder days at Les Menuires or neighbouring resorts remain a recurring theme in his output and his social channels: local laps with friends, coaching freeskiers from the valley and occasionally turning a “conditions check” into a mini-edit that reaches far beyond the Trois Vallées.

Equipment and partners: practical takeaways

Equipment is another area where Pierre Guyot’s choices mirror his philosophy of playful, all-terrain skiing. As an ambassador for black crows, he often speaks about the Atris, a mid-fat freeride ski he describes as hyper-versatile: comfortable in powder, reliable on piste, fun in bumps and chopped-up snow. In other clips he is seen on the more tailless, carve-friendly Mirus Cor, using it to turn ordinary groomers into a playground of high-angle arcs, slashes and quick butters. The message is consistent: he prefers skis that encourage creativity rather than locking him into one discipline, whether that means touring missions, funpark lines or spontaneous side-hits.

Over the years he has also been associated with performance-oriented boots from brands like Lange, reflecting his need for precision and support when he moves from playful jibbing into bigger, more exposed terrain. Combined with modern freeride outerwear and safety gear, his setup is built to handle long days—coaching juniors in mixed conditions, skinning to a ridge for a touring shot, or skiing laps for a humorous webisode. For aspiring skiers, the practical takeaway is to aim for versatile tools rather than hyper-specialised quivers: a freeride ski you trust everywhere, boots that transmit movement cleanly without destroying your feet, and protective equipment you are happy to wear every run. That kind of balanced setup makes it easier to ski with the same freedom and spontaneity that Guyot brings to his projects.

Why fans and progressing skiers care

Fans care about Pierre Guyot because he represents a version of freeskiing that is technically strong, culturally rich and never overly serious. He has stood on contest podiums, skied alongside World Tour athletes and produced clips that went viral across the global ski community, yet he consistently downplays ego in favour of shared laughter and good company. In his films and edits, the best line of the day might be followed immediately by a cooking joke, a self-deprecating sketch or a behind-the-scenes fail, reminding viewers that the point of all this sliding around on snow is enjoyment.

For progressing skiers, his career offers a refreshing roadmap. You can build high-level skills in pipe and park, shift toward freeride and touring, experiment with journalism and filmmaking, then return to your home valley as a coach—all while keeping a sense of play at the centre. Watching Guyot’s skiing with an analytical eye reveals plenty of technical lessons in balance, edge control and terrain use. Watching his body of work as a whole reveals something more important: that style is not just how you move on snow, but also how you tell stories, treat your friends and share your passion with others. In that broader sense, Pierre Guyot is not just a strong skier from Les Menuires; he is one of the enduring characters who have helped define what “ski libre” looks and feels like in the French Alps.

Victor Galuchot

Profile and significance

Victor Galuchot is a French freeride skier, filmmaker and storyteller best known as the co-creator, with Fabien Maierhofer, of the cult web series Bon Appétit Ski. Originally from the Belleville valley and strongly connected to the resort of Les Menuires, he built his career by mixing serious skiing with equally serious humour, turning backcountry missions into episodes that felt as much like road movies as ski edits. Over nine seasons and nearly sixty episodes, Bon App’ became a reference in the freeride world, with their “monster episodes” in places like Kazakhstan and Iceland premiering at European festivals and touring ski towns all winter long.

Today, Galuchot has evolved from web-series prankster to one of the most thoughtful voices in steep skiing. Supported by brands including Salomon, Les Menuires and eyewear company IZIPIZI, he continues to appear in films while writing and directing projects of his own. His recent movie “Les étoiles de la Terre” (“The Stars of Earth”) focuses on high-speed glacial lines and the fragility of the alpine environment, while “Parallelo,” co-directed with long-time friend Pierre Guyot, looks back on twenty winters they have spent tracing lines side by side. Between these films and his coaching role with the Freeski Belleville juniors, Galuchot has become an influential bridge between generations: a rider who has helped define what “ski libre” looks like in the French Alps and now passes that culture on.

Competitive arc and key venues

Although Victor has long defined himself more as a freerider than a contest specialist, he came up through the traditional structures of French ski clubs and early freestyle events. Growing up above the Belleville valley meant learning his craft in the pistes and off-piste zones of Les Menuires and the wider Trois Vallées network, where he first raced, then gravitated toward park jumps and natural hits. Those early years gave him the edge control and speed management that would later let him ski confidently on big, exposed faces.

The public first really met Galuchot through Bon Appétit, which quickly turned his “competitive calendar” into a filming calendar. Each season the crew chose a handful of destinations—classic French freeride arenas like La Grave and Sainte-Foy-en-Tarentaise, nearby giants in the Trois Vallées, and farther-flung trips to Greenland, Iceland, Eastern Europe and Central Asia. Episodes like the “monster” journeys to Kazakhstan and other remote ranges functioned as informal contests against terrain, weather and logistics rather than against other skiers. More recently his films have appeared in curated programmes at events such as the High Five Festival and regional “Ciné Montagne” and “Premières Traces” screenings, where “Les étoiles de la Terre” and “Parallelo” share billing with the biggest names in steep skiing and mountain cinema. For Victor, theaters full of ski fans have simply replaced start gates.

How they ski: what to watch for

On snow, Galuchot’s style is a blend of speed, creativity and a disarming lightness. In Bon Appétit and later films, he favours lines that read smoothly from top to bottom: strong, round turns to control speed at the top of a face, a well-timed air off a natural roll or cliff, and then an accelerating exit where he rides the fall line all the way out. Many of his best shots involve glacial or high-alpine terrain where the snow is fast and the consequences are real, yet he maintains a relaxed upper body and a stance that stays centred even as the skis chatter over firm or wind-affected sections.

What makes his skiing particularly watchable is how he tucks playful moments into serious terrain. Viewers are just as likely to see a perfectly placed shifty, a small backflip off a wind lip or a cheeky nose butter on a knoll as they are to see a straight, no-nonsense line. He uses transitions like a former park skier: reading the shape of a spine or couloir exit the way he once read kickers and halfpipe walls, and letting that shape dictate his timing. When you watch his segments, look at how early he commits to a direction change, how rarely he fights the terrain and how often he turns what could be a simple traverse or side-slope into an opportunity for a little extra style.

Resilience, filming, and influence

Victor’s resilience shows in the longevity and evolution of his career. Keeping a web series alive for the better part of a decade required constant creativity: new storylines, new locations, a steady stream of guests and, above all, the ability to laugh off bad weather, thin snowpacks and travel mishaps. Bon Appétit’s nine seasons chronicled not just great powder days but also wrong turns, broken vehicles and questionable costume choices, and Galuchot was usually in the centre of each scene, ready to turn frustration into comedy. That attitude helped thousands of viewers relate to big-mountain skiing as something welcoming, not distant and intimidating.

In recent years he has shifted his storytelling toward more introspective work without abandoning his sense of humour. “Les étoiles de la Terre” is built around high-speed glacier skiing and sharp ridges, but interviews and press around the film emphasise his concern for climate change and the future of these landscapes. “Parallelo,” made with Pierre Guyot, is both a steep-skiing movie and a portrait of friendship, reflecting on what it means to share twenty winters of lines, choices and close calls. At the same time, Victor continues to appear at festivals, write texts to accompany episodes on the Bon Appétit website and engage with audiences in Q&A sessions. For many fans, he has become not only a skier to admire but also a voice who can articulate why skiing matters in a changing mountain world.

Geography that built the toolkit

Galuchot’s skiing is inseparable from the geography of the Belleville valley. Based around Les Menuires, he grew up with access to the vast Trois Vallées network: groomed boulevards ideal for carving, hidden couloirs dropping away from the main lifts, and a huge variety of aspects and snow types. That terrain taught him to move comfortably from early-morning hardpack to midday powder and afternoon chopped snow, all within one run. Night laps and storm days around the resort added another layer, forcing him to read relief by feel and memory as much as by sight.

Through Bon Appétit and later films, his map expanded dramatically. He skied steep coastal lines in Iceland, explored remote valleys in Kazakhstan, sampled small resorts in Eastern Europe and went back to classic freeride zones across France and Switzerland. Each trip added new variables: long approaches on skins, unfamiliar snowpacks, different avalanche patterns and new cultural contexts. Yet he has always returned to his home valley, where he now helps guide young freeriders from Freeski Belleville toward their own lines around Les Menuires and its neighbours. That mix of global exploration and deep local knowledge is a big part of why his skiing feels both adventurous and grounded.

Equipment and partners: practical takeaways

Victor’s equipment choices mirror his all-terrain, story-first approach. As a long-time athlete for Salomon, he has relied on freeride skis designed to handle everything from firm resort snow to deep powder and glacial steeps, paired with boots stiff enough for precise edging but comfortable enough for long touring days. His support from IZIPIZI reflects the importance he places on clear, reliable vision in changing light, while his partnership with Les Menuires underlines his attachment to the everyday reality of a working resort: lifts, pistes, avalanche control and the local community that makes filming possible.

For progressing skiers, the practical lesson is to build a kit that encourages versatility rather than chasing a single niche. A mid-fat freeride ski with a stable platform and enough rocker to float in soft snow, boots that fit so well you forget about them, and goggles or sunglasses you trust in flat light and bright sun will serve better than a quiver of hyper-specialised gear you rarely use. Galuchot’s projects also highlight the importance of safety equipment—avalanche transceiver, shovel, probe and often a helmet and back protector—as standard, not optional. The less you have to worry about your gear, the more energy you can devote to reading terrain, choosing sensible lines and adding a touch of creativity where it counts.

Why fans and progressing skiers care

Fans care about Victor Galuchot because he has spent more than a decade showing that world-class freeride skiing and down-to-earth humour can coexist. In Bon Appétit, he and his friends turned big mountains into shared adventures, complete with cooking jokes, questionable costumes and long-running catchphrases. In newer films like “Les étoiles de la Terre” and “Parallelo,” he invites viewers deeper into his relationship with the mountains, addressing environmental concerns and long-term friendships without losing his playful tone. That balance of performance and personality has made him one of the most recognisable figures in francophone freeski culture.

For skiers looking to progress, Galuchot offers a roadmap that goes beyond trick lists. He built strong fundamentals on his home slopes, learned to use every terrain feature from piste edges to glacial walls, then used storytelling to give his skiing meaning. Watching his lines, you can study his edge control, his ability to manage speed on steep faces and the way he uses terrain to add small, stylish touches. Watching his body of work as a whole, you see how skiing can be a vehicle for friendship, creativity and even environmental awareness. That is why, whether you discovered him through an early Bon App’ episode or a recent festival screening, Victor Galuchot tends to stay in your mind long after the credits roll.

Les Menuires

Overview and significance

Les Menuires is a high-altitude resort in the Belleville valley of Savoie, France, forming one of the key hubs of the vast Les 3 Vallées ski area. The main village sits around 1,850 metres on an open, south-facing slope, with lifts rising to about 2,850 metres on peaks like La Masse and Le Mont de la Chambre. On its own, Les Menuires and neighbouring Saint-Martin-de-Belleville offer roughly 150 to 160 kilometres of pistes. Plugged into the full Les 3 Vallées network, riders can access around 600 kilometres of runs and 150-plus lifts, making it one of the largest interconnected ski domains in the world.

Built in the 1960s as part of France’s purpose-designed “third generation” of ski resorts, Les Menuires has evolved from its original concrete blocks into a mix of renovated residences and newer chalet-style districts, especially in Reberty and Les Bruyères. Its identity today is deliberately more relaxed and family-friendly than the glossier image of nearby Courchevel or Val Thorens. You get direct ski-in/ski-out access from most accommodation, an efficient modern lift system, and prices that are often more accessible than some neighbours, without losing the scale and snow security that define Les 3 Vallées.

For freeskiers, Les Menuires stands out as a versatile base in the middle of a huge playground. The resort combines its own fun zones and freestyle-oriented Pixel Area with quick access to big, north-facing freeride terrain on La Masse and fast links toward Val Thorens and Méribel. It is not the media superstar of the valley, but it quietly delivers what many riders actually want: a place where you can rack up vertical, lap park and boardercross lines, and duck into off-piste bowls, all from a single, convenient home base.

Terrain, snow, and seasons

Les Menuires spreads across several sectors on both sides of the Belleville valley. On the east side, lifts climb toward Le Mont de la Chambre and Les 3 Marches, linking the local slopes with Val Thorens above and Méribel across the ridge. On the west side, the La Masse sector rises to roughly 2,804 metres, offering steeper north-facing terrain and some of the best snow in the valley. Altitudes for the local domain range from about 1,450 metres at the lowest lifts to around 2,850 metres at the highest points, yielding a maximum local vertical drop of about 1,400 metres when snow allows top-to-bottom runs.

Within the Les Menuires–Saint-Martin area, official figures list around 150 to 160 kilometres of pistes and roughly 70 to 90 marked runs, depending on how you count feeder routes and variants. The breakdown typically includes a dozen or so green runs, more than thirty blue pistes, a strong set of red runs and a handful of black trails. The result is a gradient mix that leans heavily toward intermediate and advanced riders but still gives learners space to progress. Wide, rolling blues flow down toward the main village and out toward Saint-Martin-de-Belleville, while more technical reds and blacks drop from La Masse and the higher ridges, often with satisfying fall-lines and side hits.

The La Masse sector is particularly prized by stronger skiers. Its north-facing slopes hold cold, chalky snow long after sunny faces elsewhere in Les 3 Vallées have shifted to spring conditions, and off-piste bowls and gullies between pistes offer accessible freeride options when avalanche conditions allow. On the opposite side, the ridges toward Mont de la Chambre and Les 3 Marches provide long, linking descents that can be threaded together into circuits toward Val Thorens or Méribel, with multiple variations depending on snow, visibility and the energy level of your crew.

Snow reliability is one of the resort’s selling points. With the main village at 1,850 metres and much of the skiing above 2,000 metres, Les Menuires typically enjoys a long winter, often stretching from early December to late April. Natural snowfall on upper slopes is regularly supplemented by a dense network of snowmaking installations on key return runs and connections, helping maintain coverage even during leaner periods or warm spells. In midwinter, surfaces tend to be a mix of grippy groomed snow on pistes, cold powder in shady aspects after storms, and more variable wind-affected conditions on exposed ridges. Later in the season, south-facing slopes soften into forgiving spring corn while La Masse and shaded corridors keep winter-like snow in play.

Park infrastructure and events

Les Menuires has put real effort into fun terrain and freestyle zones. The flagship area is the Pixel Area, a dedicated snowpark and boardercross zone accessible via the Becca and Sunny Express chairlifts. Designed specifically for freestyle skiers and snowboarders, the Pixel Area includes a mix of boxes, rails, jumps, rollers and whoops arranged to serve a broad skill range. Entry-level lines use low, wide boxes and gentle rollers to introduce basic sliding and airtime, while more advanced sections build toward longer rails, sharper transitions and larger kickers suitable for riders comfortable spinning and riding switch.

The Pixel Area boardercross adds a different flavour, with banked turns, rollers and small jumps forming a timed or informal race track. It is popular with both families and park crews, and its layout encourages head-to-head runs without demanding the kind of speed and consequences found on pro-level courses. A chill-out terrace near the park acts as a natural viewing platform, turning the zone into a small freestyle arena where riders can rest, watch friends, and soak up the session atmosphere.

Beyond Pixel Area, Les Menuires offers other playful spaces that matter to freeskiers even if they are not “parks” in the strict sense. The Friendly Natural Park on La Masse mixes a themed learning area about Vanoise National Park wildlife with banked turns, ski games and a parallel slalom, making it a great venue for playful laps and family races. Additional fun runs and timed slalom zones appear around the resort, including music-backed areas like Walibi Gliss that blend terrain features with a more theme-park style experience.

While Les Menuires is not a regular stop for top-tier international slopestyle circuits, its freestyle culture is reinforced by a busy seasonal event calendar. The resort hosts local and regional competitions, family challenge days and, in summer, freestyle-focused events such as urban sports festivals and pumptrack sessions in the valley. For visiting riders, this means you are likely to find at least one park-oriented or “fun zone” event on the schedule during a typical holiday week, even if the headlines focus more on general entertainment than on elite-level contests.

Access, logistics, and on-mountain flow

Getting to Les Menuires follows the classic Tarentaise pattern. Most international visitors fly into Geneva, Lyon, Chambéry or Grenoble, then take road or rail toward the valley. Trains and long-distance buses converge on Moûtiers, from which dedicated shuttle buses, taxis and transfer services climb the Belleville valley road up through Saint-Martin-de-Belleville to Les Menuires and onward to Val Thorens. Self-drivers follow the same route, with winter tyres and chains strongly recommended during the core season, especially during or just after storms.

Once you are in resort, logistics are straightforward. Les Menuires stretches along the slope in several districts—La Croisette at the centre, plus Reberty, Les Bruyères and higher satellite areas. Free shuttle buses run along the resort, and many residences are genuinely ski-in/ski-out or only a short walk to the nearest lift. The local lift system includes fast chairlifts and gondolas from the main fronts, plus connecting lifts toward Saint-Martin and Val Thorens. Modern upgrades over recent decades have reduced bottlenecks, so moving from a morning on La Masse to an afternoon toward Méribel no longer feels like a mission.

On-mountain flow is easy to adapt to your plan for the day. Park riders often stage out of the Becca and Sunny Express lifts, cycling Pixel Area and nearby pistes for repeated laps. Freeride-focused skiers start early on La Masse, taking advantage of cold, quiet north-facing slopes before crossing back toward the main village later in the morning. Mixed-ability groups can divide between gentle blues and progression zones close to the centre and more demanding reds and blacks higher up, then regroup at mid-mountain restaurants or the main snow front. Because Les Menuires sits in the middle of Les 3 Vallées, it also works well as the starting point for full-valley tours, provided you keep an eye on last-lift times for the returns from Méribel or Courchevel.

Local culture, safety, and etiquette

Culturally, Les Menuires is known as the “friendly” face of Les 3 Vallées. The atmosphere is more relaxed and less overtly luxury-focused than some neighbouring resorts. You will find families with children in ski school, groups of friends on budget-conscious trips, and long-term seasonal staff all sharing the same terraces and lift queues. French is the dominant language, but English is widely spoken in shops, ski schools and rental outlets, and the après scene leans toward casual bars, slopeside terraces and family activities rather than exclusively high-end nightlife.

Safety follows the standard French alpine code but is especially important given the size of the domain. On-piste, riders are expected to control speed, give way to those below them, and respect signage and slow zones near lift bases and beginner areas. Popular connecting corridors between Les Menuires and Val Thorens or Méribel can get busy at peak times and in flat light, so predictable lines and awareness of traffic are key. In fun zones and parks, Park Smart principles apply: inspecting features before hitting them, calling drops, and clearing landings quickly keeps sessions smooth and avoids collisions.

Off-piste, especially around La Masse and on north-facing slopes between pistes, avalanche risk is real. Many appealing bowls and couloirs sit just beyond the groomed network. Local guides and ski schools offer freeride and ski-touring outings that combine powder hunting with education about terrain and snowpack. Carrying avalanche transceiver, shovel and probe, travelling with a knowledgeable partner or guide, and checking daily bulletins are essential steps for anyone planning to leave the marked runs. Weather can change quickly on the ridges, and wind can affect lifts that form key links home, so building conservative margins into your route choices is wise.

Best time to go and how to plan

The winter season at Les Menuires generally runs from early December into late April, with exact dates depending on snow and operational plans. For freeskiers, mid-December through late March is usually the sweet spot. In this window, base depths are solid on both local slopes and the wider 3 Vallées network, and the Pixel Area and other fun zones are typically fully set up. January often provides quieter slopes and colder, drier snow, ideal for progression and serious mileage, while February brings peak crowds but also frequent storm cycles and a lively holiday atmosphere.

March offers a balanced mix of longer days, reliable coverage at altitude and classic spring-skiing cycles. South-facing runs above the village soften into forgiving hero snow, while La Masse and shaded aspects stay firmer and more winter-like earlier in the day. Late April, when open, is mostly about relaxed, sunny laps and long lunches on terraces, with serious freeride opportunities depending on that year’s snowpack and temperatures.

Planning your trip starts with deciding whether to ski primarily in the Les Menuires–Saint-Martin sector or to roam the full 3 Vallées. A local pass is often enough for families and first-time visitors, especially given the 150-plus kilometres of pistes on offer. Freeskiers who want to sample Val Thorens’ higher glacier terrain or Méribel’s parks and couloirs will usually opt for the full-area pass. Booking ski-in/ski-out accommodation close to the lifts simplifies early starts and lunchtime breaks, and for freestyle-focused crews it can be useful to stay in districts with fast access to the Becca and Sunny Express chairs. As always in major French holidays, arranging travel, lodging and lessons well in advance is highly recommended.

Why freeskiers care

Freeskiers care about Les Menuires because it quietly offers almost everything that matters for modern riding inside a single, efficient package. You get a sizeable local domain with a strong intermediate and advanced piste network, a north-facing freeride engine on La Masse, and a dedicated freestyle and boardercross zone in Pixel Area. Add the ability to launch full-day missions across the entire 3 Vallées from your doorstep, and the resort becomes an appealing base for riders who want options without constant logistical hassle.

The vibe is another part of the appeal. Compared with some of its glitzier neighbours, Les Menuires feels accessible and unpretentious, more focused on skiing than on being seen. That translates into lift queues full of people who are there to ride, a strong local club culture, and fun zones that actually see use from dawn to last lift. Whether you are stacking park laps, chasing cold snow on La Masse, or using the resort as a starting point for big 3 Vallées circuits, Les Menuires delivers a high-value, high-variation freeski experience anchored in one of the world’s most powerful ski regions.

Brand overview and significance

Anon is Burton Snowboards’ dedicated optics and protection brand, created in 2001 to give the Burton team and everyday riders a line of goggles and helmets as progressive as their boards and bindings. Originally launched under the name Anon Optics, the brand was built around the idea of “anonymous” style that puts performance and a clean aesthetic ahead of loud branding. From that foundation, Anon has grown into a global player in snow goggles, helmets and face protection for both snowboarders and skiers, with distribution wherever Burton has a footprint.

Based out of Burlington, Vermont alongside Burton’s headquarters, Anon mixes rider-driven design with in-house engineering. The brand is best known for three pillars: Magna-Tech magnetic lens-change systems, MFI (Magnetic Facemask Integration) that snaps masks to goggles, and modern high-contrast optics (Perceive lenses, and previously Sonar by ZEISS in many models). On the helmet side, Anon integrates advanced impact technologies such as WaveCel and MIPS with BOA fit systems, building protection that sits comfortably and interfaces cleanly with its goggles.

Within the skipowd.tv ecosystem, Anon occupies the “tech-forward yet rider-oriented” lane. You see the logo on snowboarders lapping park, on freeskiers filming POV in storm conditions, and on families cruising groomers at big destinations like Whistler-Blackcomb. The combination of quick lens changes, face-mask integration and strong helmet tech has made Anon a go-to choice for riders who want practical innovation they can feel on every run.

Product lines and key technologies

Anon’s product range revolves around three core categories: goggles, helmets and MFI face protection, with a smaller selection of sunglasses and softgoods rounding things out. Goggles are organized largely into the “M Series” and related women’s-specific counterparts. At the top of the line, models like the M4 and M5 offer toric or cylindrical lenses with huge fields of view, Magna-Tech magnetic lens-change systems and Perceive optics. Mid-range models such as the M3, M2, Sync and Nesa bring similar technology into slightly more compact packages, while WM1, WM3 and other women’s designs tailor fit and styling without dropping performance.

Magna-Tech is one of Anon’s signature features. Instead of clips or rails, the lens attaches to the frame using an array of powerful magnets, creating a secure seal that you can still peel off and swap in seconds, even with gloves on. On many models, goggles ship with a second lens so riders can quickly change from bright-sun coverage to a storm lens when the weather flips. Perceive lens technology, introduced across the modern range, uses carefully tuned tints to boost contrast and terrain definition in different light bands, backed by hydrophobic and oleophobic coatings plus strong anti-fog treatments to minimize smudges and condensation.

Helmets are built around a modular technology menu. Lines such as the Oslo WaveCel and other Anon helmets combine in-mold or hybrid shell constructions with impact systems like WaveCel or MIPS. WaveCel adds a collapsible, cell-like liner between shell and head to manage rotational and linear forces, while MIPS uses a low-friction layer to allow slight movement between helmet and head during an oblique impact. Many models add BOA dials for micro-adjustable fit, passive and active venting systems and fleece or audio-compatible ear pads. MFI balaclavas, hoods and facemasks then complete the system, using hidden magnets to snap directly to the lower edge of compatible goggles for gapless coverage.

Ride feel: who it’s for (terrains & use-cases)

The “ride feel” of Anon is about what you see, what you don’t feel and how quickly you can adapt. On snow, Perceive lenses give a crisp, high-contrast view that makes ruts, wind lips and micro-transitions easier to read, especially in flat light. Toric lenses on top-end models such as the M4 balance vertical and horizontal curvature to offer a natural, wide field of view with minimal distortion, while classic cylindrical options keep a low-profile look with excellent peripheral vision. When light changes, Magna-Tech lens swaps mean you can pull into a lift line, pop the lens off, drop a new one on and be ready to drop again in seconds.

For riders who spend long days in cold, wet conditions, MFI is one of the biggest quality-of-life upgrades. Magnets along the lower frame of the goggle and in compatible face masks or hoods let you snap your mask into place without stuffing fabric under the frame or fighting with fog-prone tucks. On storm days in trees, windy traverses or chairlift rides in sub-zero temps, that secure seal keeps warm air in and drafts out while helping the goggle’s venting and anti-fog system do its job.

Anon’s helmets are tuned for the same all-conditions use. WaveCel or MIPS-equipped lids with BOA fit systems feel snug and stable whether you are carving early-morning corduroy, dropping sidecountry cliffs or taking repeated hits in the park. Vent layouts strike a balance between warmth and breathability, letting you stay comfortable on long gondola rides and hot bootpacks alike. Overall, Anon is pitched at riders who want a clean, somewhat understated look with very functional tech: park riders who change lenses often, freeriders who live in bad weather, and committed resort skiers and snowboarders who want a set-and-forget helmet–goggle combo for every day of the season.

Team presence, competitions, and reputation

Anon’s credibility has always been intertwined with Burton’s team. From the beginning, the brand was created to meet the demands of Burton’s top riders, and that continues today with a roster that includes high-level freestyle and freeride snowboarders. Coverage from snowboard media highlights Anon team riders such as Bode Merrill, jib legend Jeremy Jones and Belgian contest rider Seppe Smits, among others, which means the goggles and helmets show up everywhere from urban rail missions to World Snowboard Tour events.

Because Burton is deeply embedded in the Olympic and X Games scene, Anon products are often seen in those environments as well, even when the focus is on boards or outerwear. Reviewers from independent gear outlets and magazines regularly include Anon models in “best goggle” and “best helmet” roundups, praising the ease of Magna-Tech lens swaps, the comfort of MFI face protection and the optical quality of Perceive lenses. Toric M4 setups, in particular, are often singled out as smartly designed top-tier goggles with one of the most intuitive lens-change systems available.

Among riders and shop staff, Anon has a reputation for blending snowboard-led style with genuinely functional innovations. It is seen as especially strong for people who ride a lot in variable conditions, who value integration between helmet, goggle and facemask, and who like their gear to feel refined without being overly flashy or logo-heavy. That positioning has helped the brand cross over from pure snowboard culture into freeskiing, where many skiers appreciate the same combination of clear vision, fast adjustments and solid protection.

Geography and hubs (heritage, testing, venues)

Anon’s geographic story is tied directly to Burton’s. Design, product management and much of the brand’s creative work happen in and around Burlington, Vermont, with testing grounds in the Eastern US, the Rockies and major global destinations. Riders and staff log days in Vermont resorts, in the bigger Western ranges and across Europe and Japan, putting goggles and helmets through maritime storms, dry continental cold and every kind of mixed-precipitation day in between.

On the hill, Anon is common in North American freestyle hubs and big resorts where Burton already has strong roots. You’ll see MFI hoods and Magna-Tech goggles on film crews and content creators lapping the parks and freeride terrain at places like Whistler-Blackcomb, Vail, Mammoth, Laax or Avoriaz, as well as in countless regional hills where local riders build rail setups and side hits all season long. In Europe, the brand has grown a solid presence in the Alps through retailers and Burton flagships, and in Japan it has become a natural choice for riders chasing storms in Hokkaidō or the Nagano region.

For the skipowd.tv audience, that global spread matters because it reflects how content is made today. The same Anon M4 goggle that a rider uses for a street shoot on the East Coast might show up in a BC pillow line or a Japanese tree run later in the season. The brand’s hubs are less about one factory town and more about a traveling network of parks, streets and freeride zones where the gear is constantly being ridden, filmed and refined.

Construction, durability, and sustainability

On the construction side, Anon goggles use impact-resistant, injection-moulded lenses paired with flexible yet robust frames. The Magna-Tech magnet arrays are embedded to keep a strong lens-to-frame seal even during slams, while still being easy to separate by hand. Perceive lenses incorporate multi-layer mirror and contrast-boosting tech with durable anti-scratch and anti-fog coatings, and vents are positioned to manage airflow without creating cold spots on the face. Many models are OTG-compatible, shaped to sit over prescription glasses without pinching.

Anon helmets combine lightweight shell designs (in-mold or hybrid) with EPS foam liners and, on select models, WaveCel or MIPS systems to better manage complex, real-world impacts. BOA fit systems offer micro-adjustment around the head, while removable ear pads and liners make it easier to adapt warmth and hygiene over multiple seasons. The brand’s hardware is built for day-in, day-out resort use: it is designed to handle repeated on-and-off cycles, travel, minor knocks in lift lines and occasional heavy crashes without quickly degrading in function.

When it comes to sustainability, Anon benefits from being part of the broader Burton group, which has ambitious climate and materials targets and holds B Corp certification. Burton has committed to science-based emissions reductions, expanded use of preferred and recycled materials, and packaging that is recyclable or compostable, along with programs focused on durability and repair to keep products in use longer. Those group-level initiatives influence how Anon products are designed, sourced and shipped. For riders, that means choosing Anon is not just about performance tech; it is also about supporting a brand family that is steadily tightening its environmental and social standards across everything from factories to packaging.

How to choose within the lineup

Choosing Anon goggles starts with face shape, helmet pairing and how often you ride in changing conditions. If you value maximum field of view and want the most advanced feature mix, the M4 and M5 families are the logical place to look. Toric-lens versions give the widest, most natural view, while cylindrical variants keep a more classic, lower-profile look. Riders who prefer a slightly smaller frame or a lower price point can look at M3, M2 or Sync models, and women who want a refined fit in shorter frame sizes often gravitate toward WM1 or WM3.

For lenses, think in terms of light categories rather than just color. Perceive tints are offered for bright sun, mixed conditions and low light; having at least two lenses that cover opposite ends of that spectrum makes the most of Magna-Tech. If you often ride in storms, prioritise a lighter, contrast-heavy lens for cloudy or snowy days and reserve a darker mirror for bluebird. If you frequently wear a mask or balaclava, make sure your chosen goggle features MFI and decide whether you want a simple facemask or a full hood for deep winter.

Helmet choice depends on whether you prioritize maximum impact tech, weight or simplicity. Riders who want top-tier protection and ride a lot in consequential terrain may lean toward WaveCel or MIPS-equipped models with BOA fit systems and good vent control. Park and resort riders who spend more time on groomers and rails might opt for slightly simpler shells that are lighter on the head but still certified and well-ventilated. Always check the helmet–goggle interface: pairing Anon helmets and goggles is usually the easiest route to a gap-free, comfortable fit, especially if you plan to use MFI masks.

Why riders care

Riders care about Anon because it turns genuinely useful ideas into everyday tools without overcomplicating the experience on snow. Magna-Tech lens changes, MFI face protection and WaveCel or MIPS helmets are not just spec-sheet buzzwords; they show up in the form of clearer vision in bad light, quicker transitions when the weather changes and warmer, safer laps when the wind is howling across the ridge. For busy resort days, storm-chasing road trips and late-season park laps, that practicality can make the difference between cutting the day short and staying out for “just one more run.”

For the skipowd.tv community, Anon sits at the intersection of snowboard heritage and all-mountain reality. It comes from the same Burlington culture that helped shape modern snowboarding, yet its products are used just as much by skiers who value sharp optics and smart integration. Whether you are filming in the park, threading trees on a whiteout day or teaching friends on their first turns, an Anon setup is designed to disappear into the background while doing three vital jobs: keep your head protected, keep your face warm and keep the snow in front of you as clear and readable as possible.

Brand overview and significance

Elan is a Slovenian ski brand with an outsized impact on how modern skis look and feel. Founded in 1945 by ski jumper and innovator Rudi Finžgar, the company started by building wooden skis for partisans and local racers in the village of Begunje. From that small workshop in the Slovenian Alps, Elan grew into one of the world’s most influential ski manufacturers, with a reputation built on bold geometry, practical engineering and a very European mix of race heritage and playful freeskiing.

Elan’s factory in the Gorenjska region has become a reference point in ski manufacturing: all of the brand’s skis are still handcrafted in a single Alpine location, with tightly controlled materials and processes. In the 1990s the SCX carving ski—with its radical sidecut—helped kickstart the global carving revolution and reset expectations for how short, shaped skis could turn. Later innovations such as the Fusion integrated binding system, WaveFlex construction and Amphibio asymmetric profiles cemented Elan’s status as a true technology house rather than a badge-engineered label.

Today, Elan’s line covers everything from race-inspired piste tools to playful freeride and touring skis, with a clear philosophy: make skis that feel intuitive, confidence-inspiring and genuinely fun. The brand has a strong presence across Europe and North America, and its products are visible both under expert skiers in demanding terrain and under ambitious intermediates progressing on resort groomers.

Product lines and key technologies

Elan organizes its modern collection around clear families that map to how people actually ski. Primetime models focus on groomed snow and carving, carrying the DNA of the original SCX into contemporary shapes. They use precise sidecuts, powerful constructions and refined edge-control concepts to make high-angle carving accessible to strong intermediates and experts who want that “on rails” sensation without race-room brutality.

The Wingman series bridges frontside and all-mountain duties. Skis like the Wingman 86 combine a versatile waist with directional shapes and Elan’s Amphibio profile—camber on the inside edge for edge grip, rocker on the outside edge for easier turn initiation—paired with technologies like Tubelite woodcores, carbon rods, titanal laminates and Fusion X binding interfaces. The result is a ski that feels carved and precise on piste yet planted enough to venture into chop, crud and side hits.

On the freeride side, the Ripstick family covers waist widths from versatile everyday all-mountain to deep-snow tools. These skis lean on progressive shapes and Carbon Line technology, adding carbon reinforcement along key zones of the ski for stability while keeping swing weight low. Tubelite woodcores place carbon tubes inside the core to stiffen the ski along its length without loading it with heavy metal. The effect is a powerful yet remarkably light freeride platform that holds an edge but stays smooth in broken snow.

For creative skiers who blur the line between park and big-mountain, the Playmaker series takes a twin or twin-inspired silhouette and adds a freeride-ready construction. Double rocker, a lively core and carbon elements give it the pop and looseness needed for butters, switch landings and natural features across the resort. Women-focused lines such as Wildcat and Ripstick W apply the same technologies in lengths, flexes and stance positions tuned for lighter or smaller skiers. Elan also extends its philosophy into touring with Ripstick Tour models and into travel with the Voyager, a folding all-mountain ski that packs down for easy transport while retaining a full-performance construction and award-winning design.

Ride feel: who it’s for (terrains & use-cases)

On snow, Elan skis are best described as precise but friendly. Primetime and race-bred Ace models suit skiers who love groomers, want to feel the ski lock into a carved arc and enjoy dynamic rebound from turn to turn. They reward clean technique yet remain more forgiving and less punishing than pure World Cup race stock, making them realistic daily drivers for advanced resort skiers rather than niche tools for one event.

Wingman models are built for all-mountain riders who spend most of the day on piste but constantly duck into side hits, chopped-up bowls and afternoon bumps. They track confidently at speed yet are easy to steer in shorter, pivoted turns when visibility or terrain gets complex. The Amphibio profile makes edge changes intuitive; many skiers notice that they can roll the ski on edge and let it do the work rather than forcing every turn.

Ripstick skis are aimed at freeride and freeski riders who want to roam. Their lighter constructions make them easier to maneuver in trees, steeps and variable conditions, while the Carbon Line and Tubelite core elements keep them calm when you open it up down a big face. They are particularly appealing to skiers who split their time between storm days, chalky off-piste laps and mixed-snow resort cruising. Playmaker models add looseness and freestyle DNA to that mix, suiting riders who want to nose-butter rollers, land switch and treat the entire mountain as a slopestyle course.

Team presence, competitions, and reputation

Elan’s reputation was forged on the race circuit long before “freeride” became a mainstream term. Swedish legend Ingemar Stenmark raced his entire career on Elan skis, winning an unprecedented number of World Cup races and multiple Olympic and World Championship titles. His dominance through the 1970s and 1980s turned the small Slovenian brand into a global name and proved that skis made on the “sunny side of the Alps” could beat long-established rivals.

That competitive heritage continues in more diverse forms today. The Elan team blends freeride icons, ski mountaineers and ski cross racers, including personalities like Glen Plake, Caroline Gleich and Olympic ski cross champions Kelsey Serwa and Ryan Regez. Their presence ensures that Elan skis are not just lab projects; they are refined in real venues from World Cup courses to backcountry lines and big resort faces, with direct feedback from athletes who demand both performance and reliability.

Within the broader ski community, Elan enjoys a reputation as an “insider’s” brand: widely respected by instructors, shop techs and experienced skiers, yet sometimes less flashy in mainstream marketing than some larger competitors. This gives the brand a kind of cult status; many riders discover Elan through a friend, guide or coach who trusts the product for demanding conditions.

Geography and hubs (heritage, testing, venues)

Elan’s heart and manufacturing base sit in Begunje na Gorenjskem, in the foothills of the Slovenian Alps. The company’s history and innovations are showcased in the nearby Elan Alpine Skiing Museum, which traces the evolution from hand-built wooden skis to Amphibio-equipped carvers and modern freeride designs. This tight link between factory, museum and surrounding mountains makes it easy for engineers, shapers and athletes to prototype, test and refine skis on real snow within minutes of where they are built.

Slovenia’s position in the Eastern Alps puts Elan right next to classic venues and varied terrain. World Cup stops such as Kranjska Gora are close enough to serve as both proving grounds and public showcases. A short drive or train ride extends that reach across the wider Alpine arc, where Elan skis are ridden daily on big-name mountains in countries like Austria. This dense network of pistes, freeride zones and glacier terrain gives the brand a wide range of snow types and slope profiles to refine everything from race shapes to all-mountain and freeride waists.

Because Elan sells globally, their skis also see extensive testing and use in North America and other mountain regions, where different snowpacks and resort layouts expose strengths and weaknesses quickly. That feedback loop shapes running lengths, rocker profiles and flex patterns so that an Elan all-mountain or freeride ski behaves predictably whether it is carving hardpack in the Alps or navigating wind-affected bowls overseas.

Construction, durability, and sustainability

Construction is central to Elan’s identity. Skis are built by hand in a single factory, allowing tight control over layups, quality checks and small design tweaks from year to year. Laminated wood cores form the backbone of most models, with materials like carbon rods, fibreglass, titanal and high-quality bases layered around them. Technologies such as Tubelite woodcores insert lightweight carbon tubes into the core to stiffen the ski without adding unnecessary mass, while SST sidewalls and carefully shaped laminates deliver efficient power transfer and edge grip.

Elan also invests heavily in durability and long-term performance. Many skis are designed to maintain their flex and rebound over time rather than feeling “tired” after a season of hard use. Construction details like robust edges, reinforced mounting zones and high-quality gliding bases help the skis withstand repeated tuning, impacts and aggressive skiing in mixed snow without quickly losing their character.

Where Elan stands out among big manufacturers is its explicit sustainability program. The company powers its production with 100% renewable electricity and has installed on-site solar capacity to cover a significant part of its energy needs. A high proportion of the raw materials used for skis are sourced within the European Union, with a large share coming from suppliers located within a few hundred kilometres of the factory. Many models use more than 70% natural and recycled materials by volume, and graphics are applied with low-emission digital printing technologies. Combined with durable, repairable constructions and initiatives encouraging the reuse and resale of skis, this “sustainable by nature” approach makes Elan a leader among eco-conscious ski brands.

How to choose within the lineup

Choosing the right Elan ski starts with an honest look at where and how you ski. If most of your days are spent on groomers, working on edging, short turns and high-angle carves, Primetime and Ace-series models are the natural starting point. Look for narrower waists, turn radii that match your preferred turn shape and a stiffness level that matches your strength and speed: softer for lighter or less aggressive skiers, stiffer for powerful riders who like to push.

If you divide your time between groomers and mixed terrain—chopped snow, sidecountry stashes, afternoon bumps—Wingman models cover that “all-mountain with a frontside bias” sweet spot. Pick a waist width in the mid-80s if you still prioritize edge grip, or slightly narrower if your hills are often firm. For skiers whose priority is off-piste laps, soft-snow bowls and natural features, Ripstick skis in the upper-80 to 100-plus millimetre range make more sense. Narrower Ripsticks lean towards everyday versatility; wider models favour powder and big-mountain lines.

Playmaker models make the most sense if your idea of a perfect day includes side hits, switch skiing and creative lines through natural terrain, while Wildcat and Ripstick W options provide similar performance envelopes with sizing and flex tuned for many women. Tour-focused riders should look at Ripstick Tour skis, which trim weight for uphill efficiency while keeping familiar handling on the descent. In all cases, pairing the ski with an appropriate binding and setting realistic expectations about your speed and terrain will help you land on a setup that feels supportive rather than overwhelming.

Why riders care

Skiers gravitate to Elan because the brand blends heritage, innovation and feel in a way that shows up clearly on snow. The company that helped launch carving with the SCX continues to experiment with geometry and construction, yet the skis rarely feel gimmicky; they feel sorted. Whether you are a long-time carver chasing perfect arcs, a freerider looking for a light but trustworthy big-mountain platform, or a creative park-and-pow skier who wants playful shapes without sacrificing edge hold, there is usually an Elan model that fits.

Riders who care about where and how their gear is made also find a lot to like. Knowing that your skis are handcrafted in one Alpine factory, using largely local materials and 100% renewable energy, adds real weight to the “sustainable by nature” claim. Add in a history tied to legends like Ingemar Stenmark and a modern team that spans Olympic ski cross champions, freeride pioneers and committed mountain activists, and Elan becomes more than just a logo on the topsheet. For many skiers, choosing Elan is about backing a brand that has repeatedly pushed the sport forward while staying grounded in the mountains that inspired it in the first place.

Brand overview and significance

Uvex is a German family-founded protection specialist that has become one of the most recognizable names in ski goggles and helmets worldwide. The company traces its roots back to 1926, when Philipp M. Winter began producing protective eyewear in Fürth, Bavaria. Three decades later, in 1956, his son Rainer coined the name “uvex,” derived from “ultraviolet excluded,” to emphasize the brand’s focus on high-quality lenses that block harmful UV radiation. Over time, the business evolved into the broader uvex group, with a sports division that focuses on helmets and eyewear for winter sports, cycling and equestrian, and a safety division that provides personal protective equipment for industry.

In skiing and snowboarding, uvex is synonymous with high-performance goggles and helmets that blend race-level protection with everyday usability. The wintersports line supports everyone from junior racers and World Cup athletes to recreational skiers and families. Uvex has long been embedded in elite competition, equipping German Ski Association athletes for more than half a century and putting its logo on podiums in alpine racing, ski jumping, ski cross and Nordic disciplines. At major events such as the Winter Olympics in Sochi, hundreds of athletes competed in uvex helmets and goggles, reinforcing the brand’s status as a go-to choice at the highest level.

That visibility is backed up by recognition in the wider market. Uvex has received design and brand awards over the years, including a “Brand of the Century” designation in Germany for its ski goggles. For the skipowd.tv audience, the brand occupies a clear lane: a technically driven European manufacturer with deep roots in race culture, but whose products are just as common on everyday piste laps in Austria as they are in world-class downhill venues.

Product lines and key technologies

Uvex’s wintersports offering is organized primarily around two pillars: ski helmets and ski goggles, supported by lifestyle eyewear that crosses over into year-round use. Within uvex wintersports, helmet ranges cover everything from compact, lightweight all-mountain lids to FIS-approved race helmets and kid-specific models. Many helmets use robust ABS hardshell or hybrid constructions with EPS inner shells designed to absorb impact while maintaining manageable weight and a clean profile. Race models prioritize aerodynamics, impact resistance and compatibility with chin guards, while all-mountain helmets put a bit more emphasis on comfort, ventilation and audio readiness.

Goggles form the other half of the wintersports portfolio. Lines like the downhill 2000 and downhill 2100 series, as well as newer models with “CV” (colorvision) or “planet” suffixes, cover a spectrum of fits, lens shapes and technologies. Across the catalog, all uvex ski goggles offer 100% protection against UVA, UVB and UVC radiation up to 400 nm, combined with double lenses and advanced anti-fog treatments. Many models are OTG-compatible for riders who wear prescription glasses, and decentered lens designs are used to minimize distortion, providing a sharp, natural field of view even at the edges.

Key optical technologies are a major reason uvex stands out. The brand’s supravision anti-fog coating is engineered to provide extended fog-free performance beyond standard requirements, applied to the inner lens without degrading optical clarity. Variomatic photochromic lenses automatically adjust their tint between bright-sun and flat-light protection levels, which is invaluable on days when visibility shifts rapidly. Colorvision contrast-enhancing tints amplify subtle changes in terrain, while polavision polarized technology reduces glare and reflections that can cause eye fatigue. In some high-end lenses, uvex combines photochromic and polarization in one package, providing adaptable tint and glare control simultaneously. These lens technologies are detailed and updated regularly in the brand’s dedicated uvex ski goggle technologies overview.

On the helmet side, uvex pairs robust shells with a fine-tuned fit ecosystem. The IAS dial-fit system enables precise width and sometimes height adjustment around the head, while the Monomatic chin buckle allows one-hand operation with gloves on. The FAS (Fast Adapting System) webbing is designed to stay correctly positioned even when you move aggressively, and integrated ventilation channels help manage heat so your goggles stay clearer and your head stays comfortable during high-output skiing.

Ride feel: who it’s for (terrains & use-cases)

With uvex, “ride feel” translates into how clearly you see the snow and how naturally your helmet and goggles disappear into the background of a ski day. A well-matched uvex setup is unobtrusive: goggles sit flush on the face, seal out drafts without pressure points, and stay fog-free even when you duck into trees or traverse in wet snow. For many skiers, that means less mental bandwidth spent fighting condensation or distortion and more attention on line choice, timing and speed control.

For all-mountain riders and resort skiers, variomatic and colorvision lenses are especially appealing. Being able to run the same pair of goggles from an overcast morning through a bright afternoon without swapping lenses keeps transitions simple on lifts and gondolas. On hardpack and in mixed light, the added contrast helps pick out small bumps, ruts and ripples that would otherwise blend into the surface. Families and intermediate skiers appreciate that extra confidence just as much as experts ripping at high speed.

Racers, freeriders and park skiers look for a slightly different feel: a stable helmet at speed, precise peripheral vision for reading gates or spotting landings, and a strap interface that stays locked in place during aggressive movement. Uvex designs its helmets to sit low and snug, with ear pads that balance warmth and acoustic awareness, which matters when you are threading a GS set or dropping into a busy park lane. For backcountry and big-mountain use, well-ventilated helmets and anti-fog goggles provide value on long traverses and bootpacks where body heat and moisture can spike quickly. Overall, uvex’s sweet spot is skiers and snowboarders who want race-bred clarity and protection in gear that works equally well for everyday piste laps and serious performance days.

Team presence, competitions, and reputation

Uvex has spent decades building its reputation in elite sport. The brand has equipped athletes at major events since the 1930s, when Philipp M. Winter supplied goggles for competitors at the 1936 Winter Games in Garmisch-Partenkirchen. Later, uvex became firmly established in World Cup alpine racing, ski jumping and Nordic combined, supporting national teams and individual stars. Today, the company states that more than a thousand top athletes across sports rely on uvex helmets and goggles, with a particularly strong footprint in European winter sports.

Partnership with the German Ski Association is central to this story. For over fifty years, uvex has been the official supplier of helmets and goggles to German national teams in alpine skiing, ski jumping, ski cross and Nordic events. That relationship has seen the brand on the podium with multiple Olympic and World Championship medalists, and it keeps uvex deeply involved in the practical demands of racing: impact protection on icy, high-speed courses, reliable vision under TV lights and in fog, and gear that performs consistently through long seasons.

In addition to federation partnerships, uvex athletes and products are highly visible in World Cup circuits, Four Hills ski jumping tournaments and high-profile slalom and downhill venues across the Alps. The company’s goggles and helmets have been part of medal-winning runs and record jumps, which reinforces their credibility and feeds into continuous product refinement. Among everyday riders and shop staff, that race-proven reputation translates into trust: uvex is seen as a brand that takes protection and optics seriously and backs that up with real-world, high-pressure testing.

Geography and hubs (heritage, testing, venues)

Uvex is headquartered in Fürth, in northern Bavaria, and that central European location shapes how and where the brand’s wintersports products are ridden and refined. Many helmets and goggles are still produced in Germany or neighboring European countries, giving the company direct oversight of manufacturing and quality. From its base in Bavaria, uvex is tightly connected with classic alpine regions: the Bavarian Alps, the Allgäu, and the Austrian resorts just across the border.

Race and testing environments span a wide range of snow and light conditions. German and Austrian venues like Oberstdorf - Kleinwalsertal, Garmisch-Partenkirchen and other World Cup stops provide steep, icy pistes and broadcast lighting that stress both helmets and lenses. Further south and east, teams and consumers use uvex gear across the big-name resorts of the central and eastern Alps, from glacier training in early autumn to spring slush laps in places such as Sölden or the long-season hubs highlighted on skipowd.tv.

Beyond Europe, uvex products are distributed globally, with strong presence in Japan, North America and emerging ski regions. That worldwide reach exposes the gear to maritime snow in coastal ranges, dry cold in continental climates and the humid mix of snow and rain in shoulder seasons. As a result, technologies like supravision anti-fog and adjustable ventilation have to work not just in tidy central-European winter, but in the messy realities of different climates and snowpacks.

Construction, durability, and sustainability

Construction is one of uvex’s calling cards. The company emphasizes that a large share of its products are “Made in Germany” in its own factories, which allows tight control over materials, molding and finishing. Ski helmets typically use hard ABS outer shells or in-mold constructions combined with EPS foam liners tuned for impact absorption. Internal fit systems are engineered to adjust smoothly without pressure points, and ear pads and liners are selected for warmth, moisture management and compatibility with goggle straps and, where relevant, audio systems.

Goggles are built around injection-molded, impact-resistant lenses with 100% UV protection and robust frames designed to absorb minor impacts without cracking. Double-lens constructions, decentered optics and carefully placed ventilation channels work together with supravision coatings to keep the inside lens clear as temperatures and humidity swing. High-contact elements like straps and frame outriggers are designed for longevity, resisting stretching and deformation over long seasons of use.

On sustainability, uvex has made the “protecting planet” initiative a visible complement to its long-running “protecting people” mission. Programs highlighted on the uvex protecting planet page include using recycled and bio-based materials, reducing pollutants, and designing for durability and recyclability. A concrete example in the wintersports range is the uvex downhill 2100 CV planet goggle, which uses bio-based TPU frames, bio-based polyamide lenses, recycled strap materials and more sustainable packaging, and has been recognized with international design awards for combining performance with a low-impact materials concept. Across the line, longer service life, reparability and careful factory resource management are treated as key sustainability levers alongside headline “eco” models.

How to choose within the lineup

Selecting the right uvex helmet begins with fit and intended use. All-mountain skiers who split time between groomers and occasional freeride laps typically gravitate toward lightweight, well-ventilated models with adjustable IAS fit systems and Monomatic buckles—helmets that are comfortable for long days and easy to dial in while wearing gloves. Racers and high-speed piste skiers often choose more compact, competition-oriented shells designed to accept chin guards and provide a close, aerodynamic profile, while kids’ helmets prioritize lighter weight, simple adjustments and bright, visible graphics that make it easier to spot young skiers on busy pistes.

Goggle choice centers on lens technology, fit and how you ski. If you ride in a wide range of conditions, a variomatic or colorvision lens is a strong choice, as the tint adapts to changing light and enhances contrast in flat conditions. For bright, high-alpine environments and glacier days, darker lenses or polarized polavision options help reduce glare and eye fatigue. Riders who wear prescription glasses should look for OTG-compatible frames, and everyone should ensure that the goggle fits the nose and cheek area without gaps that create cold spots or pressure.

Helmet–goggle integration is also crucial. Uvex designs its products to work as a system, so pairing a uvex helmet with uvex goggles generally ensures good strap alignment and a reduced chance of “gaper gap” between frame and shell. When in doubt, test the combo or, if buying online, use the brand’s sizing and fit guidance. For skiers in the skipowd.tv ecosystem who travel frequently—from stormy days in the northern Alps to sunny glacier parks—building a small quiver of lenses or two goggle options (one all-rounder, one storm-focused) is often smarter than trying to force one dark lens to handle everything.

Why riders care

Riders care about uvex because it blends nearly a century of protection expertise with everyday usability on the hill. The brand’s roots in protective eyewear, its decades-long involvement with elite winter sports and its commitment to in-house manufacturing all translate into products that feel considered rather than generic. Helmets fit securely without fuss, goggles deliver clear vision in difficult light and the whole system is built to last through multiple seasons instead of a single fashion cycle.

For the skipowd.tv community, uvex occupies a sweet spot: technical enough for racers, freeriders and committed park skiers, yet accessible and trustworthy for families and recreational riders who simply want gear that works from first chair to last. Whether you are carving hardpack above an alpine village, dropping into a slalom set on an evening race lane or lapping a park line under changing clouds, an uvex helmet and goggle setup is designed to protect, clarify and quietly support the kind of long winter days that make skiing addictive in the first place.

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