For this second editorial focus, we turn our lens to DVD videos , the ongoing videographic series by Victor Daviet, and to its twelfth chapter, Ruby Frequency: one rider, many collaborators, and a shared field where style, experimentation, and mountain instinct meet.

Presented alongside the film program and installations animating the Milan stop, Ruby Frequency is less a straightforward video part than a live conversation—between backcountry flow and precise edit suite decisions; between the line etched on snow and the frame shaped in post; between terrestrial gravity and a chromatic dream of Mars. Daviet doesn’t simply stack tricks; he collapses the space between athlete and author, transforming action into a moving echo chamber where images, music, and color grading overlap, answer, and unsettle fixed ideas about what a snowboard film should be. It’s here, in this layered dialogue, that the Winter Tour finds another intimate frequency.

We spoke with Victor about DVD’s creative engine—collaboration, narrative risk, and the conviction that snowboarding is less a sport than a form of art—along with the enduring pull of nature that grounds his most ambitious visions.

If you can just tell us briefly how your relationship with snowboarding evolved over time—also in relation to art and to the sport itself?

Victor Daviet: “If I can go back a little bit to my background, I started snowboarding when I was 8 years old. And now I’m 35, and snowboarding is still my life. I owe everything to snowboarding. I’m super thankful for it. I found that passion when I was 8 and I got hooked. I grew up in the south of the French Alps. I started in a tiny resort and, step by step, I kept evolving.

First I competed in freestyle—halfpipe, big air, slopestyle. It was a lot about technique, less about art, but I was getting better and it was a good way to improve. Then I realized I wasn’t really a good competitor. Competing against my friends—trying to beat your friends—wasn’t my vibe. I realized it wasn’t for me. I was just following the mood because everybody was competing back then, and that’s what my sponsors wanted. Deep inside, I wasn’t bad at it, but it wasn’t me.

I realized what I really loved was shooting. Shooting with photographers to get coverage in magazines, trying to make the best images. Or with filmers to get the best video parts. That’s where I recognized myself, because it was a competition against myself—trying to improve and get the best out of me, pushing my level in the mountains, and trying to be as creative as possible with that toy—our snowboard—in that beautiful environment.

I also rode some streets—jibbing—but mostly I’m a big fan of nature. Being able to play with that ‘cream,’ the fresh powder, was just amazing. I’ve been lucky enough to do that for the past 10 years. I got recognition from the community at an international level, and it has been pretty insane. I’ve been all over the planet. And that’s really where, to me, every snowboarder is a painting. Everybody has his own style. You like this painting or another, but snowboarding is definitely a form of art. It’s not a sport.”

And what kind of painter are you?

Victor Daviet: “I’m a flowy painter. We draw lines in the snow, and I think it’s super beautiful. Since my early days, riding with really talented artists has pushed my creativity. Tonight I’m showing a movie from my series called DVD videos, and it’s purely creative. Of course there’s technique—I don’t want to be just an artist; I want to keep being a strong snowboarder—but mixed with an art form. I’ve been playing a lot with that project, DVD, recently, and I love it.

On all my trips I try to capture not just the action, but the behind the scenes—to keep good memories on film. As athletes we live some pretty insane trips, so I’m a big fan of photography in general and more specifically analog. I’ve been hanging with super good photographers since I was 15, and it’s inspiring to be around those people. Of course that transmits a bit of passion.”

And coming to the premiere of tonight—the ‘Ruby Frequency’. The title itself suggests what you said, a connection with the creative side of snowboarding. Why this title? What does it try to convey to the public?

Victor Daviet: “I’ll step back first. With the DVD series I’ve been playing in that creative space for the past three years. We collaborate with different filmmakers, editors, musicians, and other riders. Every time we pick one concept: you’re a filmer with a cool concept; I bring an idea; we gather and create one volume. It’s David Victor Digital videos —DVD. It’s a short format and for this one we collaborated with Félix Raffaelli, a young filmer from Chamonix—really talented. We wanted to snowboard on Mars. The snow is bloody and red, and, as you’ll see, the color grading is pretty strong. The goal was to fly, to dream, to ride on Mars. That was the aim for this chapter.”

As you said earlier, snowboarding and visual production really took over after the first competitive phase. How do these two worlds intersect in your life and riding? How important is the visual part—snowboarding as sport and as art—connected to the most artistic side, the visual production?

Victor Daviet: “Some riders see it as a sport—because it is a sport; it’s in the Olympics and all that. But in my vision, snowboarding is my ultimate passion. To me it’s not a sport; it’s a form of art where we express ourselves in the mountains, drawing lines. I think there are many trends coming out of snowboarding in the outdoor industry; it feels more open—especially toward visual direction and art direction. It’s pretty cool to express yourself that way.”

From when snowboarding videos were mostly tricks and soundtracks to now. How was the transition to this mindset? 

Victor Daviet: “It was definitely natural. I filmed video parts—tricks, tricks, tricks—for many years. After about 10 years, I needed a refresh. Even in those parts, style makes the difference—and style is everything in snowboarding. We try to push our style and own it, like proper artists. I had been developing my style, but when I got the chance—when I was kind of over the classic video part—I created my own project. I launched the DVD series, which is fully artistic. Then I started another series called Trip Roulette, which is a different kind of creativity—a mix of adventure, ecology, and snowboarding. It’s totally different from DVD: I travel to random destinations with a guest and a given mode of transportation. It’s been super rewarding—we’ve lived some crazy adventures.

For example, we went to Norway in an old Citroën that runs on veggie oil. We left France in that car, drove to Norway, rode in the fjords, and came back down. We went biking in the U.K. to ride plastic slopes. We traveled with donkeys, to Pakistan; to Corsica by sailboat. It’s been pretty fun. A creative project, but less ‘artistic’ in the gallery sense.”

How do you feel being supported in this creative process—by a brand like Arc’teryx both on the slopes, when you’re riding, and on the creative side, with the possibility to show your vision?

Victor Daviet: “What’s super cool right now is that Arc’teryx is very open to photography, music, creativity in general—they give me the opportunity to express myself. You don’t have to be only technical. Of course they want their riders to be among the best, but once you’re there, they give you the chance to express yourself as you want, which is cool. With these series, I think I proved who I was in the past, and now I have my partners’ trust. It’s pretty great to be able to take whatever idea I have and make it happen.

It’s always fun with the team—it feels natural. The team manager DJs; at least five athletes play music. When we gather, it’s crazy—everybody plays for hours. Good times, partying with that group. When you’re surrounded by creatives, you start having creative ideas, and you share them without fear. You influence each other—‘Oh, you did this, that’s awesome.’ That’s why we’re here today: to get inspired, to dream, and then to realize your own dream.”

Given your artistic lens right now—exploring your discipline as your own—do you still find time to be in your zone, to just flow?

Victor Daviet: “My zone is nature. That’s where I reset. It’s what I love most—being in the wild, admiring , hiking, camping. What’s real life? In my opinion, life on a sailboat, moving thanks to the wind or traveling in the mountains with your legs: that’s real life. In the city, we’re in a parallel world—it’s kind of a fake one. I believe that when you’re deeply connected to nature, that’s the real world.”