*Every Island Has a Name* is a fluid and stunning tribute to snowboarding as an art form—where process trumps result, and form takes precedence over function. Perched atop the steep couloirs of Saas-Fee, Switzerland, Sevi takes a deep breath and pushes off with his heels. He knows the snow conditions aren’t perfect. The sun casts swirling halos on the horizon, a sign that temperatures are rising and a gentle reminder to him and cinematographer William Jones that the snow season is drawing to a close. In the world of snowboard filmmaking, the pressure of the season’s end is quietly mounting.
He raised both arms to form an “O” shape, signaling his readiness to go, and the 16mm camera immediately began rolling. He cut into the snow at an angle, carving a sharp arc before leaping into the air over a cliff face. Viewed from below, the drop seemed minor, but the grandeur of the Swiss Alps always creates optical illusions. Only when Sevi’s silhouette served as a reference point did he realize the cliff was far higher than he’d anticipated. The landing spot was slightly to the east; after a day of sun and a night of freezing, the snow was as hard as ice. Perhaps it was the fatigue of the season’s end, or perhaps the impact of the landing—his legs gave way, and he slid down the slope along with his signature rainbow hat, finally coming to a steady stop.
He waved his arms again to signal: all was well.
There was a time when Sevi’s snowboarding journey was entirely different, more detached. He would descend, execute a trick, freeze in a perfect pose, and then rush off to the next run. He supported himself with summer jobs funded by the Swiss government, while the riders he’d idolized since childhood discovered him at the Laax snowpark and introduced him to legendary snowboard filmmakers Justin Hossinteck and David Vladekia of Absinthe Films.
In those early days, though he carried the weight of his career and lifelong dreams, he also enjoyed a carefree time. He was like a sponge, soaking up the ultimate pursuit of every snowboarder: crafting the perfect film clip. Today, some things have changed, but his original passion remains unchanged. Sevi still pours his heart into perfecting every trick, expressing his love for the mountains through his extreme performances—only this time, he wants to do it his way.
“Snowboarding is about so much more than just stringing together tricks,” Sevi says.
He waved his arms again to signal: all was well.
There was a time when Sevi’s snowboarding journey was entirely different, more detached. He would descend, execute a trick, freeze in a perfect pose, and then rush off to the next run. He supported himself with summer jobs funded by the Swiss government, while the riders he’d idolized since childhood discovered him at the Laax snowpark and introduced him to legendary snowboard filmmakers Justin Hossinteck and David Vladekia of Absinthe Films.
In those early days, though he carried the weight of his career and lifelong dreams, he also enjoyed a carefree time. He was like a sponge, soaking up the ultimate pursuit of every snowboarder: crafting the perfect film clip. Today, some things have changed, but his original passion remains unchanged. Sevi still pours his heart into perfecting every trick, expressing his love for the mountains through his extreme performances—only this time, he wants to do it his way.
“Snowboarding is about so much more than just stringing together tricks,” Sevi says.
After packing up his gear and skiing to a safe area, Sevi reviewed his run and reflected on the small flaws in his execution. This snow season, “Every Island Has a Name” has long been more than just a concept; it’s a season-long film project he’s created alongside his teammates Elena Haite and Jared Elston, in collaboration with creative partners William Jones and Achille Mauri. This group has grown up in the snowboarding industry, inspired by the pioneers who came before them and driven by a mission to create timeless works.
“When I was young, snowboarders who starred in films were like royalty—the role models everyone aspired to be,” Elena recalled.
After decades of dominating the snow and ice halfpipe, Elena finally found her opportunity to transition into filmmaking. A last-minute invitation to film in Alaska briefly interrupted her competitive career; a few years later, she teamed up with Jeremy Jones to shoot a film she both directed and starred in, set in the Sierra Nevada. She had once considered leaving the competitive circuit, and that trip to Alaska made her decision even clearer.
“When I was young, snowboarders who starred in films were like royalty—the role models everyone aspired to be,” Elena recalled.
After decades of dominating the snow and ice halfpipe, Elena finally found her opportunity to transition into filmmaking. A last-minute invitation to film in Alaska briefly interrupted her competitive career; a few years later, she teamed up with Jeremy Jones to shoot a film she both directed and starred in, set in the Sierra Nevada. She had once considered leaving the competitive circuit, and that trip to Alaska made her decision even clearer.
“That completely changed the course of my life. I decided to leave competitive sports behind and devote myself entirely to backcountry skiing,” Elena said.
When Sevi invited her to join the “Every Island Has a Name” project, she accepted without hesitation.
“Hearing him talk about his passion, the atmosphere he wanted to create, and how he blends snowboarding with art, I felt honored to be chosen by him.”
“His snowboarding style is one-of-a-kind; no one has been able to replicate it to this day,” Elena remarked.
For Sevi, the admiration is mutual.
“I met Elena at the Arc’teryx Academy and have always admired her unique interpretation of the backcountry. Our styles are vastly different, yet we each shine in our own way.”
When Sevi invited her to join the “Every Island Has a Name” project, she accepted without hesitation.
“Hearing him talk about his passion, the atmosphere he wanted to create, and how he blends snowboarding with art, I felt honored to be chosen by him.”
“His snowboarding style is one-of-a-kind; no one has been able to replicate it to this day,” Elena remarked.
For Sevi, the admiration is mutual.
“I met Elena at the Arc’teryx Academy and have always admired her unique interpretation of the backcountry. Our styles are vastly different, yet we each shine in our own way.”
Elena’s bold yet composed riding style stems from a lifelong passion for snowboarding and an innate sense of the mountains. But what truly sets her apart is her masterful board control, exceptional anticipation of the terrain, and her calm composure in the 18-foot halfpipe. These unique abilities have earned her respect within the industry—she has established herself with a distinctive style and is trusted for her tenacity and reliability in complex terrain.
The team’s third member, Jared Elston, shares a similar journey with Sevi: he began in competitive circuits and quickly made a name for himself in natural terrain. Raised on Bachelor Mountain in Bend, Oregon, he possesses a rich repertoire of skills and exceptional on-the-spot adaptability, which he showcases brilliantly on camera.
These three riders perfectly embody the essence of a “dream team” in snowboarding films: with diverse backgrounds, distinct interpretations of terrain, and styles that both complement and clash, this combination pushes the boundaries of snowboarding while delivering a fresh visual experience to audiences. Today, they are exploring the common ground between their styles and experiences.
As the sun climbs higher, the alpine slopes become overexposed and snow conditions become unpredictable, yet they still hold moments worth capturing. Sevi and William are already prepared to discover every surprise—a snow hollow ripe for carving, a slope perfect for a natural jump. Listening to the two discuss as they ride, you can sense their pure love for the sport, mixed with just the right amount of tension.
“Sevy is like a fox; to capture him, you have to stay focused at all times. It’s fun, but also stressful,” says William.
The two have collaborated on numerous projects, including the experimental film *Chroma*, which broke the mold of traditional snowboarding films and became a turning point in Sevy’s career.
“Before shooting *Chroma*, I rarely even watched snowboarding content. I kept asking myself: Why am I filming? What am I trying to express?” Sevy recalled.
In his reflection, he remembered everything he’d learned while working with Absinthe—the flawless tricks performed by his idolized riders in the films, as well as the importance of teamwork. But he felt something was still missing; he wanted to build on that foundation and break through, infusing his own perspective.
“Snowboarding is so much more than just a series of tricks,” Sevy said again.
The team’s third member, Jared Elston, shares a similar journey with Sevi: he began in competitive circuits and quickly made a name for himself in natural terrain. Raised on Bachelor Mountain in Bend, Oregon, he possesses a rich repertoire of skills and exceptional on-the-spot adaptability, which he showcases brilliantly on camera.
These three riders perfectly embody the essence of a “dream team” in snowboarding films: with diverse backgrounds, distinct interpretations of terrain, and styles that both complement and clash, this combination pushes the boundaries of snowboarding while delivering a fresh visual experience to audiences. Today, they are exploring the common ground between their styles and experiences.
As the sun climbs higher, the alpine slopes become overexposed and snow conditions become unpredictable, yet they still hold moments worth capturing. Sevi and William are already prepared to discover every surprise—a snow hollow ripe for carving, a slope perfect for a natural jump. Listening to the two discuss as they ride, you can sense their pure love for the sport, mixed with just the right amount of tension.
“Sevy is like a fox; to capture him, you have to stay focused at all times. It’s fun, but also stressful,” says William.
The two have collaborated on numerous projects, including the experimental film *Chroma*, which broke the mold of traditional snowboarding films and became a turning point in Sevy’s career.
“Before shooting *Chroma*, I rarely even watched snowboarding content. I kept asking myself: Why am I filming? What am I trying to express?” Sevy recalled.
In his reflection, he remembered everything he’d learned while working with Absinthe—the flawless tricks performed by his idolized riders in the films, as well as the importance of teamwork. But he felt something was still missing; he wanted to build on that foundation and break through, infusing his own perspective.
“Snowboarding is so much more than just a series of tricks,” Sevy said again.
“Snowboarding is about so much more than just stringing together tricks,” Sevi said again.
As the season progressed, Sevi, William, and Achille began exploring ways to express their passion—cramming into a van and shooting side by side in cramped quarters, a classic ritual of snowboard filmmaking. This time, their inspiration came from artists they met along the way: a florist based in Tokyo, and two creators who craft handmade kites and rock sculptures, respectively. A theme gradually took shape: the mountain landscapes they celebrated resonated in a magical way with the artists’ work, allowing them to reinterpret the mountains—and their own longing for them—from a fresh perspective.
Skiing is sometimes viewed as an adrenaline-fueled pastime, but for everyone—from those eagerly awaiting the slopes at dusk to those filled with joy after their final run—the unique experience of time spent in the mountains is what drives them back time and again. This feeling defies a single definition.
“If I were to simply showcase technical skills set to rock music, it would obscure the essence of skiing—it wouldn’t capture its beauty, nor would it convey my true feelings in the mountains,” says Sevi.
As the season progressed, Sevi, William, and Achille began exploring ways to express their passion—cramming into a van and shooting side by side in cramped quarters, a classic ritual of snowboard filmmaking. This time, their inspiration came from artists they met along the way: a florist based in Tokyo, and two creators who craft handmade kites and rock sculptures, respectively. A theme gradually took shape: the mountain landscapes they celebrated resonated in a magical way with the artists’ work, allowing them to reinterpret the mountains—and their own longing for them—from a fresh perspective.
Skiing is sometimes viewed as an adrenaline-fueled pastime, but for everyone—from those eagerly awaiting the slopes at dusk to those filled with joy after their final run—the unique experience of time spent in the mountains is what drives them back time and again. This feeling defies a single definition.
“If I were to simply showcase technical skills set to rock music, it would obscure the essence of skiing—it wouldn’t capture its beauty, nor would it convey my true feelings in the mountains,” says Sevi.
