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Db AW25
"Coral Flash" Collection
[Interview]
"Coral Flash" Collection
[Interview]
Db is a Scandinavian brand driven by an obsession with movement – not just across landscapes, but through ideas.
Founded on the belief that travel fuels creativity, the company engineers intelligent gear that adapts seamlessly between performance and lifestyle contexts.
From their patented Hook-Up System™ to the structural Rib-Cage Construction™, Db’s luggage and backpacks are testaments to Scandinavian precision, designed to serve photographers, athletes, and creators who see no boundary between work, sport, and exploration.
For FW25, Db introduces Coral Flash – a bold material study that celebrates the usually unseen beauty of technical fabric.
Founded on the belief that travel fuels creativity, the company engineers intelligent gear that adapts seamlessly between performance and lifestyle contexts.
From their patented Hook-Up System™ to the structural Rib-Cage Construction™, Db’s luggage and backpacks are testaments to Scandinavian precision, designed to serve photographers, athletes, and creators who see no boundary between work, sport, and exploration.
For FW25, Db introduces Coral Flash – a bold material study that celebrates the usually unseen beauty of technical fabric.
The collection focuses on BigRip™ ripstop in luminous black and coral tones, its tear-resistant grid elevated from hidden utility to centerpiece. Across nine snow-focused silhouettes – from the Hugger Bootpack to the Snow Roller Pro – functionality meets visual radiance.
Each bag inherits Db’s signature modular systems and pocket architecture, ensuring ease of access and performance-level durability, while a new chromatic identity underscores the tactile depth of its construction.
The campaign, shot in an abandoned military bunker in Andermatt, Switzerland, turns this fabric study into a sensory experience, where lasers cut through darkness to reveal texture, movement, and precision.
To capture this tension between light and material, Db enlisted Daniel Loosli – professional skier, photographer, and creative polymath – whose dual mastery of performance and visual storytelling made him the perfect lens for Coral Flash. In conversation with Ali George Hinkins for TECHUNTER, Daniel unpacks the making of the campaign, the improvisational spirit behind the shoot, and how a blend of sport, design, and raw curiosity continues to shape his creative path.
Each bag inherits Db’s signature modular systems and pocket architecture, ensuring ease of access and performance-level durability, while a new chromatic identity underscores the tactile depth of its construction.
The campaign, shot in an abandoned military bunker in Andermatt, Switzerland, turns this fabric study into a sensory experience, where lasers cut through darkness to reveal texture, movement, and precision.
To capture this tension between light and material, Db enlisted Daniel Loosli – professional skier, photographer, and creative polymath – whose dual mastery of performance and visual storytelling made him the perfect lens for Coral Flash. In conversation with Ali George Hinkins for TECHUNTER, Daniel unpacks the making of the campaign, the improvisational spirit behind the shoot, and how a blend of sport, design, and raw curiosity continues to shape his creative path.
[Daniel, let’s start with you – who are you and what do you do?]
I’m Daniel Loosli, aka Doosli. I split my time between being Head of Marketing at Laax, a skier, and a photographer. That’s basically it; there’s not much time left.
[What first drew you into ski and snow photography, and how has your relationship with it evolved?]
Honestly, I wasn’t good enough on skis for anyone to shoot me.
I asked my former girlfriend (Alicia Martinez, who still supports me on some projects; love comes and goes, but creating never stops, I guess) to press the shutter, and we took a few photos.
They weren’t great, but that small experiment evolved into a habit and into action sports photography.
I’m Daniel Loosli, aka Doosli. I split my time between being Head of Marketing at Laax, a skier, and a photographer. That’s basically it; there’s not much time left.
[What first drew you into ski and snow photography, and how has your relationship with it evolved?]
Honestly, I wasn’t good enough on skis for anyone to shoot me.
I asked my former girlfriend (Alicia Martinez, who still supports me on some projects; love comes and goes, but creating never stops, I guess) to press the shutter, and we took a few photos.
They weren’t great, but that small experiment evolved into a habit and into action sports photography.
[How would you describe your photographic style – are there core principles or visual cues you always return to?]
Hard to label my own style. What I can tell you is what drives it. I study body movement and distinctive scenes across many media and styles. I chase what feels authentic to me. Tiny shifts in posture, movement, light, or a facial expression can change everything. I always try to structure my shots, but a lot of them are unplanned. I love getting lost in the process, even more if I end up in a beautiful situation I didn’t expect. I mostly can’t stop shooting or coming up with ideas.
[Walk us through this shoot – how did it come together? What drew you to this particular spot?]
We had a great spot planned, but getting there became a mission. We pivoted when Ole mentioned an old military bunker near the peak. It wasn’t exactly pristine, so we split the crew and sent only the essentials inside to keep it safe and efficient. Massive shoutout to Db, Lasse, William, and Ole for trusting Nicola and me to flip the plan on the fly.
Hard to label my own style. What I can tell you is what drives it. I study body movement and distinctive scenes across many media and styles. I chase what feels authentic to me. Tiny shifts in posture, movement, light, or a facial expression can change everything. I always try to structure my shots, but a lot of them are unplanned. I love getting lost in the process, even more if I end up in a beautiful situation I didn’t expect. I mostly can’t stop shooting or coming up with ideas.
[Walk us through this shoot – how did it come together? What drew you to this particular spot?]
We had a great spot planned, but getting there became a mission. We pivoted when Ole mentioned an old military bunker near the peak. It wasn’t exactly pristine, so we split the crew and sent only the essentials inside to keep it safe and efficient. Massive shoutout to Db, Lasse, William, and Ole for trusting Nicola and me to flip the plan on the fly.
[This shoot leans into Db’s function-forward design language, think ripstop materials and performance-led snow equipment. What drew you to that mix of industrial and natural elements visually?]
A very glamorous WhatsApp thread. I’d wanted to play with lasers since I saw the moodboard. Construction lasers became our practical shortcut. I knew people we could borrow from, so they slotted in perfectly and were cost-efficient.
[Db promotes movement and exploration. The idea that travel fuels creativity. How do you connect with that message in your own work and approach to performance?]
It helps a lot with creating visuals and riding. You understand what a movement will look like in a frame and can adjust lines, angles, and timing. Athletes who are visually aware get it too. The whole process becomes faster, cleaner, and better looking.
[Collaboration sits at the heart of Db, bringing together athletes, creatives, and designers. What makes a creative partnership like this feel authentic for you, and how did this translate to Coral Flash?]
A very glamorous WhatsApp thread. I’d wanted to play with lasers since I saw the moodboard. Construction lasers became our practical shortcut. I knew people we could borrow from, so they slotted in perfectly and were cost-efficient.
[Db promotes movement and exploration. The idea that travel fuels creativity. How do you connect with that message in your own work and approach to performance?]
It helps a lot with creating visuals and riding. You understand what a movement will look like in a frame and can adjust lines, angles, and timing. Athletes who are visually aware get it too. The whole process becomes faster, cleaner, and better looking.
[Collaboration sits at the heart of Db, bringing together athletes, creatives, and designers. What makes a creative partnership like this feel authentic for you, and how did this translate to Coral Flash?]
I’m not excessively picky if the idea is strong or the brand fits. It matters that my vision connects to the brand and its broader strategy. When the match is right, like on this shoot, it stops feeling like work. You show up excited and don’t want to stop.
[How do materials, colors, or patterns – like coral flash – influence your creative direction and concepting?]
From the moment I saw the mood board and the product, it was obvious: dark, flashy, with a poppy red, an ideal starting point. Once we aligned on what and how to shoot, I was excited but didn’t overengineer the details. I work well under pressure and can’t really schedule creativity, so over the two to three weeks before the shoot, I kept jotting down ideas.
By the end, I had more than I could narrow down, which was exactly what I needed. A major pivot on the location opened up options we hadn’t considered.
In extreme or shifting climates, from Andermatt to Nordkapp, small design details become essential. What features stand out to you when using Db gear on location?
[How do materials, colors, or patterns – like coral flash – influence your creative direction and concepting?]
From the moment I saw the mood board and the product, it was obvious: dark, flashy, with a poppy red, an ideal starting point. Once we aligned on what and how to shoot, I was excited but didn’t overengineer the details. I work well under pressure and can’t really schedule creativity, so over the two to three weeks before the shoot, I kept jotting down ideas.
By the end, I had more than I could narrow down, which was exactly what I needed. A major pivot on the location opened up options we hadn’t considered.
In extreme or shifting climates, from Andermatt to Nordkapp, small design details become essential. What features stand out to you when using Db gear on location?
[In extreme or shifting climates, from Andermatt to Nordkapp, small design details become essential. What features stand out to you when using Db gear on location?]
Weather and conditions, always. The best atmospheres refuse to be scheduled. That’s why I always try to have a camera with me in the mountains. Some days you come home empty; other days you get everything. The product deserves credit too: the grid works perfectly with the concept and the setting. Shooting there felt almost effortless; when everything matches that well, it’s hard to come home without strong images.
[As both a skier and photographer, what draws you to a brand like Db, in terms of its philosophy and what the designs allow you to do?]
Weather and conditions, always. The best atmospheres refuse to be scheduled. That’s why I always try to have a camera with me in the mountains. Some days you come home empty; other days you get everything. The product deserves credit too: the grid works perfectly with the concept and the setting. Shooting there felt almost effortless; when everything matches that well, it’s hard to come home without strong images.
[As both a skier and photographer, what draws you to a brand like Db, in terms of its philosophy and what the designs allow you to do?]
Well, Db, let me do something for them. In the beginning, I just did a couple of photos for them. But more because I was managing Anouk Andraska (Pro Freeskier), who was riding for Phaenom Boots, who had a collab with DB. They requested some photos with Anouk, a collab with the ski-boot sponsor, because I was managing an athlete and didn't even take care that much about what or for whom I shoot.
The whole team gave me a lot of freedom, let me work in my regular Setup with Nicola Fürer as usual, as my co-photographer, and so much more. Also, I could give inputs to the products, and got invited to a super awesome product launch, which I will never forget!
I would say it's not only the product that interests me, but also the people I will work with, and to create as I want and still bring the company the benefit they search for.
The whole team gave me a lot of freedom, let me work in my regular Setup with Nicola Fürer as usual, as my co-photographer, and so much more. Also, I could give inputs to the products, and got invited to a super awesome product launch, which I will never forget!
I would say it's not only the product that interests me, but also the people I will work with, and to create as I want and still bring the company the benefit they search for.
The Coral Flash capsule brings Db’s performance heritage into sharp focus – a nine-piece lineup including the Hugger Backpack, Snow Pro Backpack, Backcountry Backpack, Hugger Bootpack, and Snow Roller Pro, each reimagined in luminous black and coral BigRip™ ripstop.
Engineered for resilience, adaptability, and movement across snow and city alike, the collection stands as a study in function turned visible.
Engineered for resilience, adaptability, and movement across snow and city alike, the collection stands as a study in function turned visible.
Coral Flash launches October 14th on dbjourney.com and through selected retailers worldwide.
Article prepared by TECHUNTER Magazine.
Answers: Daniel Loosli.
Questions: Ali George Hinkins.
Photography: Daniel Loosli.
Article prepared by TECHUNTER Magazine.
Answers: Daniel Loosli.
Questions: Ali George Hinkins.
Photography: Daniel Loosli.
