Hans Kammerlander and Drawing Lines on Everest

Over the last six months, there has been a flurry of ski activity on 8,000-meter peaks, including Everest, Nanga Parbat, etc. Furthermore, the world is trying to make sense of what happened recently on two major new ski runs on Everest. 

The main similarities besides being on Everest were that both skiers were well supported financially and on the mountain. Jim worked with National Geographic and the North Face and Andrzej Bergeil worked with Red Bull and his own media production. 

Bergeil took on the challenge of trying to ski the standard south col route without the aid of oxygen. He did however have a large, 12 support Sherpas breaking trail etc, drone. Everest had been previously summited and skied without oxygen, but Andrzej did a “complete” descent. More on the nuance below.

Jim Morrison tackled a different challenge, he wanted to see if he could ski the Hornbein with the Japanese Super Couloir. The line splits down the north face of the world’s highest peak. A truly striking line. Morrison wanted to ski the route and he and his team utilized oxygen as well as a massive support team. His goal was never to attempt Everest without oxygen or support, but ski the gnar, he sent. 

Both skiers took advantage of an amazing autumn season in the Himalayas and were successful in their own way. Now the couch-bound judges are starting to weigh in.

Let’s establish some facts adjacent to the 68-year-old Italian ski mountaineer, alpinist, and mountaineer (we don’t want to miss a box to check amongst the disciplines), Hans Kammerlander. 

Kammerlander has climbed 11 of 14 8,000-meter peaks, although some of those summits may be disputed. And according to the American Alpine Journal, in 1990, “Hans Kammerlander and Swiss Diego Wellig reached the summit of Nanga Parbat and from about 100 vertical feet below the summit began a ski descent which they continued to Base Camp except where it was necessary to rappel or rock climb.” 

More to the point of this article, in 1996, at age 39, Kammerlander ascended Everest’s North Col route with skis, summited without oxygen or a huge team for support, in what was then the fastest known time to summit from the North Side, descended several hundred meters, clicked into his skis, and chussed down to base camp while removing his skis for a few hundred meters due to a lack of snow. Kammerlander’s ascent time of 16 hours and 45 minutes is a blistering fast time for an oxygenless ascent of the mountain’s north side. 

Yesterday, 10/29/25, a few people texted us an article in Explorersweb about Kammerlander and his comments about Bergeil’s recent oxygenless ski descent from Everest’s summit to the south-side base camp. The source material for Kammerlander’s comments comes from an article in Der Standard, a German news publication. In short, Kermanlander was displeased with Bergeil’s style. 

Kammerlander has issues with Bergeil’s Sherpa support—they broke trail for the Pole and fixed lines, which Bergeil used on the ascent. He disapproved of Bergeil’s reliance on drone support to navigate (on skis) the Khumbu Icefall. Bergeil’s slower rate of ascent and descent relative to Kammerlander’s time up and down the mountain (on an altogether different route) also proved to Kammerlander that this recent alpine feat might be much ado about nothing. According to Alpin.de, Bergeil spent four days, four hours, and fifteen minutes climbing and descending the mountain. This includes a bivy at Camp II. Kammerlander, on the other hand, ascended and descended in a round trip of 23 hours and 50 minutes with no bivies. Kammerlander was supported up to 7,000 meters by a bare-bones film crew.        

Let’s not leave out the Red Bull entourage (it must give you wings), either. Bergeil’s undertaking was a big-budget affair underwritten by the Austrian energy drink company. Like anything with Red Bull DNA, “circus” is not an unfair metaphor, and Kammerlander latched onto this, too. 

In contrast, Kammerlander comes from a time when funding and the Everest crowds (at least on the north side) were lacking. Further, a less crowded alpine experience, or at least some semblance of that, was still possible on the mountain’s north side. The facts also bear this out: Despite Kammerlander’s good style (no oxygen and minimal support), he did not ski from the summit; Bergeil did. Bergeil gets to claim the mountain’s first oxygenless ski descent from summit to base camp. 

None of this, however, should take away from Kammerlander’s effort three decades ago. His rapid rate of ascent—he had acclimatized on Shishapangma, another 8,000-meter peak—and near-complete ski descent of a storied mountain established a new path forward regarding style and minimalism for aspiring high-altitude ski and snowboard mountaineers (see Marco Siffredi).    

The Der Standard article is dated October 21—nearly a week ago. Considering the somewhat large egos and mountains in play, we expected some discussion regarding style to arise from Bergeil’s and then Jim Morrison’s ski descent on Everest’s North Side. Morrison’s efforts were backed by an ace Sherpa and film crew. They helped trailbreak and fix lines, as well as address basic needs in each respective camp. He also used supplemental oxygen for his ascent and descent. Pure alpine style wasn’t the point here. Perhaps it was a more personal journey for Morrison, and one where he tested his own standards for out-there ski mountaineering efforts. Certainly, the recent video released by Nat Geo shows Morrison’s descent as beautiful, scary, and audacious.   

Transparency is also a key concept that Kammerlander might consider. Both Bergeil and Morrison were transparent in disclosing their chosen styles of ascent and descent, as well as when a rope was deployed to safely descend a section of the route. And if we are to adopt the alpinist’s credo that full disclosure is paramount, that box was checked. Beyond that, folks can have their discussions about whether this or that deserves an asterisk. After all, didn’t Göran Kropp ride his bike from sea level, and when two-wheeled progress proved imprudent, he walked to Everest base camp and soloed oxygenless up and down the mountain? (Not so fast: even Kropp’s claims have been questioned.) By that benchmark, asterixed ascents should be somewhat ubiquitous. 

Up to a certain point, it seems each of us gets to draw the line for style where we want. With the caveat that we are transparent. And if someone wants to improve upon the style, they can do that, too. (For those interested in alpinism style debates—that certainly could be applied to skiing and boarding—you should read Colin Haley’s piece in the 2019 American Alpine Journal on the topic; it’s quite good.)

Responses

  1. Spencer Dillon

    Gotta say its crazy Jim skied everest on four buckle boots.

    This debate, a fair one, reminds me that skiing is an art. Climbing, more than any of these sports, can be measured. Is this Picasso better art than that Basquiat? Which is aesthetically more masterful? More revolutionary for its time? More a distillation of then-contemporary truth? I think numbers will never quite capture what we seek to weigh in these debates. Speed does matter in this art. As does style. Does Kammerlander’s speed and groundbreaking vision make his art better than if he had done it slowly? Certainly. Does it surpass Jim’s skiing what seems to me a harder line? Andrzej’s skiing from the tippy top? Not certain. But you know who I trust least to make that assessment? The folks that did it. Everyone loves their own art. Otherwise they wouldn’t make it.

    I would agree that ultimately there is no secrecy in these pursuits. We can debate the best artists of our time and all time, but we can agree that someone who filches others’ labor and ideas for their own aggrandizement without acknowledgement has no place in that debate. See, perhaps most famously in the art world, Damien Hirst. Or Cesare Maestri I suppose for a more expansive view of a liberal relationship with the truth.

    What if Andrzej or Jim used PEDS? Messner has repeatedly admitted he used amphetamines on his no-0’s 8000m exploits, explaining they saved him from death. This debate over sherpas and fixed lines reminds of the Enhanced Games in the terrestrial world. It calls into question what we are asking these athletes to do and how we weigh their achievements. The answer, as this debate reminds me, is that we are all asking different things of these folks.

  2. Jason Albert

    As always, insightful stuff Spencer.

  3. Barry Wicks

    Undoubtedly all these achievements are amazing. What I am curious about is, is if the experience that Jim or Bergeil or Kammerlander are chasing is altered in any way but the seemingly necessary presence of sponsorship dollars etc. It would be incredible if these guys could go do this stuff 100% for their own satisfaction and delight, but it seems like the realities are that acquiring funding etc for these expeditions requires eyeballs on it in some form, and those eyeballs inevitably judge from afar. Like, as the first turns are made, or as the light gets good and they have to wait for the cameras to start rolling, is the “art” that is being made inevitably altered, or can they separate the thing they are chasing from these inevitable distractions? Because really, what they are chasing interest me a lot more than any argument of style does. I am never going to ski off Everest, and it is amazing watching these guys do this stuff, but what toll does the story telling take on their lived, in the moment experience?

    1. Spencer Dillon

      Well Barry certainly you have taken part in a photo event, right? Especially with skiing, such events create a fiction out of the real experience. I would agree with your sentiment that observation changes art, especially in this context.

      I do think these guys are personally drawn to this sort of skiing (no one would subject themselves to 8000er experiences without a full heart), but, like a cat in a cardboard box, they must fit the shape of the sponsorship landscape around them. I think a lot about Colin Haley with this question, with his strange, quirky homemade videos on massive alpine adventures. The sort of adventure he undertakes precludes the sort of documentation these guys need to get to get the sponsorship money. Similar to any uber technical/fast endeavor. The photogs can’t keep up or hang out, apart from maybe Bjarne. This, I feel, distorts the sports themselves, incentivizing the sorts of feats that can be commoditized in video form or labeled neatly as first/fastest/biggest, even as others (Martina and Tania Halik’s Squamish to Skagway ski traverse comes to mind) attempt at least equally impressive endeavors. The money shot is Jim hop turning into the choke on the Hornbein right? Not Martina slogging through mile 1000 on her 1500 mile ski traverse, or even the clock when Colin sets a new solo speed record. It’s marketing money spent for marketing content. While some advertisers (I think wisely) perceive that the goodwill engendered by simply supporting the cutting edge of a sport is of value, most rightly look for deliverables. And that means more than words. Pro-shot media is king.

      I think Lusti is perhaps the reigning emperor of this sort of skiing (biggest mountain skiing would perhaps be the term?), but her endeavors and interest in media do not seem to lend themselves as well to documentation, and she seems to appear less in this media landscape despite the gob-smacking nature of her skiing.

      Does all this mean that the media environment shapes the skiers of the next generation? Surely. We cannot aspire to act like role models we do not know we have. Visionary ski traversers (my hobby horse) must reinvent the concept for themselves each generation, as the media landscape fails to show the groms how cool sliding across a mountain range is, whereas your Morrison/Bruchez/Townsend type skiers are repeatedly lauded to the next generation, let alone the Smoothy/Kai Jones/Schirmer types.

      1. Jason Albert

        I was waiting for someone to reference Schrödinger’s cat. Go figure—it’s Spencer. The media world, in particular as it relates to skiing, is interesting. First, let’s examine this: “but her endeavors and interest in media do not seem to lend themselves as well to documentation, and she seems to appear less in this media landscape despite the gob-smacking nature of her skiing.” Lusti and Gee just released (at Banff) a doc on their Robson South Face experience. Furthermore, she and Gee have what amounts to an oral history (a term that sounds somewhat stale) account of their South Face ski in Issue 2 of The High Route journal, so there is that.

        There’s a lot to consider and debate here. I think it’s cool that some skiers/riders reinvent themselves (even some lauded to the next generation;)) …find new personal pathways for meaning, and evolve their narratives and storytelling.

        1. Spencer Dillon

          Ha. I won’t say Lusti isn’t present in the media, but her major accomplishments as a skier are harder to commodify. See, for example, video of her amazing descent of the gold card couloir. The light is crazy flat but likely related to conditions necessary for them to safely ski the line. She got video, but it’s not ‘ski movie stuff’ in the way that Morrison and even Bargiel are able to capture. The objective and style (part of what makes it impressive in my mind) preclude the sort of documentation that would attract interest from beyond the circle of folks actively consuming that sort of helmet cam footage to recreate the feeling of steep skiing in their own hearts and legs.

          Lusti is just an example, and honestly a marginal one, of what I was trying to articulate, though her skill in the pursuit is perhaps nonpareil. Think of THR’s own dear Adam and his Grand Traverse on skis or Denali NW buttress carryover. Regardless of Adam’s reticence towards documentation, such feats would be extremely hard to cinematically capture without the sort of crew present that would ultimately radically change the tenor and style of the effort.

          The core distinction in my mind is skiing that happens to be captured for media purposes and skiing conceived and executed primarily to generate useable content. No shame in either, just different games, and the increased marketing value of the latter certainly shapes what gets funded etc. But that’s no revelation, is it?

          1. Riley Willetts

            What are the drawbacks of skiing with a sponsorship behind them? What are these different games?

            I would argue a few things, the first being your argument about the filming of Morrison or Bergeil being anywhere near film skiers. If anything, Lusti was a TGR film skier… There is very little to be found about Bergeil or Morrisons, or Lusti for that matters escapades outside of the Greater Ranges. Large sponsorship is necessary for these expeditions because of the logistical overhead, permit costs, etc.

            And on your example of Fabrikant, and Billy, both are skiers for blackcrows and work with apparel companies… I also want to give credit to the fact that there are incredible filmmakers out there who can document and tools that allow them too.

            The Greater Ranges are mythological, large, wild, and intense in every way. From gear needed, funding, large teams, logistics, and highly skilled people, they require the best of our sport. They require brands to be willing to collaborate, skier and climbers that are driven to be there for years and to try and try again, and they capture everyone’s imagination. Local adventures are great, and thanks Covid for refocusing people on them, but there is an objective difference in the scale of adventure.

            1. Dave Riggs

              I respectfully disagree that large sponsorship is necessary for 8000er ski descents and that large teams are part of the best of our sport. To be clear, I intend no criticism of Bargiel or Morrison. They each have legitimate claims to style improvements. But, to borrow an aspirational label from the early days of alpine style climbing on the 8000ers, one can imagine tomorrow’s Loretan and Triollet taking skis and making a “night naked”ascent and descent of the Direct/Horbein in less than 43 hours. And probably helmet cam and drone footage documenting it.

              1. Riley Willetts

                Thanks Dave and good example. I think that in the modern age with permits costing average of $10K, the presence of sponsorship (that does not mean it is a Red Bull or TNF style) is ever present in the greater ranges. These sponsorships also take the form of government funding (Europe), the AAC here, and brand sponsorships.

                I agree style can be improved upon, but like in the age of discovery, and doing anything for the first time, it requires more resources, time, etc to complete. The style will be improved.

                I would be fascinated to know the financial and logistical cost to ski the Hornbein couloir, Morrisons dozen + (I am assuming here) trips to the greater ranges and 4 trips for the Hornbein. Maybe I am just poor, but that sounds like a cost that most could not take on.

                I do agree, skiing at 8000m can most definitely be done, But the higher end seems to be more out there.

  4. Dave Riggs

    Just commenting to express my appreciation for this discussion. Thanks y’all, and thanks THR for the article prompting it (and being a place that cares about this kind of thing). I just enjoyed a reread of Colin Haley’s 2019 AAJ article. In a similar vein, for an interesting perspective on story telling, comparison and mountain pursuits, I recommend Marko Prezelj’s article “ Based on a True Story” in Alpinist 21 (2007).

  5. Jason Albert

    Sort of jumping in here, but when learning about all the Everest ski activity this fall, I did start searching around to learn more about costs. And, I’ll assume Everest, as the tallest and in the highest demand regarding 8,000-meter peaks that folks want to climb, is pricey. Alan Arnette has a solid article breaking down the costs. He states, that climbing Everest costs about as much as a car. Extrapolating a bit, I’d say he’s referring to a pricey car, not my nearly loved-to-death-Prius (Pro-tip, buy a silver car, so when the plastic side panel pulls off, you can duct tape it with silver tape, it looks like a decent paint job.)

    Anyhow, here’s the link to Arnette’s piece: https://www.alanarnette.com/blog/2025/01/13/how-much-does-it-cost-to-climb-everest-2025-edition/

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