Every season starts the same way: new products, new briefs, new ideas fighting for oxygen. Entour™ was introduced, a completely new silhouette for us. Sharp lines. Beautiful hardware. Technical details. Thoughtful material exploration. At the heart of it all was the TransitHatch™, an external organizer designed to keep your travel essentials within easy reach.
Initially, I thought Entour was made for people who never lose their passport.
And don’t get me wrong, it still is. The frequent flyers. The people who arrive at the airport 1 hour and 42 minutes before departure because they know that’s enough. Just streamlined.
I’ve been lucky enough to travel a lot for shoots. But my truth?
I lose my things constantly and overpack like I’m fleeing civilization.
A while back, I was on a shoot in the US with Hallvard. On the way home, we got delayed and ended up sprinting through Copenhagen to catch the last flight. Somewhere between security and handing over the hard drive with all the content from the last 10 days, I stuffed my passport into my pocket.
A few days later, I opened the washing machine.
There it was.
Soaked. A perfect still life. Error 404.
I was leaving for another work trip just days later.
But that’s when it clicked.
Great, you made a bag for me. I need a Transithatch. I can work with that. So, we went on to create a muse based on type (d)B personality traits. People with headspace everywhere all at once, existing in a state of almost chaos. And suddenly the product wasn’t just providing a solution, this became personal. So, thank you to the D&D gods up on the top floor in Oslo; this is now my bag of choice.
From that point, Entour started living in my head rent-free. And naturally, we started building a world around it. Where should we shoot it? What energy did it need?
The bags were structured and precise. Paris was smoke and softness. The contrast between the two was too good to ignore, and the more I thought about it, the more Entour seemed to belong there.
Then reality hit.
It wasn’t really in the budget… Or so they thought.
“Let’s shoot it in Stockholm instead.”
And listen, I love Stockholm. I’ve crawled through enough subway stations to romanticize almost anything. But this one needed more. So, we decided to make one final pitch:
How to convince your boss to shoot a campaign in Paris.
Argument #1:
“The budget would be the same”. Use this argument every time. Worked like a dream.
The calculation relied heavily on optimism, cheap Airbnbs, friends of friends of friends modeling, and choosing to do a street shoot. I had only been to Paris once before, which turned into 38,477 steps of trusting my gut feeling for directions in the name of location scouting. Arguably one of the best ways to actually explore a city. 10/10, would get lost again.
We also knew people at the Hoxton, which turned into a great location and a very giggly brunch. Moving on.
Argument #2:
“We want to win with women”. Who can argue?
So I needed this to feel female-led. Which meant starting with the team.
Ebba, PR Manager at Db, came in to coordinate. High energy, effortless connector and trusted partner in crime. For styling, we brought in Sofia Maté, she knows the brand and was the right person to translate muse into someone real: well-dressed, but never precious. The final piece was Olivia Bratteng behind the camera. She has an eye for working angles and capturing the moments in between that tell a story.
Now, you might wonder, what does this have to do with Paris?! Well, if you’ve been dreaming about this industry since you were a young girl, Paris is hard to ignore. We’ve watched fashion week, pinned museums we wanted to walk through, built moodboards from its streets and style. It's been a constant reference for creative expression, and that mindset naturally found its way into our vision of the muse: the creative class. A manifestation of the fantasies we grew up with.
Argument #3:
“Jon. THINK ABOUT EMILY IN PARIS.” The kill shot. No one is coming back after this.
A guilty pleasure? Yes, definitely. But regardless of what you think of the series, it reflects how heavily romanticized the idea of working in the creative industry in a cultural capital really is.
And that was it.
Case closed.
And somehow, it worked.
Jon never really said yes or no. He just said:
“If you genuinely think it’ll be better in Paris, and you can do it on the same budget, I trust you.”
So we booked our tickets.
And it was better.
Sometimes you have to trust yourself, not take no for an answer, and find a way to make it happen. In all honesty, somewhere on a very cliché bridge over the Seine, I found myself caught between laughing and crying from pure happiness. But not because we were in Paris, but because we had made it happen. Because every now and then, a dream stops being a moodboard and becomes a memory.
