Sports Gear & Stylists: Function Before Color – and When Rebranding Works

Why sports equipment must never be picked by color alone: rebranding limits for skis, bikes and paragliders, continuity on film sets, brand partnerships and the equipment fee.

Written by

Tobi Deckert

Reading Time

5 minutes

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A piece of sports equipment is prop and look at the same time – and exactly that causes misunderstandings between props, styling and athlete. Here is why function beats color, what can be rebranded and where the hard limits are – with examples from Eddie the Eagle to an Amazon series.

A piece of sports equipment is prop and look at the same time – and exactly that causes misunderstandings between props, styling and athlete. Here is why function beats color, what can be rebranded and where the hard limits are – with examples from Eddie the Eagle to an Amazon series.

Tobi Deckert as a studio guest on BR television show Wir in Bayern, ski equipment in the studio
Tobi Deckert, sports model, ski action with Rossignol gear – photo: Klaus Listl

The core principle: function before color

I see it again and again: sports equipment gets picked for a shoot by color – the gear has to match the outfit or vice versa, especially with skis, paragliders or kites. There is a reason manufacturers run dedicated women’s collections for exactly this audience. But in a sports shoot where the gear shares the spotlight, function beats look – or the equipment has to be adapted and discussed in detail beforehand.

A piece of sports equipment is always an in-between thing: technically a prop, yet somehow part of the look. That is exactly where the responsibilities of props and styling overlap – and misunderstandings happen fast. Which is why, as a sports model, I talk both departments through the details before every shoot. How much detail knowledge sits in the topic of ski equipment is something I once got to show as a studio guest on Bavarian television – the video above is the full appearance.

What can be rebranded – and where the limits are

  • Bicycle: easy to wrap – color and logo.

  • Skis: wrapping works, but only on the topsheet. The base cannot be covered or recolored.

  • Paraglider: logos can be covered with custom-cut stickers made of thin material – but the canopy color cannot simply be changed. And wing size and class have to match the scene: if the character is a beginner pilot, do not shoot with a high-performance wing – experts spot it instantly.

Continuity & rebranding on film sets – two examples

Eddie the Eagle (Garmisch): We shot with gear from the 1970s – Eddie really did jump his first hills on regular alpine skis. Ours were specially prepared and had to be re-wrapped again and again to have several identical pairs – also because skis kept breaking and that type was hard to source.

“Die Discounter” (Amazon): In an indoor ski hall I doubled the store manager Thorsten – and had to wrap my own skis: my brand Rossignol was not allowed on screen, or the production could have faced penalty payments. When a third-party brand shows up in frame, companies quickly demand fees or damages. How that shoot actually worked — including the punchline that a topsheet can be wrapped but a base cannot — is in the case study on the ski backflip in Die Discounter.

Tobi Deckert, sports model, mountain bike berm action for Zimtstern – photo: Michi Müller
Tobi Deckert – paragliding
Tobi Deckert – Dolomite FW23 campaign

Advertising partnerships instead of disputes

It is often paradoxical – which is why I advise marketing teams to talk to potential partner brands early and make agreements instead of fighting. For a company shooting apparel, an advertising partnership with an equipment maker is worth it: a bike manufacturer will happily provide its newest models for a clothing shoot in exchange for usable imagery. Usually a win-win – as long as it is communicated transparently. Rights matter here: if two brands distribute the material, the buyout should be adjusted accordingly.

What I clarify in advance

I go through my equipment, colors and details, send pictures of my gear and explain seasonality and collections: brands release a new collection in a new colorway every year, and you can read the model year from it. The gear should match the year the action is set in. Only pros notice – but if you really want to reach the sports audience: they know their gear by model year, often better than the brands' own marketing departments.

In these conversations I point out the quirks and limits of each equipment type – what works with which gear and where to get it. Usually I already have the right contacts at partner companies, because I have been doing this for over ten years.

Billing: the equipment fee

When I bring my own equipment to set, I charge a small fee for it: there is real time in selecting everything, a wear-and-tear risk – and the production saves itself sourcing, renting or buying-and-reselling. A modest, fair amount, agreed openly in advance.

Planning a sports shoot and want the gear questions sorted early? Send a booking request.

FAQ

Can the stylist pick the sports equipment by color?
For the look, yes – but function comes first: length, stiffness and type have to match the scene and the character's skill level. Best practice is choosing look and function together with the sports model.

Can skis or a paraglider simply be rebranded?
Skis only on the topsheet, bicycles completely, on a paraglider only the logos – never the canopy color. And safety always wins: nobody modifies bindings or edges for a look.

Why does a sports model charge an equipment fee?
Because functional personal gear means selection time, wear and responsibility – and saves the production rental costs and logistics.

Facts & Skills

Topic

Sports gear as a prop: function, continuity, rebranding

Experience

10+ years of sports shoots · film sets (Eddie the Eagle, Die Discounter)

Gear

skis · mountain bike · paraglider · kite · own equipment + industry contacts

Base

Munich · Bavarian Alps · Alpine region

Gear is only one building block of the production chain: the full chain from casting through permits and safety to usage is in the guide Planning an outdoor shoot.

Read on: the Rossignol story behind the backflip

The Rossignol example from this article has a case study of its own: for the ski backflip in season 3 of Die Discounter my topsheets were wrapped in a retro design — but nobody can wrap a base, which is exactly why a logo is still visible mid-flight. That piece covers the whole shoot, from building the kicker inside the ski hall to the first take.

Read on: function before looks - with an angle grinder too

The same principle applies well outside sport. For the Bosch product film for EXPERT Carbide I was one of four Bosch Experts on a real building site in Stuttgart - and there it is not the look of the tool that decides the frame, but the approach angle, the pressure point and where you stand relative to the machine. A professional audience spots it instantly when that is wrong.

Sports Gear & Stylists: Function Before Color and When Rebranding Works

Sports Gear & Stylists: Function Before Color and When Rebranding Works

Sports Gear & Stylists: Function Before Color and When Rebranding Works

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Tobi Deckert

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