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Thanks to audiovisual material sourced from all FIS World Cups, optimised for mobile consumption and fully aligned with broadcast rights, athletes and federations are increasing their digital presence and sharing stories in their own voice. The platform responds to a clear shift in sports consumption, where fans connect through specific moments and immediate reactions rather than long or delayed narratives.

From clip to story: the athlete as a communication channel

The FIS Content Exchange Platform was created with a simple premise: to provide fast and consistent access to official content that can be published shortly after competition. Through a centralised system, users can download broadcast-derived clips and official photography already formatted for social platforms, reducing editing time and ensuring visual consistency. According to FIS, the objective is “to enable more storytelling, in more markets and by more voices”, while fully respecting media rights agreements.

Following an initial rollout phase during the 2024/25 season, usage of the CXP has accelerated significantly in the current campaign, with athletes playing an increasingly central role. As of 7 January, 1,208 athletes and 65 NSAs were onboarded on the platform, with more than 10,000 total downloads, including approximately 6,600 photos and 4,200 videos.

The share of video content has grown notably. Athletes have published competition clips 489 times so far this season, representing a 239% increase year-on-year and surpassing the volume of posts made by NSAs. This evolution reflects a shift in usage patterns and highlights athletes’ ability to amplify official content through their own channels.

Social impact and expansion of the model

This growth is also reflected in reach and engagement metrics. Content distributed via the FIS CXP has generated 59.1 million impressions, a 182% year-on-year increase, alongside 2.7 million interactions, up 168%. The average engagement rate stands at 7.3%, rising to 8.5% for athlete-led posts.

The platform has also been extended to other parts of the federative calendar, including Para snow sports World Cups and Junior World Championships, enhancing the visibility of disciplines and categories that have traditionally received less media exposure and aligning storytelling efforts with the sport’s broader development objectives.

Rights, fast access and new monetisation opportunities

Content usage is governed by a clear regulatory framework. Clips and photographs may be published on the official channels of athletes and NSAs across platforms such as Instagram, Facebook, TikTok and YouTube, following a standard embargo period of 60 minutes after the competition ends and official results are confirmed. This system protects media rights and ensures consistent and compliant use of content.

For the first time, the model also allows direct monetisation on athletes’ and federations’ own channels through sponsored posts or brand integrations, within clearly defined guidelines. This approach forms part of FIS’ centralised digital platform strategy, aimed at increasing reach, engagement and the long-term sustainability of the global snow sports ecosystem.

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The funding, carried out together with David Ott and Jane Ott, directly supports the work of the Institute for Women’s Health, Sports and Performance (WHSP), created by the Ott family alongside Dr. Kathryn Ackerman. The goal is to accelerate research, medical education and specialized clinical care for female athletes, opening up a scientific field that until now had progressed with incomplete data and approaches that did not fully consider women’s biological specificities.

A scientific debt to female athletes

“Medical research has always been based on male physiology,” Ackerman explained when announcing the project, highlighting a structural issue that goes beyond sport. For decades, protocols, treatments and performance recommendations were built primarily on studies conducted in men, leaving women athletes in a trial-and-error landscape.

The WHSP seeks to reverse this gap through research covering a wide range of disciplines and profiles: Olympic rowers, rugby players, teenage footballers, dancers and runners are already part of the initial work underway. The institute also plans to conduct studies with diverse demographic groups, from adolescents to professional athletes and postmenopausal women, broadening the focus beyond elite performance.

Investment, women’s sport and a new logic of value

The movement led by Wu Tsai is not an isolated gesture within the women’s sport ecosystem. A year earlier, Michele Kang, owner of Olympique de Lyon and the Washington Spirit, allocated another $50 million to similar initiatives focused on female athlete health, with particular attention to women’s football. The coincidence reveals a growing trend: owners and leaders in women’s sport are beginning to invest not only in infrastructure and talent, but also in applied science.

At the same time, Wu Tsai and her husband Joe Tsai opened the capital of the New York Liberty at a $450 million valuation, a record figure in global women’s sport. Part of those resources will be used to build a new $80 million training center. In this context, investment in medical research appears as a natural extension of a new way of understanding the value of women’s sport: not only as entertainment, but as a space that requires specific knowledge, dedicated resources and scientific standards aligned with its protagonists.

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Considered one of the most respected leaders in international rugby, Robinson will lead a new Rugby Division created to integrate key areas that had previously operated in a more fragmented way. From match officials and game technology to law evolution, player welfare and fan experience, his role will be to articulate a shared vision that ensures the Rugby World Cups and major events continue to set the global standard.

From strengthening the All Blacks brand to projecting rugby to the world

Robinson’s six years at the helm of New Zealand Rugby are central to understanding why World Rugby has entrusted him with this responsibility. Under his leadership, the brands of the All Blacks and the Black Ferns expanded their international presence, not only through sporting performance but also by building a global narrative that connected with new audiences, particularly in the United States.

That ability to link high performance, commercial strategy and a deep understanding of the rugby ecosystem is seen by World Rugby as a key asset at a time when the sport is seeking to expand into new markets without losing its essence. Robinson not only led one of the most recognizable brands in global sport, but also managed to translate tradition into international projection — something he will now be expected to replicate on a global scale.

A new division to rethink the game and its governance

Reporting directly to CEO Alan Gilpin, Robinson will work alongside figures such as Mark Harrington in player welfare and Phil Davies in rugby management, within a structure designed to align technical, regulatory and operational decisions under a single vision. Part of this work is already reflected in the review of the game’s philosophy and the alignment of match officials that Robinson is leading, which will be presented at the Shape of the Game 2026 conference.

For Brett Robinson, Chair of World Rugby, the timing of the appointment is “crucial” to reimagine how rugby grows and thrives. Gilpin, meanwhile, highlights the unique combination of performance, commercial and governance experience that Robinson brings. The executive himself summarizes the challenge ahead in a phrase that captures the scale of the task: forging a future that enhances the spectacle for fans, supports unions and protects the core values of rugby on a global stage.

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Both actions form part of ISU Vision 2030, the programme aimed at integrating technological innovation, optimising athlete development and strengthening the connection with fans and key communities, both in the competitive environment and across the international skating digital ecosystem.

Technology applied to performance and injury prevention

The agreement with Aiving will allow the rollout of lightweight devices that attach to skates and deliver real-time data through the ‘Jump Tracker’ programme. This technology enables objective analysis of jumps and training loads, with the aim of improving performance and reducing injury risk, both for skaters and in the daily work of coaches and judges. The Director General of the ISU, Colin Smith, explained that “one of the pillars of our Vision 2030 is to embrace technology to elevate all aspects of our sport”, underlining that the tool provides usable and accessible motion data. The federation is also considering broader applications of the system, not only for athlete development but also to support the work of officials in competition.

From Aiving, its Founder and Chief Executive Officer Halla Sigurthorsdottir stressed that the objective is “to make training in skating sports as measurable and accessible as in disciplines such as running and cycling”. The company combines data science and artificial intelligence to transform complex information into clear, actionable metrics for everyday training environments. The ISU will support the product launch through its Members and Centres of Excellence, reinforcing the gradual integration of the technology within the federative ecosystem and exploring its potential application across other disciplines under its governance.

Digital expansion and connection with new audiences

In parallel, the ISU announced the launch of its official account on LINE as part of a localised content strategy aimed at strengthening its presence in key Asian markets. The initiative seeks to optimise engagement with the Japanese community and expand the reach of figure skating, speed skating, short track and synchronized skating among Japanese-speaking audiences worldwide. The federation already operates dedicated platforms in Korea and China and recently renewed its web ecosystem with a dual structure that combines a fan-oriented space, ‘Home of Skating’, and a modernised institutional portal, ‘Inside ISU’, offering content adapted to different profiles and skating disciplines.

The choice of LINE responds to its strong penetration in the Japanese market, where it reaches a majority of the population and forms part of everyday life in areas such as messaging, news and entertainment. Through this platform, the ISU will deliver exclusive news, live competition coverage, real-time results, behind-the-scenes content and information tailored specifically to local audiences. The ISU’s Chief Commercial and Marketing Officer, Jiao Li, stated that the federation “continues to invest in serving its existing fans while actively engaging new ones through localised content and dedicated digital resources”, highlighting the potential of LINE to strengthen the visibility of skating disciplines and connect with new generations of followers in Japan.

An integrated strategy of innovation and communication

The two initiatives reflect a complementary approach that combines innovation applied to high-performance sport with a communication strategy adapted to the digital consumption habits of each market. The ISU is therefore advancing in the construction of a more connected ecosystem, where technology, data and content play a central role in the development of the sport and in its relationship with global communities.

The federation continues to explore new tools and channels to enhance the experience of athletes, coaches, officials and fans, aligning sporting performance and digital transformation within the strategic framework of ISU Vision 2030.

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The 2026 edition has been marked by the magnetism of its biggest figures, and especially by the so-called “Alcaraz effect.” The presence of the Spaniard has been a decisive driver behind record ticket sales and the consolidation of the tournament as a cultural phenomenon that blends elite sport, entertainment, and a powerful economic boost for the city and the state of Victoria.

The million spectators and a tournament that withstands even extreme heat

On Tuesday, the tournament reached a cumulative attendance of 1,097,036 people, with 879,037 corresponding to the main draw, unprecedented figures that consolidate the Australian Open as one of the major engines of global sport. On the tenth day alone, January 27, 43,750 fans entered the venue, divided between 21,226 in the day session and 22,524 at night.

All of this took place under extreme weather conditions. A heatwave with temperatures reaching 45 degrees Celsius forced matches on outside courts to be suspended and the retractable roofs of the main stadiums to be closed. Far from emptying the stands, the public responded with a massive turnout that demonstrated the event’s drawing power, even in adverse scenarios.

The Alcaraz effect and the economic impact that goes beyond the court

Carlos Alcaraz, 22 years old and a six-time Grand Slam champion, dazzled in the quarterfinals with a victory over Alex de Miñaur, extinguishing local hopes of ending a five-decade drought without an Australian men’s champion. “It was the best match I’ve played in the tournament so far, in terms of level and intensity,” said the Spaniard, who is playing his first official tournament of the year and is chasing the milestone of becoming the youngest player to complete the four Grand Slams.

His presence has been key to the atmosphere at Melbourne Park, where the tournament has established itself as a sporting and cultural festival with live music, gastronomy, and multiple parallel activities. According to official data from the Government of Victoria, the previous edition generated AUD 565.8 million for the state’s economy, and this year the trend continues, with hotels, restaurants, and shops benefiting from a massive international influx, further supported by thousands of additional public transport services during the event.

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During the presentation, Kamil Novak, Executive Director of FIBA, underlined the strategic importance of strengthening the presence of 3×3 basketball in Europe and identified Zadar as a natural choice in the development of the format. “From the perspective of FIBA Europe, it is extremely important for Europe to host new events of this format, especially after a period in which 3×3 basketball has primarily developed in Asia. The arrival of the World Tour in Croatia and in Zadar represents great value for Croatian basketball as well as for FIBA and FIBA Europe,” Novak explained, highlighting the country’s basketball tradition and the city’s strong alignment with the urban identity of the circuit.

The event will feature 14 of the world’s top-ranked teams, including one Croatian side, competing for points in the global ranking and for a total prize fund of 150,000 euros. The finals will be broadcast nationally and internationally, reaching audiences in more than 200 countries and generating over one billion views across digital and social platforms.

Institutional support and tourism impact

The Government of the Republic of Croatia has recognised the sporting, economic and promotional impact of hosting an event of this scale and will co-finance the tournament with a total contribution of three million euros over the next three years. Basketball 3×3, an Olympic discipline since the Tokyo Games, is currently one of the fastest-growing formats within the Olympic programme. Representing the Minister of Tourism and Sport, Tonči Glavina, State Secretary Josip Pavić noted that “events like this are extremely important for the development of sport and for the sports and tourism promotion of the country, particularly as they take place in May and directly contribute to the growth of year-round tourism”.

The Mayor of Zadar, Šime Erlić, emphasised the city’s deep-rooted connection with sport and, in particular, with basketball. “Zadar lives and breathes sport 365 days a year. We have outstanding individual and collective achievements, but basketball is something special and forms part of the DNA of our city,” he said, referring to the historic figures who have shaped the local sporting identity.

Erlić added that hosting the FIBA 3×3 World Tour will further strengthen the city’s international profile and consolidate its position on the European and global basketball map, thanking the Ministry of Tourism and Sport of Croatia and the Croatian Basketball Federation for their support.

Dunk contest and side events

As a prelude to the main event, the weekend before will see the eighth edition of the Diadora Open, the first of ten stops on the CRO 3×3 Tour, which will travel across Croatia until the national championship finals. The Zadar tournament will begin on Friday with qualification games, while Saturday will feature the quarter-finals, semi-finals and final. The programme will also include a dunk contest, a shooting contest and entertainment activities between games. Admission to the stands will be free of charge, and more than 10,000 spectators are expected to attend, drawn by a fast-paced and dynamic game format that has rapidly evolved from street courts to the Olympic stage.

Olympic champion Worthy de Jong attended the presentation event and shared his personal connection to 3×3 basketball. “This format brought my passion for basketball back and reconnected me with the essence of the game. With the sea, the atmosphere and the energy of the city, Zadar is a perfect place for 3×3,” he said. Meanwhile, Nikola Rukavina, President of the Croatian Basketball Federation, highlighted that the tournament will be broadcast in more than 50 markets and reach hundreds of millions of viewers, positioning Croatia as a modern sports destination with strong international visibility.

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The project is part of a broader structural shift within the sports industry, as more athletes such as Leo Messi, Tom Brady, Jimmy Butler and LeBron James choose to control their own commercial channels, reduce intermediaries and manage their relationship with fans directly. Compared with traditional licensing agreements, these platforms provide access to consumer data, enable limited-edition drops and diversify revenue streams beyond conventional sponsorship.

From sponsorship to owned channels: the rise of direct-to-fan

The 77X platform combines e-commerce, content and exclusive activations through a membership-based structure, following a model already established in other sports and entertainment sectors. The use of Shopify provides the technological infrastructure required to scale the business, manage international payments and operate with limited inventories, a common approach in direct-to-fan strategies focused on maximising brand value.

This model has underpinned initiatives such as Autograph, the collectibles platform co-founded by Tom Brady, which closed a Series B funding round of 170 million dollars and reached close to 195 million dollars in total investment. The company’s growth was largely measured through capital raised and strategic partnerships, with market estimates at the time placing its valuation at around 3.2 billion dollars during its peak expansion phase.

Licensing, profitability and cost structures

Not all approaches have delivered the same financial outcomes. The case of Leo Messi highlights the limitations of models based solely on licensing. The Messi Store, operated under licence by MGO Global, reported sales of 1.7 million dollars in a recent fiscal year, alongside losses of approximately 1.9 million dollars, despite an agreement that included a guaranteed minimum payment and royalties for the player.

Such results have prompted many athletes to reassess the balance between fixed licensing income and proprietary models that involve higher operational risk but offer greater medium-term growth potential. In this context, platforms like 77X allow athletes to align production, pricing and release schedules with real-time audience behaviour.

From digital platforms to physical retail

A different route has been explored by Jimmy Butler through BigFace Coffee, a brand that emerged within the NBA ecosystem and later expanded into physical retail with the opening of a flagship location in the Design District of Miami, spanning 2,500 square feet. The concept combines direct sales, brand experiences and selected collaborations, positioning itself at the premium end of the market while building community around the product.

Another example of how owned audiences can evolve into business platforms is The SpringHill Company, founded by LeBron James, which reached a valuation of 725 million dollars following the entry of strategic investors. Although its core activity lies in content and media production, the model illustrates how community-building and storytelling can precede direct monetisation through products and experiences.

In this landscape, the launch of 77X places Luka Dončić firmly within a movement that blends business and sport, where personal brands are managed as companies and fans move from passive consumers to central participants in the commercial ecosystem.

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