Interview with Elias Elhardt: Navigating Setbacks and Staying Grounded

After a serious ankle injury in early 2024, Elias Elhardt found himself facing a long road to recovery. In this interview, he opens up about the challenges of healing, the meaning of true support, and what the snowboard industry often overlooks.

How did your injury come about last year, and how has recovery looked for you?

The injury happened in February 2024 during a personal film project I was working on. During shooting, I had an accident and suffered a complex pilon fracture in my ankle, a severe injury where the lower leg bones were shattered into multiple pieces. The first surgery went well, and the initial recovery looked quite promising. But over time, we found out that a part of the fragmented bones hasn’t consolidated properly. There’s now a non-union that causes ongoing pain and prevents me from putting full weight on the leg. Therefore I need another surgery soon. That means almost starting from scratch again: months off my feet and a slow rehab. I’m optimistic however, that this will lead to a better recovery, so I’ll hopefully be able to snowboard again.

How did your sponsors initially react to your injury?

All of them responded with an incredible amount of care. I’ve been in the industry for nearly two decades, but it was during this injury that I felt the full weight of those relationships that have grown. Nitro, especially, stood out. I was on the phone with Knut and Andi right after the accident. Their reaction was personal, not professional. Manon from Picture, Martin from GoPro, Flo from Deeluxe and Franz from Smith were also hugely supportive. I want to mention them by name, because they each played a real part in helping me stay grounded and hopeful through this time. To feel that kind of backing from them, not just as an athlete, but as a person, is something I’ll never forget.

Do you think the industry needs to rethink how it values riders beyond just performance, especially in times of vulnerability?

Yes. The industry often builds narratives around the wild and fun lifestyle of snowboarding, but rarely addresses what happens when things go wrong. There’s a tendency by the industry to talk about community and even family, but when tough situations arise, those ideals are quite hard to fulfil. I don’t think many brands that project that kind of image are prepared to follow through on it, to really have someone`s back, even if it doesn’t necessarily make sense economically. After all, isn’t that what would define family, to stand in for one another? So how many brands use that term on every sales meeting, and how many can even come close to keeping that promise?

Do you think the snowboard industry currently as a whole does enough to support injured athletes?

It’s hard to generalize. I hadn’t been seriously injured for over ten years, so I’m not the best reference point. But one thing I’ve reflected on is how much our industry still celebrates the “hero narrative”, the idea of the fearless rider who conquers danger. That’s also the theme I explored in my last film, Invisible Ground. That I got severely injured not long after making that film is kind of an irony of fate. We often glorify risk, but we don’t spend enough time acknowledging its consequences. I think our culture would benefit from a more honest dialogue about risk and responsibility.

For instance, how the dynamics of social media definitely incentivize ever more risky behavior. The more impressive and crazy a clip is, the more people will be drawn to it, the more the algorithm will highlight it. This cycle creates a tricky environment for athletes and also regular snowboarders to navigate and take smart decisions in a sport that naturally has a very thin line between amazing experiences and potentially serious consequences.

How can brands and the industry better support athletes during injury or recovery?

It depends on how they define their relationships with riders. If it’s purely transactional, with money exchanged for performance, image and exposure, then it’s just about what’s in the contract. But if brands claim to stand for something more – community, loyalty, long-term partnership – then they also need to act accordingly when a rider is injured. Especially in long-standing partnerships, I believe there’s a responsibility to continue supporting the rider as a person. The issue isn’t that brands always have to do more, it’s that they should be honest about what they actually can or cannot offer when making claims like “we’re family.”

How has the inclusive Nitro family brand ethos helped you deal with the situation?

I’ve always been skeptical of brands using the word “family”, it often feels like a marketing tool. But if there’s one brand I’ve worked with that actually lives up to that claim, it’s Nitro. Over the years, I’ve developed real friendships with the people behind the brand, and they’ve consistently shown up for me in meaningful ways. After my injury, they didn’t hesitate to send a renewed contract with the same exact amount of the previous year, despite knowing I wouldn’t be able to ride that winter. Andi visited me during my recovery, Knut was regularly checking in. That kind of support made me realize that something substantial had grown, something that goes beyond my role as a performer. That meant a lot to me.

Can you share any specific ways Nitro has gone above and beyond to support you?

There have been many key moments. One of them was the creation of the Elooa camps. The original idea came from me, and once the concept was ready, the first person we pitched it to was Andi from Nitro. He supported us without hesitation, simply because he believed in the idea and wanted to support me. To this day, Nitro is still the main supporter of Elooa, even though I’ve since stepped away from it. Another turning point was when I made Contradiction, my first own film production, in which I questioned the snowboard industry and my role in it. It was a risky move. Nitro was the first brand on board, fully supporting the project in every way. That made the film and my shift toward documentary filmmaking in snowboarding possible. Also with my signature board, the Santoku, which we’ve developed over 10 years together, they’ve stayed involved. After my injury, I was heading to South Africa to work with a surf therapy program for kids from the townships, and we integrated that journey into the new board graphics. So wherever I’ve been in my career — in the backcountry, making film, or recovering from injury — Nitro has been there with me.

Have your views on sponsorship and brand loyalty changed since the injury?

I think they’ve become more grounded. You see more clearly which relationships truly hold up and which ones don’t. I’ve been lucky — Nitro, and also Picture and Smith, really stood by me. That reaffirmed my belief in the value of long-term, trust-based partnerships. They show their worth when it matters most.

What advice would you give to younger riders navigating injuries and sponsor relationships?

When I started my career, I got two offers from snowboard brands. One was Nitro, who I wanted to ride for. The other brand offered double the money and a multi-year deal. I still chose Nitro because I believed in what they stood for. I knew I’d be in snowboarding longer than just a few years and wanted a brand I could grow with. Young riders should ask themselves who they really want to build their career with. Money matters, but it shouldn’t be the only factor. You need a partner that supports you through all stages and challenges, especially in such a risky environment. A strong brand relationship can become the backbone of this journey. One thing to consider: many brands are part of bigger corporations and can’t always make long-term, value-driven decisions. That’s why I’ve always preferred working with privately owned companies like Nitro or Picture, where those decisions still lie with the people you know and trust.