Along the way, Bodo discusses the delicate balance between technical precision and equine welfare, the pressure of designing courses for the biggest championships in the world, and the almost “musical” flow that defines a truly great track.

Despite his international reputation, Bodo remains refreshingly grounded. With characteristic humour and humility, he shares his philosophy, his inspirations, and why the timeless bond between horse and rider continues to lie at the very heart of the sport.

1. Roots & Early Passions

How did growing up in eastern France shape your passion for showjumping and course design?

I spent more than twenty years living in Forbach, across from a large equestrian centre called Mont Dragon in Moselle, in the north-east of France. I started as a showjumping rider, and horses were part of my daily life. Being around them every day allowed me to grow within the sport naturally.

My family fully supported my commitment, which quickly turned into a true passion. Around the age of fifteen, I began to take an interest in course building. My riding club organised many competitions, so I had the opportunity to observe and learn.

At the time, the Lorraine region was very active in showjumping, with a high number of competitions and many talented riders and horses. I was fortunate to meet knowledgeable and influential people who encouraged me to continue and helped me complete the various trainings and examinations required to become a course designer.

Within just eight years, I had reached the highest national level in course design.

When did you realise that course design could become your life’s work rather than just something you did locally?

I would say that moment came when I was around eighteen years old and was appointed as a regional course designer.

My mentors trusted me and gave me the opportunity to design my first national-level competition at 1.40m, which at the time was called a B1 class. It took place at the Etrier Verdunois in Verdun.

The Grand Prix produced eight clear rounds, which qualified for the jump-off. That experience was a real turning point for me. From that moment on, course design became more than just an interest—it became a vocation.

I eventually stopped competing as a rider so I could fully dedicate myself to course design.

You started riding at the age of seven. What are your earliest memories of horses?

Horses were always part of my environment. My grandfather owned racehorses, and I saw them every day.

From the very beginning, I felt a natural connection with them. I was never afraid and quickly developed a competitive spirit. I remember telling myself that one day I would become a great rider—although in the end, I think I turned out to be a better course designer. (laughs)

2. From Local Shows to the International Stage

Making the leap from regional competitions to the world stage is a huge step. What was the turning point?

When I was around twenty-five years old, I was already managing many national competitions. At that point, influential people in the sport began to notice my ability to design courses.

That was when I decided to approach the Aachen School of Course Design in Germany. The school was run by the renowned course designer Arno Gego.

Together with his colleagues, he encouraged me to pursue an international career. I must also acknowledge the role of my national federation, which helped guide my development toward the international level.

Were there mentors who played a decisive role in your career during those early years?

Absolutely. Many people at both regional and national levels helped me develop my expertise and gave me opportunities to work at numerous competitions.

I will always be grateful to the late Jean Collin, former course designer and President of the Lorraine Equestrian Area. My mentor Michel Juliac also played a very important role.

In truth, I was fortunate to meet the right people at the right time.

What were the biggest challenges when you first started working internationally?

I wouldn’t necessarily call them challenges—perhaps more a sense of apprehension.

When you arrive at major international competitions, you are entering unfamiliar territory. You don’t yet know the riders or the horses, and you haven’t worked with that level of competition before.

The most important thing is to remain yourself and continue doing the work people respect you for.

How has your role evolved since those early international experiences?

Over time, experience brings confidence. You learn how to manage both the technical aspects of course design and the subtle details that affect horses and riders.

Today, I also see myself as a teacher. I share my knowledge with younger designers while leading teams and continuing to create courses that present our sport in the best possible light.

In a way, course design is also an artistic process.

3. The Art and Science of Course Design

How would you describe your style of course design?

I have always preferred courses that encourage forward movement and fluidity. I like layouts that have what I would describe as a “musical” flow.

The lines of a course are extremely important to me.

My aim is to create challenges that riders must solve, rather than difficulties for the horses themselves. Achieving that balance is probably the most delicate part of course design.

A course should be subtle, sometimes demanding, but always fair and respectful of the horses.

What inspires you when designing a course?

Wherever I go, one principle remains essential: horses must jump confidently and comfortably, from the opening classes of the show right through to the Grand Prix.

Of course, the level of riders and horses present also influences the questions you ask in the ring. The type of competition, the venue, the time of year and even the available equipment all play a role in shaping the course.

What does the creative process look like when designing a major event?

I usually begin by focusing on the combinations, particularly the double and the triple, and the general placement of the obstacles.

Natural elements such as water jumps or liverpools may also influence the design.

Drawing the course on paper helps determine the profiles of the fences, the distances and the rhythm of the track, while ensuring a balanced number of changes of direction throughout the course.

How do you balance the expectations of riders, organisers and spectators?

That balance comes with experience and intuition.

You must create genuine sport and competition while ensuring the event remains exciting for spectators. At the same time, horse welfare must remain a priority and the course must allow horses to progress.

4. Paris Olympics & Major Championships

What did it mean to be appointed course designer for the Paris Olympic Games?

It was an immense honour and a great source of pride.

Participating in the Olympic Games is one of the highest achievements in sport. With the Los Angeles Games in 2028, it will be my third Olympics—and I am only forty-seven.

What makes Olympic course design unique?

The Olympic Games require extremely high standards.

Both horses and riders arrive in peak condition, having prepared specifically for the event. The courses must therefore be very subtle.

The qualification rounds cannot be excessively demanding because some combinations may have less experience. Olympic courses are planned months in advance, unlike many other events that are organised week by week.

Which events have had the biggest impact on your career?

Two events stand out.

The first is Spruce Meadows in Calgary. I had the opportunity to design courses there for several years, and it is truly a legendary venue with a very special atmosphere.

The second was Lyon in France, where I designed my first five-star event during the FEI Jumping World Cup Final in 2017.

What kind of pressure exists behind the scenes at this level?

The pressure is always present. In fact, if you felt no pressure, it would probably mean you no longer had passion for your work.

You want everything to run smoothly and for the sport to be of the highest quality. The stakes are significant—financially, organisationally and in terms of horse welfare. As the years go by, the responsibility only increases.

5. Personal Reflections

What does reaching this level mean to you personally?

It represents a vocation and a great source of pride.

In many ways, I believe this path was always meant for me.

Do you ever reflect on your early competitions in places like Forbach or Sarreguemines?

Yes, sometimes I feel nostalgic. Occasionally I revisit those places, even though many of the events no longer exist today.

How have your relationships within the sport evolved over the years?

As I mentioned earlier, I was fortunate to meet many people who helped me grow in this profession.

I still maintain good relationships with many of them, which I am very proud of.

What keeps you motivated after so many years?

Simply passion.

The desire to do things well, to contribute to the development of the sport and to play a role in the success of showjumping.

6. The Future of the Sport

How do you see the future of showjumping course design?

Over the decades I have witnessed major changes, both in equipment and technology, as well as in the performance level of horse-and-rider combinations.

However, we must always respect the physiological limits of the horse. Some technical and regulatory aspects will continue to evolve, but never at the expense of animal welfare.

What would you say to those who argue equestrian sports should disappear from the Olympic Games?

Equestrian sport represents one of the most profound partnerships between human and animal.

Horses have been part of human history for centuries. To imagine that this partnership could disappear from the Olympic programme would be very difficult to accept.

What advice would you give to young course designers?

Always believe in what you do and never give up.

Passion for horses must come first. Money should never be the main motivation. Hard work eventually pays off.

Another important quality is humility. You must constantly question yourself and never believe you are the best—because the sport will always remind you that learning never stops.

What innovations might shape the sport in the coming decade?

For the moment, most innovations will likely involve equipment used to build courses, competition footing, regulations and possibly judging methods.

Have you ever worked in Saudi Arabia?

No, I have not yet had the opportunity to visit that part of the world.

I was involved in a competition in Doha in 2013 as an assistant, but I have not yet experienced events in Saudi Arabia, although I know the competitions in Riyadh by reputation.

7. The Human Side

Which moment in your career moved you the most?

Two moments stand out.

The first was when I became a Level 3 Course Designer in 2012, and the second when I was appointed Level 4 Course Designer and Technical Delegate in 2019.

What do you wish people better understood about your profession?

For many spectators, the role of a course designer remains largely invisible.

Many people do not realise the complexity of the job or the responsibilities involved. Fortunately, as equestrian sport has gained more media attention in recent years, we have had more opportunities to explain our work.

Course design is neither an exact science nor a purely mathematical process—it relies heavily on human judgement and experience.

If you could speak to your twenty-year-old self, what would you say?

“You are the most handsome and the best!” (laughs)

How do you stay grounded despite international recognition?

Never forget where you come from and never try to become someone else because of success.

My upbringing and my family taught me to remain modest.

And I often think of this quote:

“Talent is almost nothing; experience is everything, and it is gained through humility and hard work.”
— Patrick Süskind