T-shirts, mugs, and scarves: the passion for castells goes beyond the square

In the square, everything is ephemeral. It passes very quickly. The tower rises, trembles, is crowned, and comes down. It's a matter of minutes, very few. The epic lasts seconds. Afterwards, only the hugs remain, a photograph, and that feeling of having experienced something often inexplicable.

Outside the square, however, the casteller world is increasingly expanding. It sneaks into the closet, in a sweatshirt you put on to go to practice. It hangs on a wall as an illustrated print. It appears on a mug you use every morning. Or it becomes a caganer with a black sash that, almost without realizing it, is already part of your family nativity scene.

Casteller merchandising, which for decades was practically non-existent, has consolidated as a small universe of its own. It doesn't move the figures of football merchandising or any other sport, but within the casteller world it has gained weight.

This growth, however, is not homogeneous. It depends heavily on the group, its roots, its ability to mobilize people, and the casteller culture of the territory. Occasional moments also influence it: anniversaries, historical milestones, product novelties, or years of major events, like the competition, when demand usually increases notably.

A clear example of this consolidation can be found in the Castellers de Vilafranca. In a year of the Castells Competition like 2024, the group managed to invoice 56,400 euros in merchandising, a figure much higher than the 37,000 euros of the previous year. This increase is not only explained by the effect of major events, but also by a very consolidated structure. The physical store at Cal Figarot, open regularly, acts as a stable and loyal point of sale, to the extent that there are fans who go there specifically to buy or get equipped before important days like Sant Fèlix or Tots Sants.

This model contrasts with that of other groups that are still in much earlier stages. In the case of the Castellers de Santpedor, merchandising is not conceived so much as a relevant source of income, but rather as a tool for identity and internal cohesion. The majority of products are produced locally, under proximity or "km 0" criteria, and are often sold practically at cost price. The objective is not so much the economic margin as the sense of belonging. In this context, the only products with a clearer margin are the handkerchiefs, which continue to be one of the most sought-after and collected items in the casteller world.

Between these two extremes are groups that are in full growth phase, like the Xiquets del Serrallo. In the last three years, they have noticed an increase in both products and sales, even though they started from practically zero. Until recently, they didn't even have their own stall. The growth is mainly explained by two factors: the expansion of the offer and presence at events. When the group performs and has visibility, people become interested in the products, see them live, and often end up buying them later at the venue.

This evolution has also led to a logistical and symbolic change. From having a simple counter with some handkerchiefs or keychains, they have moved on to considering the installation of their own tent at events, following the model of other groups. The fact that most associations have a stall has made the need to gain presence evident. In this sense, merchandising ceases to be just a one-off source of income to also become a tool for public projection.

The big events, commercial showcases

Mass events function as an attraction pole. The Concurs de Castells, in Tarragona, is the clearest example: teams' stalls, official products, specialized books, and exclusive objects linked to the specific edition. In these contexts, purchasing is part of the experience, especially for those coming from outside the country. Getting a t-shirt or a scarf is not just acquiring clothing, it's being able to show that you've been there.

Here, merchandising often has a more symbolic than financial character. In the last edition, direct sales managed by the organization amounted to 400 scarves at 6 euros and 200 tote bags at 10 euros. A total of 4,400 euros.

To these figures, an important nuance must be added: they do not include production costs. Therefore, we can say that in this case, the value of merchandising is more linked to presence and experience than to direct economic return.

Before, the shirt was only functional

For a good part of the 20th century, casteller attire had no symbolic intention beyond its functionality. The shirt identified the group. The sash protected the back, and the white trousers and scarf completed the ensemble. No one spoke of branding because it was unthinkable at that time.

However, in the nineties, this idea began to change. The expansion of groups throughout the country and the consolidation of major events with media coverage generated a new need: to explain themselves also outside the square. The first alternative t-shirts appeared, often linked to anniversaries or special castells. They were simple pieces, but they opened the door to a new idea: that of a souvenir that could be worn.

The turning point came in 2010, with the recognition of castells as Intangible Cultural Heritage of Humanity by UNESCO. From then on, the international projection of the casteller world intensified, and many groups began to understand that they were not only building human structures, but also a cultural image that could be designed, communicated, and sold.

The evolution of casteller merchandising

In the casteller world, color goes far beyond a shirt. It is a symbol of identity and an easy way to recognize the group in any square.

When someone puts on the shirt, they don't just get dressed, they connect with it. It is in this same line that merchandising has grown. With the same color, commemorative t-shirts have been made for a specific castells – often the one that marked a season –, special anniversary pieces or limited editions linked to a historic milestone. Also more minimalist t-shirts: silhouettes of a specific castells, more conceptual graphics or even phrases that only those who have formed a "pinya" and have sweated the shirt in practice after practice understand. There have even been groups that have opted for more special products, collaborating with brands. A clear example is the Castellers de Vilafranca, who a few years ago collaborated with Munich to create exclusive sneakers.

In all these cases, the design is no longer improvised. Often, behind it are designers from the same group who have a clear graphic criterion and an evident will for style. All this professionalization is also noticeable in sales channels. Most groups have a store on their website, where products can be purchased all year round. In parallel, there is a group of people who manage the physical store at the rehearsal venue or set up a stall on important festival days. It is a completely voluntary task, but very important for the group.

In recent years, the casteller world has incorporated trends. One of the latest phenomena is Crocs: wearing them in the same color as the shirt. And this also reinforces the idea that what is consumed is no longer just an object, but a form of identity. Whoever buys a t-shirt, a scarf or a mug does not do so to consume, but to contribute and to feel involved in a group. All in all, in a world where unfortunately everything goes too fast.