Chwalińska has already played nine matches on Parisian courts. Importantly, in each of them she wore a different outfit, a different brand, including: Adidas, Nike, Lacoste or On. – There is no history here, I simply don't have a sponsor – she explained honestly during the post-match conference.
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The Pole remains one of the few players at this level of competition who is not bound by a contract with a technical sponsor, i.e. a company that provides players with equipment necessary to play, including clothing and footwear. or rockets, and uses the cooperation for marketing purposes. For example, in the case of Aryna Sabalenka it is Nike, Iga Świątek – On, and Novak Djokovic – Lacoste.
It is only a matter of time before Chwalińska will wear clothes of only one brand. If the tennis player permanently entered the WTA TOP 30, her clothing contract could be worth several hundred thousand dollars a year.
— A player aspiring to the top of world tennis and among the 50 best tennis players in the WTA ranking should be a natural candidate for permanent cooperation with a reputable hardware partner – commented Kacper Jędrzejak, product manager at the Arskom marketing agency, in an interview with Presserwis.
Media results of Maja Chwalińska
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Press materials
Maja Chwalińska – tennis Cinderella
Chwalińska's potential is confirmed by numbers – her achievement turned out to be not only the greatest sports success in her career so far, but also one of the most spectacular cases of increasing the marketing value of a Polish athlete in recent years.
Data from the Institute of Media Monitoring show that it instantly translated into record media exposure, increased interest among Internet users and an immediate reaction from sponsors.
According to IMM analysis the advertising equivalent (AVE) value of publications regarding Chwalińska between May 18 and June 1, 2026 amounted to PLN 68 million. May itself was record-breaking for the athlete in terms of media presence – the AVE indicator reached PLN 52 million, the highest in the entire history of monitoring her image.
Chwalińska is a tennis Cinderella who had to fight in the qualifications to take part in the Paris tournament. Her subsequent victories, and therefore rapidly growing popularity, also translated into the activity of social media users. During the analyzed period, entries about the tennis player generated 475,000. interactions including likes, comments and shares.
— Polish fans, naturally accustomed to Iga Świątek's successes, quickly picked up another thrilling sports story, which perfectly reflects nearly half a million interactions on social media. This is proof of the huge hunger for success and new, inspiring heroes among fans – comments Tomasz Lubieniecki, Head of the Media Reports Department at IMM.
He adds: – Chwalińska's image is being built very organically – the media and Internet users appreciate not only her great, unconventional technique on the court, but also her unpretentious authenticity and modesty off it. This natural narrative, combined with a sudden jump in media value in just one month, presents an extremely rare opportunity for brands looking for commercial partnerships.
Companies are fighting for Chwalińska
However, the most eloquent proof of the tennis player's growing marketing value were the decisions of sponsors made during Roland Garros.
During the first rounds of the tournament, Chwalińska performed without advertising her clothes. The situation changed with subsequent victories. During the match against Maria Sakkari, the XTB logo appeared on the player's shirt. In the next match, against Diane Parry, the Eightstone brand also joined.
And when a Polish woman after one of the matches, regardless of her unexpectedly long participation in the tournament, starts to worry about hotel expenses, because tournament bonuses are paid only after the end of the competition, Oshee reacted immediately. She informed that she would cover the accommodation costs of both the player and her mother until the end of their stay in the French capital.
— Chwalińska proved that in times of excess of scripted messages, it is unpretentious honesty in front of the camera that builds the strongest bond with the audience – emphasizes Lubieniecki.
