Is it game over for performative sponsorship in women’s sports?
Katie Mitchell, Managing Director at Seen Studios, argues that while we’ve seen spectacular audience growth in women’s sports, brands need to catch up with the opportunities for cultural change that this shift brings.
The Lionesses’ historic EURO 2025 victory was watched by a peak audience of 12.2 million, making it one of the most viewed television moments of the year. By 2030, women’s football is forecast to have a global fandom of more than 800 million.
But focusing on audience growth alone misses the bigger picture. Women’s sport has historically been shaped around systems, expectations and narratives designed around men, from training structures and media coverage to marketing and product design.
If organisations want to build meaningful connections with women today, they need to prioritise honesty, empathy and genuine cultural understanding.
Today, the picture looks a little different. Women’s sport has transcended the boundaries of the pitch. It is now a cultural tour-de-force; a platform from which to launch change on a societal level, whether by breaking stigmas around women’s bodies or redefining athletic identities.
This leaves brands trying to compete within this landscape in an interesting position. For years, they have approached women’s sport using the same playbook they developed for men’s sport - or worse, resorted to blatant performative campaigns that masquerade as ‘empowering’.
That playbook no longer works - the goalposts have shifted. If organisations want to build meaningful connections with women today, they need to prioritise honesty, empathy and genuine cultural understanding.
Credits
View on- Agency Wieden + Kennedy/Portland
- Production Company Somesuch
- Director Kim Gehrig
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Credits
View on- Agency Wieden + Kennedy/Portland
- Production Company Somesuch
- Director Kim Gehrig
- Co-Founder Sally Campbell
- Co-Founder Tim Nash
- Executive Producer/Managing Director Seth Wilson
- Head of Production Roger Zorovich
- Editing Trim
- Editor Tom Lindsay
- Editor Elise Butt
- Extension Editor Liv Ay
- Executive Producer Noreen Khan
- Executive Producer Michael Miller
- Post Producer Joe Yardley
- Finishing Joint Editorial (In-House at Wieden + Kennedy)
- Head of Production Catherine Liu
- Executive Post Producer Tina Starkweather
- VFX Selected Works
- VFX Creative Director Francois Roisin
- Executive Producer Sean Costelloe
- Color Trafik/Los Angeles
- Colorist Mark Gethin
- Head of Production Greer Bratschie
- Colorist Extensions Taylor Pool
- Sound Design/Audio Mix Field Day Sound
- Sound Designer/Audio Mixer Noah Woodburn
- Additional Sound Designer/Audio Mixer Natalie Huizenga
- Executive Producer Leslie Carthy
- Music Soundtree Music
- Music Supervisor/Music Producer Peter Raeburn
- Music Producer Luke Fabia
- Music Producer John Mourounas
- Music Supervisor Colin McIlhagga
- Executive Producer/Managing Director Jay James
- Global Brand Creative Director Enrico Balleri
- Global Brand Creative Designer Andy Walker
- Global Brand Creative Katie Gurgainus
- Global Producer Nick Roldan
- Executive Creative Director Caleb Jensen
- Executive Creative Director Blair Warren
- Copywriter Teddy Malenfant
- Art Director Whitney Downing
- HP Orlee Tatarka
- Executive Producer Kerli Teo
- Senior Producer Katie Schaller
- Associate Producer Lily Teague
- Design Director Alicia Kuna
- Design Director Bruno Oppido
- Design Producer Sarah Starr
- Designer Hui Chen Ou Yang
- Producer Arlene McGann
- Production Designer Olivia Peebles
- Production Designer Marie Lanna
- Art Director Anu Schwartz
- Costume Designer/Stylist Gabriella Johnson
- Costume Designer/Stylist Vanessa Coyle
- DP Philippe Le Sourd
- Editor Steve Shaw
- Post Producer Lauren Pullano
- Finish Artist Nick Tayler
- Color Producer Taravat Yazdan Panah
- Photographer Amber Pinkerton
- Talent Sha'Carri Richardson
- Talent A'ja Wilson
- Talent Sabrina Ionescu
- Talent Alexia Putellas
- Talent Sophia Wilson
- Talent Aryna Sabalenka
- Talent Jordan Chiles
- Talent
- Talent Caitlin Clark
- VO Doechii
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Agency Wieden + Kennedy/Portland
- Production Company Somesuch
- Director Kim Gehrig
- Co-Founder Sally Campbell
- Co-Founder Tim Nash
- Executive Producer/Managing Director Seth Wilson
- Head of Production Roger Zorovich
- Editing Trim
- Editor Tom Lindsay
- Editor Elise Butt
- Extension Editor Liv Ay
- Executive Producer Noreen Khan
- Executive Producer Michael Miller
- Post Producer Joe Yardley
- Finishing Joint Editorial (In-House at Wieden + Kennedy)
- Head of Production Catherine Liu
- Executive Post Producer Tina Starkweather
- VFX Selected Works
- VFX Creative Director Francois Roisin
- Executive Producer Sean Costelloe
- Color Trafik/Los Angeles
- Colorist Mark Gethin
- Head of Production Greer Bratschie
- Colorist Extensions Taylor Pool
- Sound Design/Audio Mix Field Day Sound
- Sound Designer/Audio Mixer Noah Woodburn
- Additional Sound Designer/Audio Mixer Natalie Huizenga
- Executive Producer Leslie Carthy
- Music Soundtree Music
- Music Supervisor/Music Producer Peter Raeburn
- Music Producer Luke Fabia
- Music Producer John Mourounas
- Music Supervisor Colin McIlhagga
- Executive Producer/Managing Director Jay James
- Global Brand Creative Director Enrico Balleri
- Global Brand Creative Designer Andy Walker
- Global Brand Creative Katie Gurgainus
- Global Producer Nick Roldan
- Executive Creative Director Caleb Jensen
- Executive Creative Director Blair Warren
- Copywriter Teddy Malenfant
- Art Director Whitney Downing
- HP Orlee Tatarka
- Executive Producer Kerli Teo
- Senior Producer Katie Schaller
- Associate Producer Lily Teague
- Design Director Alicia Kuna
- Design Director Bruno Oppido
- Design Producer Sarah Starr
- Designer Hui Chen Ou Yang
- Producer Arlene McGann
- Production Designer Olivia Peebles
- Production Designer Marie Lanna
- Art Director Anu Schwartz
- Costume Designer/Stylist Gabriella Johnson
- Costume Designer/Stylist Vanessa Coyle
- DP Philippe Le Sourd
- Editor Steve Shaw
- Post Producer Lauren Pullano
- Finish Artist Nick Tayler
- Color Producer Taravat Yazdan Panah
- Photographer Amber Pinkerton
- Talent Sha'Carri Richardson
- Talent A'ja Wilson
- Talent Sabrina Ionescu
- Talent Alexia Putellas
- Talent Sophia Wilson
- Talent Aryna Sabalenka
- Talent Jordan Chiles
- Talent
- Talent Caitlin Clark
- VO Doechii
Above: Athletes including Jordan Chiles, Caitlin Clark and Sha’Carri Richardson appeared in Nike’s Super Bowl 2025 challenging assumptions about women in sports.
Progress requires getting personal
Despite progress being made, there is still significant room to improve, particularly at grassroots. By the age of 14, girls are dropping out of sports at twice the rate of boys.. More worrying still is that this can be attributed to multiple causes, from insufficient investment to entrenched social expectations.
Challenges persist at the pinnacle of women’s sport. Even at the elite level, there is a sense that the industry is still playing catch-up. News broke last week that broadcasters were being provided with a set of guidelines around more respectful, less sexualised coverage for female athletics.
While these changes were widely welcomed, many would argue that such measures are long overdue. The fact that they’re only being introduced now speaks volumes about an industry that has historically been shaped around male perspectives.
[The] industry has historically been shaped around male perspectives.
The same pattern can be seen in conversations around women’s health. From then-Chelsea Women’s manager Emma Hayes appointing the world’s first menstrual coach to Wimbledon relaxing its all-white dress code to allow female players to wear dark-coloured shorts - although “taboo” topics are becoming more mainstream, the fact that it’s taken this long reflects how women have been automatically expected to adapt to structures unfit for purpose.
Athletes themselves are also refusing to wait for change. Take Ilona Maher, one of rugby’s most recognisable stars and prominent social media voices. Alongside championing body positivity, she has used her platform to normalise conversations around periods, whether it’s highlighting the use and availability of menstrual products at the Olympics or encouraging young women to speak more openly about their experiences.
Together, these aren’t just signals of incremental progress - women’s sport is challenging long-held assumptions around health, identity and performance. And in doing so, it is raising the bar for brands that want to be part of the conversation. Visibility alone isn't enough; consumers are increasingly expecting organisations to demonstrate honesty and empathy too.
Above: Underwear brand Knix launched the ‘sport your period’ campaign, that saw athletes including Ilona Maher aiming to crush shame around menstrual bleeding in sport.
Actions, not activations, provide credibility
Many brands are wary of sticking their heads above the parapet, fearing they’ll lose control of the narrative and get drawn into conversations where they have little legitimacy to contribute. However, it’s the brands that don’t simply lecture consumers, but instead create an environment that encourages honest conversations around difficult and sensitive issues, that will position themselves as the allies of the future.
Nike is a good example. The sportswear giant’s return to the Super Bowl last year didn’t just make headlines because it marked its first appearance in 27 years. Rather, it was the decision to dedicate its 60-second spot to some of its most celebrated female athletes, including Caitlin Clark and Sabrina Ionescu, that captured attention.
Audiences don’t just want products; they won’t settle for empty slogans. They are looking for advocates, not advertisers.
In doing so, Nike used one of the world’s biggest media platforms to challenge long-standing assumptions about women’s sport, confronting double standards around ambition and celebrations, as well as the outdated notion that female athletes can’t fill stadiums.
Campaigns are only part of the equation, and brands must be more intentional about the platforms and partnerships they invest in. It’s not just about showing up; it’s about showing up in the right places.
Above: As part of beauty brand Sephora’s landmark deal with F1 Academy Women’s Racing, they are sponsoring 18-year-old Spanish driver Natalia Granada.
Formula 1 is a prime example. Motorsport has historically been dominated by men, with notable exceptions such as Susie Wolff and Claire Williams. The emergence of F1 Academy has sought to change that. Not only has it lowered the barrier to entry through initiatives like the Driver Development Hub, it has also attracted a completely different mix of commercial partners - see beauty brands Charlotte Tilbury and Sephora investing in their own teams.
From visibility to value
Commercial success will always matter for brands entering women’s sport. But the desire to drive revenue needs to be matched by a genuine commitment to drive cultural change. Audiences want more than products and won’t settle for empty slogans.
The conversations around identity, opportunity and health aren’t going away. If anything, they will only become more central to the future of the industry. The brands that recognise this won't just benefit from women's sport's growth, they’ll be remembered by audiences who are looking for advocates, not advertisers.