Explained: Why Taylor Fritz earned less than his Influencer girlfriend Morgan Riddle at the Australian Open

American tennis star Taylor Fritz, the world No. 9, walked away from the Australian Open with a respectable pay cheque, just not the biggest one in his household.

Fritz earned approximately $475,000 after reaching the round of 16 at the season's first Grand Slam, where his run ended in straight sets against Lorenzo Musetti. Yet reports suggest his girlfriend, influencer Morgan Riddle, generated slightly more income during the same tournament through brand partnerships, sponsorship activations and social media growth.

The numbers have sparked conversation, but they also reflect a broader shift in how value is created around modern sport, particularly at events like the Australian Open.

How Riddle out-earned a top-10 tennis player

Riddle, who has built a large following across Instagram, TikTok

and YouTube, reportedly earned around €290,000 during the Australian Open, marginally higher than Fritz's prize money once taxes and expenses are considered. Her income stemmed not from the result on court, but from commercial activity off it.

Over the course of the tournament, Riddle added thousands of new followers, created sponsored content from Melbourne, and activated long-standing partnerships across fashion, beauty and lifestyle brands. She has previously worked with Wimbledon, the US Open and Formula One-linked campaigns, and is regularly contracted to produce tournament-specific fashion and culture content.

Crucially, Grand Slams offer a unique commercial window: two weeks of global attention, predictable schedules, and a visually rich environment: ideal conditions for influencer marketing.

Riddle herself has acknowledged the dynamic with humour. Before the tournament, she told Fritz: "You have to get through the round of 16 first, otherwise I'll earn more than you. "

Ultimately, that scenario played out.

Why this says more about tennis economics than Fritz's form

At first glance, the story appears counterintuitive: how does a top-10 tennis player earn less than a non-athlete during a Grand Slam? The answer lies in tennis's prize-money structure and the nature of influencer income.

Outside the final rounds, Grand Slam earnings flatten quickly. A round-of-16 exit delivers strong but finite prize money, while influencers face no such ceiling. Brand fees scale with reach, engagement and relevance, all of which increase during major sporting events.

Riddle's presence at tournaments is not incidental. She produces behind-the-scenes content, travel guides, fashion breakdowns and lifestyle vlogs that appeal to audiences who may not follow tennis for match results alone. In that sense, she monetises the ecosystem of the sport rather than its competitive outcome.

The "TWAG" debate, and why it persists

Riddle's rise has not been without criticism. Some within the tennis world have questioned why brands invest heavily in players' partners rather than athletes themselves. Former top-20 player Daria Saville has previously voiced frustration that female players struggle to secure comparable advertising deals.

The debate touches a nerve: visibility versus performance, marketability versus merit. Yet from a commercial standpoint, brands are buying access to audiences, not scorelines.

Riddle now boasts close to half a million followers on Instagram alone and over a million across platforms, numbers that rival or exceed many players outside the elite tier.

A partnership built for the modern tour

Importantly, this is not a case of friction within the relationship. Fritz has consistently supported Riddle's career, describing them as a "dual-income household. " Riddle travels with him for much of the year, and both have spoken openly about how their professional lives are now intertwined.

For Fritz, the tennis court remains the primary arena. For Riddle, everything around it fashion, culture, access, is the business.

The Australian Open simply offered a clear snapshot of how the economics of modern sport have evolved: performance still matters, but attention, influence and storytelling can now pay just as well, sometimes better.