Connect Like You Mean It
The Campaign:
AT&T challenged NSAC teams nationwide to “Make Gen Z crave AT&T.” Through research, our team found a contradiction frustrating our target. Gen Z felt trapped by their reliance on technology, yet recognized their phones as essential for staying connected to both people and culture. But whether they were connecting in-person or online, connections strengthened when they were present, focused and vulnerable.
Our key insight, vulnerability unlocks authentic connections, drove the campaign concept: Connect Like You Mean It (CLYMI). This campaign positioned AT&T as more than a service provider. AT&T became the partner that pushes you out of your comfort zone to form deeper, more meaningful connections.
The Impact:
The campaign was projected to deliver over 3 billion impressions on a $74.8 million budget, nearly maxing AT&T’s $75 million spend.
CLYMI earned Best Creative Execution and placed 2nd overall at the 2025 NSAC District 9 competition.
Each and every CLYMI execution challenges our target to show the world their true selves. Their cell phones (and the provider that keeps them running), the very things they felt were holding them back from their social potential, are turned into tools helping them connect with the world around them.
The Execution:
The hero spot poses the initial challenge to our audience to push themselves to connect boldly and be unapologetically themselves.
Explore More Kits are sent to members of our target moving to new cities whether as a recent grad, for a new job or just starting fresh. These consumers are found via LinkedIn monitoring and sent a city specific kit including a free month of premium Bumble BFF, a free Uber Pool ride and reservations at two of the hottest restaurants in their new city when they sit at the AT&T community table, a large table that accommodates several, separate parties and encourages socializing.
Each CLYMI execution, like this elevator activation, calls out the ways we choose to stay disconnected when we could be connecting.
