How Jockey's Helpbooth Turned a Shopping Mall Restroom Into a Lifeline
Helpbooth is a November 2017 experiential campaign created by Wunderman Phantasia for Jockey Plaza in Peru, placing private telephone booths inside women's shopping mall restrooms to connect women experiencing domestic or gender-based violence directly to Línea 100, Peru's national abuse reporting and psychological assistance hotline.
Jockey Plaza anchored the campaign to the International Day for the Elimination of Violence Against Women. The timing was deliberate. Seven in ten women in Peru had experienced some form of violence, according to Clapboard's editorial documentation of the campaign brief, yet many did not report abuse because they feared being judged or discovered by their partners. A shopping mall restroom offered something rare: a private moment, away from a controlling companion, inside a space women could enter without suspicion. The Helpbooth concept turned that moment into an access point.
Wunderman Phantasia, operating out of Lima, designed the activation so that the booth itself was discreet by design. It was integrated into a facility women already used, removing the social and logistical friction that prevented formal reporting. The campaign belongs to the retail services industry classification, but its ambition extended well beyond conventional retail marketing. Jockey Plaza was using its physical footprint — its restrooms — as infrastructure for social intervention. In Peru, where institutional trust barriers around reporting violence are well documented, the location of the booth carried as much meaning as the telephone inside it.
Helpbooth earned a Clapboard Score of 69 out of 100, reflecting strong strategic coherence and emotional clarity, offset by limited public documentation of production scale. The campaign contains one primary media asset and represents a single-market execution, concentrated entirely in Peru, which makes it a precise case study in how experiential advertising can operate at the intersection of brand identity, physical retail space, and urgent social need.
Wunderman Phantasia identified a structural barrier that conventional public health messaging had failed to solve. Many women in Peru did not report abuse not because they lacked awareness of resources, but because reporting required a visible, deliberate act that a partner could observe or intercept. A phone call from home, a visit to a government office, a conversation with a neighbour — each carried exposure risk. The agency's insight was environmental: a women's restroom inside a busy shopping mall was one of the few spaces where a woman could be alone, in public, without triggering suspicion.
The campaign launched against a documented social backdrop. Seven in ten women in Peru had experienced some form of violence, a figure that places Peru among the countries with the highest rates of gender-based violence in Latin America, a pattern noted in regional reporting by organisations tracking women's rights in the region. The choice to connect Helpbooth directly to Línea 100 — Peru's government-run national helpline offering both abuse reporting and psychological support — grounded the activation in an existing public infrastructure rather than creating a parallel system that would require ongoing brand management.
Within the fashion and apparel sector, Jockey Plaza operates in a competitive retail environment where multinational brands including Hanesbrands, whose portfolio spans Hanes, Champion, Playtex, and Wonderbra, and international lingerie retailers such as Triumph International maintain market presence across Latin America. Where those competitors pursue product-led or lifestyle-driven brand narratives, Jockey Plaza's Helpbooth positioned the brand as a custodian of the spaces it controls. That is a materially different competitive proposition, one rooted in the retailer's physical relationship with its customers rather than in product attributes. The global apparel market reached a substantial scale in 2017, according to Business of Fashion and Euromonitor reporting, with Asia-Pacific, Europe, and the United States collectively accounting for the majority of global value — underscoring how a market like Peru, while smaller in absolute terms, represents a distinct strategic and cultural context where locally responsive campaigns carry disproportionate resonance.
Helpbooth succeeded as an experiential execution because its creative logic was spatial rather than communicative. The campaign did not ask women to respond to a message. It placed a functional object — a telephone booth — inside a room they already occupied, connected to a real service that could provide real assistance. The creative decision to site the booth in a women's restroom rather than a public corridor or branded activation zone was itself the primary act of craft: it eliminated the performative quality that undermines most cause-related brand activations.
José Aburto served as Chief Creative Director on the campaign, leading a Wunderman Phantasia team that also included Augusto Landauro as Head of Art and Sergio Inamine as Creative Supervisor. The production approach prioritised functional integrity over spectacle. The booth needed to feel private, credible, and safe — not branded in a way that would draw attention from a companion waiting outside. That restraint is itself a creative position, one that required the team to subordinate conventional advertising instincts in favour of the user experience of a woman in a potentially dangerous situation.
The campaign produces a single documented media asset, which suggests the primary creative output was the physical installation rather than a filmed or photographed advertising artefact. This is consistent with experiential work designed to generate earned media and word-of-mouth rather than paid distribution. The Helpbooth format — a discreet booth with a dedicated telephone line — is replicable across other retail locations with women's restroom facilities, and its design logic does not depend on high production spend. In that sense, the creative economy of the campaign is part of its craft: an idea that works because it is simple, functional, and physically present in exactly the right place at exactly the right moment.
Helpbooth generated two reported performance outcomes, both connected to Línea 100, Peru's national abuse reporting hotline. Calls to Línea 100 increased by 39 percent versus the same period in the previous year, according to reporting documented by Ecomedia Pe and referenced in Adweek's coverage of the campaign. Additionally, 36 percent of cases handled during the activation period were attended to effectively, per the same sourced reporting. These figures, if verified at scale, represent a material public health outcome rather than a conventional advertising metric.
The significance of the 39 percent increase in calls is contextual. Línea 100 is a government-operated service, not a brand channel, which means the uplift reflects genuine behavioural change among women who were previously not reporting — not an increase in brand recall or purchase intent. The campaign's architecture, placing the access point inside a restroom rather than advertising its existence through conventional media, means the mechanism for driving that increase was spatial and experiential rather than communicative. That is an unusual and structurally sound result for an experiential campaign.
No independent third-party audit of these figures is publicly available, and no awards data attributing specific recognition to Helpbooth has been confirmed in publicly accessible records. The Clapboard Score of 69 out of 100 reflects the campaign's strong conceptual and strategic coherence, its demonstrable connection to a real social infrastructure in Peru, and its disciplined creative restraint, moderated by the limited scope of its single-market, single-asset execution and the absence of fully verified, independently sourced performance data.
Helpbooth was a November 2017 experiential campaign by Jockey Plaza and Wunderman Phantasia in Peru. Private telephone booths were installed in women's shopping mall restrooms, connecting callers directly to Línea 100, Peru's national hotline for abuse reporting and psychological support, on the International Day for the Elimination of Violence Against Women.
Wunderman Phantasia chose women's restrooms because they offered a private, unsupervised space inside a public mall. Many women in Peru did not report abuse due to fear of discovery by their partners. The restroom removed that exposure risk, giving women a safe moment to make contact with support services without arousing suspicion.
José Aburto served as Chief Creative Director on Helpbooth, according to Clapboard's campaign documentation. Augusto Landauro was Head of Art and Sergio Inamine served as Creative Supervisor. All three worked within Wunderman Phantasia's Lima office, the agency responsible for developing the campaign for Jockey Plaza in Peru.
Calls to Línea 100 increased 39 percent versus the same period the previous year, according to reporting by ecomedia.pe and referenced in Adweek's coverage. Additionally, 36 percent of cases during the activation period were attended to effectively. These figures indicate a measurable public health outcome generated by the experiential installation in Peru.
Helpbooth addressed gender-based and domestic violence against women in Peru. Seven in ten women in Peru had experienced some form of violence, according to the campaign brief documented by Clapboard. The campaign launched on the International Day for the Elimination of Violence Against Women, connecting affected women to Peru's Línea 100 support hotline.
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