Malika Favre: Artist who put Saudi women in the driver’s seat 

Updated 24 June 2018
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Malika Favre: Artist who put Saudi women in the driver’s seat 

  • In September 2017, King Salman issued a decree declaring an end to the decades-long ban from June 2018
  • Some three million women in Saudi Arabia could receive licences and actively begin driving by 2020

French artist Malika Favre has created iconic covers for “The New Yorker” magazine, with animations that have gone viral online. So she was the natural choice for Arab News to illustrate our souvenir edition commemorating the day when women are allowed to drive in Saudi Arabia.
As Faisal J. Abbas, editor in chief of Arab News, explained: “Our website and newspaper — which today features a striking cover illustration by artist Malika Favre — will provide comprehensive coverage of both the immediate impact and wide-reaching, long-term social benefits of this move.”
From her base in London, Favre explained why the idea immediately appealed. “For me, it’s exactly the kind of subject that I want to work with and tackle today. I’ve been increasingly involved with women’s issues over the past few years, with The New Yorker as well.
“These stepping stones are extremely important, and they should be celebrated. It’s also something that as a woman I feel very strongly about.”
What made our global creative director, Simon Khalil, think that the in-demand artist would take his assignment on? “As a champion of women for years through her unique creative style, Malika Favre was the obvious choice,” he said. “Her illustration brilliantly captures the significance of this moment on the day Saudi Arabia changed forever.” 
For the illustration, called “Start Your Engines,” Favre began with the idea of “something quite subtle, not aggressive, something celebratory,” coming up with an image of a “beautiful, Arabic woman” that tells a story within a story. 
“So, basically, I had this idea of looking at the car from the point of view of the woman who is driving, and so maybe the first thing you see is a woman with a headscarf and quite a colorful image, but then on the second layer you see what’s happening and you see that she is driving the car,” Favre said. 
The image of her hands on the wheel, and that iconic Gulf vehicle, a white SUV, are reflected in her sunglasses. These are animated online. “I really like the idea of this woman being on the road, because I think symbolically it’s about going forward,” she said. “That is also a positive element, to create a positive image of what this historic moment will change.” 
The topic also resonated with Favre because her mother, while she was born in France, is Algerian. “For her, she always wanted to have the same rights as everyone else. She was a big advocate for that. She raised me in that way as well. So for her it’s also an important cover on a personal level.” 
When asked about her favorite assignments, Favre referenced “Operating Theatre” for The New Yorker’s “Health, Medicine & the Body” issue last year. 
“It was an extremely important project because it went totally viral.” 
In her illustration, female surgeons are arranged in a circle looking down, as if the viewer is on the operating table. In the animation, the image is viewed as if through a blinking eyelid. Women surgeons around the world started re-enacting Favre’s cover, sharing more than 5,000 photos, with the hashtags #NYerORCoverChallenge and #ILookLikeASurgeon. 
“For me, it was a very important moment,” Favre said. “It reached out to an audience that wasn’t design-focused. It was something very profound that spoke to these women, and they took it as a very strong statement of let’s celebrate women surgeons.” 
Does Favre think the women of Saudi Arabia are up for such an assignment? “I think it definitely has the potential to do that as well,” she said. Challenge accepted. 


• Download our free #SaudiWomenCanDrive mobile phone background designed by renowned artist Malika Favre:  https://startyourengines.21wallpaper.design


Facebook suspends Boston analytics firm over data usage

In this Oct. 15, 2013, file photo, Chuck Goolsbee, site director for Facebook's Prineville data centers, shows the computer servers that store users' photos and other data, at the Facebook site in Prineville, Ore. (AP)
Updated 21 July 2018
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Facebook suspends Boston analytics firm over data usage

  • Facebook said Friday that Crimson Hexagon is cooperating and that so far its investigation hasn’t found evidence that the firm obtained Facebook or Instagram information inappropriately

NEW YORK: Facebook said Friday that it has suspended Boston-based analytics firm Crimson Hexagon while it investigates how it collects and shares Facebook and Instagram’s user data.
Facebook has been facing increased scrutiny over how third-party firms use its data since news broke in March that data firm Cambridge Analytica improperly accessed user data.
The Wall Street Journal first reported that Facebook had suspended Crimson Hexagon. The newspaper says among the firm’s clients is a Russian nonprofit with ties to the Kremlin.
“We don’t allow developers to build surveillance tools using information from Facebook or Instagram,” said Ime Archibong, Facebook’s vice president of product partnerships. “We take these allegations seriously, and we have suspended these apps while we investigate.”
Facebook said Friday that Crimson Hexagon is cooperating and that so far its investigation hasn’t found evidence that the firm obtained Facebook or Instagram information inappropriately.
Crimson Hexagon says on its website it has access to over one trillion consumer conversations from social media, forums, blogs and reviews.
In a blog posting , Crimson Hexagon Chief Technology Officer Chris Bingham said the company “abides completely” by the rules social media sites including Twitter and Facebook put in place to limit the ways third-party companies can use their data.
He said the firm only collects publicly available social media data. He contrasted that with Cambridge Analytica’s use of private user data.
Users of Crimson Hexagon’s platform, which include government customers, analyze the data to understand large-scale consumer trends and preferences, Bingham wrote.
“Government entities that leverage the Crimson Hexagon platform do so for the same reasons as many of our other non-government customers: a broad-based and aggregate understanding of the public’s perception, preferences and sentiment about matters of concern to them,” he wrote.