{"id":170635,"date":"2026-07-21T15:24:00","date_gmt":"2026-07-21T19:24:00","guid":{"rendered":"https:\/\/models.com\/oftheminute\/?p=170635"},"modified":"2026-07-21T16:01:53","modified_gmt":"2026-07-21T20:01:53","slug":"in-the-age-of-ai-what-is-a-photograph-proving-now","status":"publish","type":"post","link":"https:\/\/models.com\/oftheminute\/in-the-age-of-ai-what-is-a-photograph-proving-now\/","title":{"rendered":"In the Age of AI, What Is a Photograph Proving Now?"},"content":{"rendered":"

Cover photo: courtesy of Ja\u0161a M\u00fcller<\/a> cover story for Paper Magazine featuring Ayo Edebiri<\/a><\/small><\/p>\n

In 1963, Melvin Sokolsky<\/a> hung a model over the Seine in a plastic bubble. He had sketched it on a paper bag, had it built over ten days from plexiglass and aircraft aluminum, hinged at the top like a Faberg\u00e9 egg, then suspended it from a crane on a cable barely thicker than a wire while Simone d’Aillencourt stood inside in couture, over the river [Sokolsky, Bubble on the Seine, Harper’s Bazaar, 1963]. The morning they shot it, the crew lowered the bubble too far, flooding it to her ankles and ruining a pair of designer shoes, and at one point the police arrived to shut the whole thing down. Yet the picture became one of the most iconic in the history of fashion. For years people have looked at it and insisted it must be Photoshop, and Sokolsky’s answer is always the same: It was 1963.<\/strong><\/p>\n

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A post shared by The Richard Avedon Foundation (@avedonfoundation)<\/a><\/p>\n<\/div>\n<\/blockquote>\n