His spellbinding images for Bazaar in the 1960s—including his indelible “bubble” series—ushered in a new age for the magazine and for fashion
Nevertheless, the bubble series came at an inauspicious time for both Sokolsky and the magazine. Wolf had left in 1961, with Vreeland decamping the following year for, where she would soon be named editor in chief.
When White and Israel blanched at the feasibility of the project, Sokolsky agreed to do some test shots. He had two giant Plexiglass hemispheres fabricated and connected them with a metal ring that spanned the circumference of the bubble and was attached to a thin steel cable.
For a shoot that appeared in the November 1963 issue, Sokolsky once again looked to art for inspiration. Drawing upon the surreal scale in René Magritte’s 1952 paintingwhich depicted the contents of a bedroom—a glass, a comb, a matchstick, and a brush—rendered enormous and propped up on the furnishings,
By the early 1970s, Sokolsky had moved to Los Angeles to pursue a career in film. He began working as a commercial director and cinematographer, which would become his primary focus over the next several decades. But a resurgence of interest in his photography in the late 1990s prompted a return to creating still imagery, which he continued to experiment with and push the boundaries of in recent years.
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