The Human Touch: Raphaele Sohier on what AI can’t capture

Fashion, at its core, is a group project. Strip away the gloss of runways and retail, and what you’re left with is a living, breathing ecosystem powered by people - stylists, producers, photographers, set designers, assistants - each adding something to the final frame. The longer I’ve spent in this industry, the more I’ve realised that it’s the collaborations, not the clothes, that stay with you.

During our AW25 coverage at New Wave, we were pulling together a team for Paris Fashion Week - (fast-paced, overwhelming, but always worth it), and I reached out to Raphaele Sohier, a photographer whose work I’d been following for a while. There’s a rawness to her images that feels rare in the algorithm-optimised landscape of runway photography. She has a way of injecting intimacy and edge into something that can often be so formulaic.

The week came and went in a blur, as fashion weeks tend to do, but Raphaele’s work stuck with me. Her eye brought personality, warmth, a human pulse; vital to our coverage. It was the first time we worked together, and it wasn't the last.

As we all try to make sense of AI-generated models and the slow, creeping automation of creative work (H&M’s recent announcement comes to mind), I’ve been thinking a lot about the value of human connection in fashion. The best part of this job isn’t the front-row seat - it’s building something real with other people.

So I sat down with Raphaele to get a closer look at her world. We talked about how she got her start, what keeps her going, and where she sees fashion photography heading. If you’re curious about the gears turning behind the camera, this conversation is a good place to start…

NW: How did you get into photography?

RS: I started messing around with a camera when I was younger because my dad had one. I didn’t think much of it, but I loved having it with me. When I hit high school, I started charging a little bit for photos, but basketball and school were my main focus back then, so photography was more of a hobby for a while.

NW: Who/what are your main inspirations for your work?

RS: There are a few photographers I really admire, like Elizabeta Parodina with her crazy use of colour, Aidan Zamiri, and Gabriel Moses. But I also get a lot of inspiration from everyday life - the little moments you catch in the world around you that make you think.

NW: How long have you been a photographer?

RS: I’ve been doing it professionally for over two years, but it’s been a part of my life for much longer. Photography is what really fills the creative space for me, and I can see myself doing this for the long haul.

NW: What makes shooting for fashion different to other photography work?

RS: Fashion photography is all about expressing a creative vision through the clothes and the style. It’s not just about snapping a moment - it’s about conveying a feeling or idea. For me, the artistic side is key: lighting, composition, and how the model and setting come together. It's more about telling a story than just selling something.

NW: How do you feel about the recent announcement that H&M will be starting to use AI models? How do you think this will affect photographers?

RS: It’s definitely interesting. It is going to change things, but I don’t think AI will ever replace real human creativity in photography. People will still want to work with other people. It’s a little scary to see how fast things are evolving, but I think there will always be a place for the human touch in the creative process. There might be a shift, but I’m hopeful things will balance out.

NW: Are there any particular campaigns you are especially proud of?

RS: One that stands out for me was working with Vogue Arabia. That was a huge moment and really pushed me to aim higher. Also, working on a project with a Montreal-based team was special - it felt like a real collaboration.

NW: Do you have any tips for people trying to get into the industry?

RS: Just stay true to yourself. It’s about pushing yourself to get better, not just in your work but in life too. You have to be in the right mental space to create something that truly resonates with people.

NW: What are the hardest parts about working in the industry?

RS: Staying consistent is tough, and there’s this feeling of never fully being satisfied with your work. You’re always moving to the next thing, and sometimes you forget to appreciate what you’ve already achieved. That can definitely lead to burnout, and I think a lot of artists feel that.

NW: And what are the best parts?

RS: The best part is definitely working with other creatives who have the same passion and mindset as you. There’s something really inspiring about collaborating with like-minded people.

NW: What is the process of shooting like?

RS: It all starts with the concept - whether it’s something the client wants or an idea I’ve created. Then I gather the team - stylist, makeup artist, models - and we all get on the same page. On the day, it’s about setting up lighting, adjusting the camera, and making sure we get the right shot. People don’t realise how important lighting is in photography.

I remember starting out with a flashlight as my main light source, and while it worked, my current style needs lighting pushed to another level. My favourite part is definitely post-production though - that’s where I really get to bring everything together, refining the images, tweaking colours, and just experimenting. It’s a lot of trial and error, but I love that process.

NW: What other work goes into setting up a shoot?

RS: A lot of prep goes into it. You need to scout locations, figure out logistics, and talk through everything with the team. Organizing outfits with the creative director is key to making sure it all flows. Creative direction is also super important - it’s about making sure everything, from makeup to styling, works together as part of a bigger story.

NW: What does your average day look like when you’re on a shoot and when you are not but still working?

RS: On shoot days, I’m up early, going over the creative direction, and sketching out lighting ideas. Lighting can really change depending on skin tones, clothing, and the backdrop, so I do a lot of prep before we start. When I’m not shooting, I’m editing photos, sending emails, updating my portfolio, and keeping up with admin stuff. But I also try to take time to rest. If I don’t, I notice it affects my creativity. I love making mood boards and finding new sources of inspiration, too. Pinterest is great, but I’m exploring other platforms now to expand my ideas.

NW: Are there other roles that you can do to help you get into a career in photography?

RS: Definitely. Assisting photographers is a great way to learn and see how the pros work. Production roles are also a good way to understand what goes into a shoot. I actually worked in experiential production before jumping into photography again. That’s where I met my mentor, who was the photographer for a shoot we produced. He really helped me understand gear, what’s worth investing in, and shared a ton of valuable knowledge.

NW: What would you be doing if you weren’t a photographer?

RS: I’d probably be in something related to health. Kinesiology has always interested me - I even started a certificate in it. I think it comes from my time playing basketball when I was younger, always getting injured and spending time with my kinesiologist. I really admired their work.

NW: How do you go about finding work?

RS: It’s all about networking, social media, and word of mouth. I reach out to potential clients, pitch my ideas, and collaborate with other creatives. In the beginning, you have to hustle to get your foot in the door, but eventually, it leads to working with your dream clients.

NW: What would you like people looking to enter the industry to take away from this interview and your experiences?

RS: It’s fast-paced and competitive, but if you love creativity and learning, it’s a great field to be in. The industry is always changing, so you have to be adaptable. Keep pushing and growing, and there’s always room for more.