Henrik Purienne is not a fan of themes. He doesn’t care about current affairs, trends, or the latest ‘it’ celebrity. As a photographer, Purienne’s aesthetic hangs heavy with the scent of nostalgia; his images dripping with an effortless sex appeal that many attempt to emulate, but fall flat in mere imitation. As a publisher, Purienne’s eye for detail and penchant for style has created a unique view of the contemporary world that, together with business partner, Frank Rocholl, founded Mirage, a magazine featuring their own works, but mostly just everything they love.

Mirage’s latest release is an anthology titled Jamais Vu—including favorite works from the previous four issues of the elusive Mirage. It’s curated into one luxurious hardcover featuring imprinted rose gold text melting into a linen cover of innocent peach, encapsulating the finale of what Purienne calls the “end of act one.” Its pages are silky and thick; its old European print stock a canvas for hazy femmes and a pantone of fast cars. There’s no advertising and no seasonal fashion editorials featuring the latest runway styles. It’s a weighty journal of poetic musings, curious architecture and ethereal creatures. For Purienne, “print is not dead; the future of print is in art,” and so is reflected in Jamais Vu. Out now.