The new Mirage: a tête-à-tête with Rocholl & Purienne
We're pleased to share an exclusive interview with Frank Rocholl and Henrik Purienne, the creative virtuosos behind Mirage, as they unveil their latest visual feast: 'No.6 Univers Parallèle'.
The stunning mid-century home of architect Pippo Anfuso, the shadow of a perfectly perched nipple, the cinematographic artwork of Citroën’s 1975 SM coupe. Mirage is a title that is as seductive and sultry as its contents, always imbuing a certain je-ne-sais-quoi quality. Nostalgic yet surprisingly fresh, it brings out the best of ‘60s and ‘70s aesthetics.
Since its inception in 2009, Mirage has grown from an annual magazine into an entity of some sort. Something that is synonymous with a desire, a sensuality, a state of mind; it is elusive and hard to explain in words, yet masterfully captured on pages. To celebrate this new volume, we’ve exchanged candid insights with its founding duo about their artistic synergy, the evolution of Mirage’s themes, and its magnetic allure.
Bravo on delivering yet another impressive Mirage, which is also your sixth lovechild. What’s the secret behind this successful creative marriage?
Purienne: “We sleep in separate bedrooms.”
Rocholl: “A shared adolescent mindset.”
What sets this book apart from earlier volumes and how does it feel in your hands?
Rocholl: “It’s like an ongoing research report to stimulate the dreamy ambitions in your head.”
Purienne: “It has 4 more pages. It feels 4 pages heavier.”
The previous edition explored how light is in a constant state of flux. This issue focuses on creating an idealistic world that embodies the essential and timeless. How do you establish a Mirage theme and develop it?
Purienne: “Themes are harvested from experience.”
Rocholl: “Search for an encouraging title, then use French to give it a cinematographic quality.”
How do you strike the right balance between the old and the new, while retaining an air of individualism and spontaneity?
Purienne: “I am the air. So easy AF.”
Rocholl: “It’s all about clashing very young and very old talent.”
What is the biggest misconception about you and your craft?
Rocholl: “That it’s about retro. It’s about timelessness.”
Purienne: “That I’m dead; according to the Poet Society at least.”
The back of the book wrap reads ‘the true voyage of discovery is not about going to new places, but it is about looking with new eyes’. How did the experience of making this book change how you observe the world?
Rocholl: “Being in touch with so many utopian ideas I got to a point where my positivism enlarged.”
Purienne: “Snake eyes, French fries. Blue skies.”
For the cover, you have opted for two colors that both sit between yellow and orange. How did you arrive at this combo and how does it capture the essence of the book?
Purienne: “Frankie says relax.”
Rocholl: “There is this little orange elephant on my desk. Positive aura.”
What are your hopes for this book and its journey, and how does it fit into the ever-expanding Mirage narrative?
Purienne: “I hope No.6 has many splendid adventures and grows up to be a proper gentleman.”
Rocholl: “The big ‘M’ covers turned it more into a mysterious object, which I like.”
‘Themes are harvested from experience.’
About the book
Mirage Magazine, an independent fashion and culture publication, celebrates the iconic photographic aesthetic and hedonistic spirit of the 1960s and 1970s. Each issue presents 400+ pages of timeless themes in architecture, art, and design, alongside visions of forgotten utopias, overlooked heroes, and theatrical scenes. Its editorial content has a documentary feel and often reflects the personal relationship between photographer and muse, with key themes being summer, sun, youth, freedom and rebellion.
Photography by Henrik Purienne, Kate Bellm, Bryan Liston, Theo Gosselin, Seb Zanella, a.o.
Limited copies, shop here
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