<n>Stone Circles</n> on the <n>Isle of Skye</n>, Scotland, by artist <n>Andrew Ridley</n>.

A calla lily-shaped <n>Martini Glass</n>.

<n>Why Hasn’t Everything Already Disappeared? (The White And The Black Crystal)</n>, 2024.

Spicchio pendant by <n>Ermanno Lampa</n> and <n>Sergio Brazzoli</n> for <n>Harvey Guzzini</n>, c. 1970s.

Wild swimming in <n>The Sorgue</n> river in Provence. From the blog <n>The Londoner</n>.

A film still from <n>Tamar Guimarães</n>'s 2008 work, <n>A Man Called Love</n>, shot at <n>Oscar Niemeyer</n>'s <n>Casa das Canoas</n>.

A still life of a <n>Dry Brush</n> and <n>Grown Alchemist Hand Cream</n>.

A still from the 1965 film <n>Love at Sea</n>, directed by <n>Guy Gilles</n>.

Model <n>Lily Jean Harvey</n> photographed by <n>Derek Ridgers</n> for a <n>Byronesque</n> and <n>Vestiaire Collective</n> collaboration.

<n>Lotus Table Lamp</n> by <n>Carlo Nason</n> for <n>Mazzega</n>, 1970.

Digital collage by <n>Rosa Montoya</n> titled <n>Non-linear Healing</n>.

A scene from the 2004 film <n>Before Sunset</n> with characters <n>Jesse Wallace</n> and <n>Céline</n>.

By artist <n>Raul Freitas Lima</n> for <n>Mud – Visual Journal</n>.

A still from the 1961 film <n>The Innocents</n>, directed by <n>Jack Clayton</n>.

<n>Casa Cieneguita</n> by <n>Max von Werz</n> and <n>Ted Wolter</n>. Photo by <n>César Béjar</n>.

Scene from <n>Lucio Silla</n> at <n>Teatro Real</n>, 2017. Set and costumes by <n>Christian Schmidt</n>. Photo by <n>Javier del Real</n>.

From the <n>IKONIC STUDIO</n> Spring 2025 moodboard.

A <n>Spiral Carved Stone</n> at the <n>White Spring</n> in <n>Glastonbury</n>.

<n>Sheva</n> makgeolli packaging, a student project designed by <n>Jina Heo</n>.

<n>John Saladino</n>'s <n>Villa di Grottole</n> in Montecito, photographed by <n>Miguel Flores-Vianna</n>.