#fluted wood panels

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Decorative wooden panels must be carefully crafted and curated. Not all other wood panel products on the market meet such specific requirements or are subjected to rigorous testing regularly. As a responsible brand, Kajaria PLY understands all of these critical factors and has developed customer-centric products as a result.

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WPC Wood Veneer Wall Panels Fluted Wall Panel - Slat Wall Cladding Boar...

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Introduction

In the world of interior design, there's a constant quest for innovative materials that can transform spaces and captivate the senses. One such material that has been making waves in the industry is Furrow Fluted Wood Veneer Panels. These panels offer a unique blend of elegance, texture, and versatility that can elevate any interior to new heights. In this blog, we will explore the world of Fluted Veneer Panels, shedding light on what they are, how they can be used, and why they are becoming a popular choice among designers and homeowners alike.

What Are Fluted Veneer Panels?

Fluted Veneer Panels are a type of decorative surface covering that combines the warmth and natural beauty of wood veneers with a distinctive fluted or grooved texture. This texture, reminiscent of the classical Greek column design, adds depth and visual interest to any space. These panels are typically crafted from high-quality natural veneers, making them not only visually appealing but also eco-friendly.

The Art of Fluted Wood Veneer

Crafting the Perfect Flutes

The fluted texture on these panels is created through a meticulous manufacturing process. Skilled artisans carefully carve grooves into the wood veneer, ensuring precision and consistency. This craftsmanship results in panels that are not only aesthetically pleasing but also tactilely inviting.

Aesthetic Versatility

One of the standout features of Fluted Wood Veneer is its ability to adapt to various design styles. Whether you prefer a modern, minimalist look or a more traditional ambiance, these panels can seamlessly fit into your design scheme. The natural wood grain adds warmth, while the fluted texture brings a touch of sophistication.

Applications and Installations

Wall Coverings

Fluted Veneer Panels are frequently used as wall coverings, instantly transforming a plain wall into a striking focal point. Their three-dimensional texture catches light in captivating ways, creating an ever-changing play of shadows and highlights.

Cabinetry and Furniture

Designers and craftsmen often incorporate Fluted Wood Veneer into cabinetry and furniture pieces. The texture can be used to break the monotony of flat surfaces, adding character and depth to dressers, cabinets, and more.

Ceilings

For a truly dramatic effect, consider installing Fluted Veneer Panels on your ceiling. This unique application adds a sense of grandeur and sophistication to any room.

Benefits of Fluted Panels

Textural Delight

The tactile sensation of running your hand over the fluted surface is a unique experience that can only be achieved with Fluted Wood Veneer. It invites touch and interaction, making it a sensory delight for anyone in the space.

Acoustic Properties

Beyond aesthetics, these panels also offer practical benefits. When used as wall coverings or ceiling treatments, Natural veneers help improve acoustics by reducing echo and sound reverberation, creating a more comfortable and peaceful environment.

Natural Veneers for Sustainability

Sustainability is a growing concern in interior design. Fluted Veneer Panels address this by using natural wood veneers, which are a renewable resource. Choosing these panels not only enhances your interior but also minimizes your environmental footprint.

Conclusion

Incorporating Furrow Fluted Wood Veneer Panels into your interior design can truly elevate the aesthetics and functionality of your space. These panels bring a unique blend of texture, warmth, and sustainability that is hard to match with other materials. Whether you're a homeowner looking to add character to your living space or a designer seeking to create memorable interiors, Fluted Veneer Panels offer a world of possibilities.

[ventura-international]

Ventura International - Your Ultimate Destination for Premium Wall Solutions in Delhi

Looking to enhance the aesthetics of your living or working space in Delhi with top-notch wall solutions? Look no further than Ventura International is your one-stop-shop for an extensive range of premium wall panels and laminates. We take pride in offering an exquisite collection of products that cater to various architectural and interior design needs. With a focus on quality, durability, and innovation, Ventura International is your go-to destination for all your wall embellishment requirements.

Architectural Laminates || Wood Veneers in Delhi/NCR

For those who appreciate the natural beauty of wood, our selection of architectural laminates and wood veneers in Delhi/NCR is sure to impress. These elegant materials bring warmth and character to any space, transforming ordinary walls into breathtaking focal points. Whether it's an office, home, or commercial establishment, our wood veneers and laminates will add a touch of sophistication to your interiors.

WPC Cladding in Delhi || Exterior Wood Cladding

Create stunning facades and outdoor spaces with our WPC cladding options. Our WPC cladding in Delhi offers a perfect blend of natural wood aesthetics and modern technology, ensuring unmatched durability and resistance to the elements. Give your building's exterior a fresh, contemporary look with our top-grade exterior wood cladding solutions.

Leather Wall Panels || 3D Wall Panels

For those seeking luxurious and eye-catching wall coverings, our leather wall panels and 3D wall panels are an excellent choice. These innovative and versatile solutions add texture and dimension to your walls, creating a captivating environment that leaves a lasting impression on your guests or clients.

Wooden Panels for Wall in Delhi

Our collection of wooden panels for walls in Delhi brings the rustic charm of wood into your living spaces. Crafted with precision and available in various styles and finishes, these wooden panels elevate the ambiance of any room, be it residential or commercial.

Buy Wall Panels || Decorative Veneer Sheets

At Ventura International, we aim to make your wall enhancement journey hassle-free. With just a few clicks on our website, you can easily browse and buy a wide range of wall panels and decorative veneer sheets. Elevate your space's interior with our premium products delivered right to your doorstep.

Fluted Wooden Panels || Decorative Boards

Create a unique and contemporary design with our fluted wooden panels and decorative boards. These textured surfaces add a sense of depth and elegance, making them an ideal choice for modern interiors and architectural projects.

Laminate Wall Panels || Charcoal Wall Panels

Discover an exquisite range of laminate wall panels and charcoal wall panels, blending aesthetics with functionality. Our offerings ensure a perfect balance between style and endurance, perfect for spaces that require both sophistication and robustness.

PVC Fluted Panels || Polystyrene Fluted Panels

For cost-effective yet stylish wall solutions, explore our collection of PVC fluted panels and polystyrene fluted panels. These lightweight and easy-to-install panels are a practical choice without compromising on design possibilities.

Decorative Interior Wall Paneling || Textured Laminates

Bring a touch of creativity to your interiors with our decorative interior wall paneling and textured laminates. These products open up endless possibilities for expressing your unique style and infusing life into your walls.

Don't wait any longer! Visit https://www.venturaindia.com/ now to explore our extensive collection of wall panels, laminates, and veneers, and elevate your interior and exterior spaces in Delhi with Ventura International's premium wall solutions.

[fiverrwasright]

Traditional Home Office - Home Office Inspiration for a mid-sized timeless freestanding desk carpeted study room remodel

[ahu-gozlumm]

Enclosed Kitchen

[chasing-after-memories]

Traditional Living Room - Library

[xbabyjah]

Dining Kitchen (Charlotte)

[mary1in]

Traditional Home Bar - Home Bar

[inky-duchess]

Fantasy Guide to Interiors

As a followup to the very popular post on architecture, I decided to add onto it by exploring the interior of each movement and the different design techniques and tastes of each era. This post at be helpful for historical fiction, fantasy or just a long read when you're bored.

Interior Design Terms

Reeding and fluting: Fluting is a technique that consists a continuous pattern of concave grooves in a flat surface across a surface. Reeding is it's opposite.

Embossing: stamping, carving or moulding a symbol to make it stand out on a surface.

Paneling: Panels of carved wood or fabric a fixed to a wall in a continuous pattern.

Gilding: the use of gold to highlight features.

Glazed Tile: Ceramic or porcelain tiles coated with liquid coloured glass or enamel.

Column: A column is a pillar of stone or wood built to support a ceiling. We will see more of columns later on.

Bay Window: The Bay Window is a window projecting outward from a building.

Frescos: A design element of painting images upon wet plaster.

Mosaic: Mosaics are a design element that involves using pieces of coloured glass and fitted them together upon the floor or wall to form images.

Mouldings: ornate strips of carved wood along the top of a wall.

Wainscoting: paneling along the lower portion of a wall.

Chinoiserie: A European take on East Asian art. Usually seen in wallpaper.

Clerestory: A series of eye-level windows.

Sconces: A light fixture supported on a wall.

Niche: A sunken area within a wall.

Monochromatic: Focusing on a single colour within a scheme.

Ceiling rose: A moulding fashioned on the ceiling in the shape of a rose usually supporting a light fixture.

Baluster: the vertical bars of a railing.

Façade: front portion of a building

Lintel: Top of a door or window.

Portico: a covered structure over a door supported by columns

Eaves: the part of the roof overhanging from the building

Skirting: border around lower length of a wall

Ancient Greece

Houses were made of either sun-dried clay bricks or stone which were painted when they dried. Ground floors were decorated with coloured stones and tiles called Mosaics. Upper level floors were made from wood. Homes were furnished with tapestries and furniture, and in grand homes statues and grand altars would be found. Furniture was very skillfully crafted in Ancient Greece, much attention was paid to the carving and decoration of such things. Of course, Ancient Greece is ancient so I won't be going through all the movements but I will talk a little about columns.

Doric: Doric is the oldest of the orders and some argue it is the simplest. The columns of this style are set close together, without bases and carved with concave curves called flutes. The capitals (the top of the column) are plain often built with a curve at the base called an echinus and are topped by a square at the apex called an abacus. The entablature is marked by frieze of vertical channels/triglyphs. In between the channels would be detail of carved marble. The Parthenon in Athens is your best example of Doric architecture.

Ionic: The Ionic style was used for smaller buildings and the interiors. The columns had twin volutes, scroll-like designs on its capital. Between these scrolls, there was a carved curve known as an egg and in this style the entablature is much narrower and the frieze is thick with carvings. The example of Ionic Architecture is the Temple to Athena Nike at the Athens Acropolis.

Corinthian: The Corinthian style has some similarities with the Ionic order, the bases, entablature and columns almost the same but the capital is more ornate its base, column, and entablature, but its capital is far more ornate, commonly carved with depictions of acanthus leaves. The style was more slender than the others on this list, used less for bearing weight but more for decoration. Corinthian style can be found along the top levels of the Colosseum in Rome.

Tuscan: The Tuscan order shares much with the Doric order, but the columns are un-fluted and smooth. The entablature is far simpler, formed without triglyphs or guttae. The columns are capped with round capitals.

Composite: This style is mixed. It features the volutes of the Ionic order and the capitals of the Corinthian order. The volutes are larger in these columns and often more ornate. The column's capital is rather plain. for the capital, with no consistent differences to that above or below the capital.

Ancient Rome

Rome is well known for its outward architectural styles. However the Romans did know how to add that rizz to the interior. Ceilings were either vaulted or made from exploded beams that could be painted. The Romans were big into design. Moasics were a common interior sight, the use of little pieces of coloured glass or stone to create a larger image. Frescoes were used to add colour to the home, depicting mythical figures and beasts and also different textures such as stonework or brick. The Romans loved their furniture. Dining tables were low and the Romans ate on couches. Weaving was a popular pastime so there would be tapestries and wall hangings in the house. Rich households could even afford to import fine rugs from across the Empire. Glass was also a feature in Roman interior but windows were usually not paned as large panes were hard to make. Doors were usually treated with panels that were carved or in lain with bronze.

Ancient Egypt

Egypt was one of the first great civilisations, known for its immense and grand structures. Wealthy Egyptians had grand homes. The walls were painted or plastered usually with bright colours and hues. The Egyptians are cool because they mapped out their buildings in such a way to adhere to astrological movements meaning on special days if the calendar the temple or monuments were in the right place always. The columns of Egyptian where thicker, more bulbous and often had capitals shaped like bundles of papyrus reeds. Woven mats and tapestries were popular decor. Motifs from the river such as palms, papyrus and reeds were popular symbols used.

Ancient Africa

African Architecture is a very mixed bag and more structurally different and impressive than Hollywood would have you believe. Far beyond the common depictions of primitive buildings, the African nations were among the giants of their time in architecture, no style quite the same as the last but just as breathtaking.

Rwandan Architecture: The Rwandans commonly built of hardened clay with thatched roofs of dried grass or reeds. Mats of woven reeds carpeted the floors of royal abodes. These residences folded about a large public area known as a karubanda and were often so large that they became almost like a maze, connecting different chambers/huts of all kinds of uses be they residential or for other purposes.

Ashanti Architecture: The Ashanti style can be found in present day Ghana. The style incorporates walls of plaster formed of mud and designed with bright paint and buildings with a courtyard at the heart, not unlike another examples on this post. The Ashanti also formed their buildings of the favourite method of wattle and daub.

Nubian Architecture: Nubia, in modern day Ethiopia, was home to the Nubians who were one of the world's most impressive architects at the beginning of the architecture world and probably would be more talked about if it weren't for the Egyptians building monuments only up the road. The Nubians were famous for building the speos, tall tower-like spires carved of stone. The Nubians used a variety of materials and skills to build, for example wattle and daub and mudbrick. The Kingdom of Kush, the people who took over the Nubian Empire was a fan of Egyptian works even if they didn't like them very much. The Kushites began building pyramid-like structures such at the sight of Gebel Barkal

Japanese Interiors

Japenese interior design rests upon 7 principles. Kanso (簡素)- Simplicity, Fukinsei (不均整)- Asymmetry, Shizen (自然)- Natural, Shibumi (渋味) – Simple beauty, Yugen (幽玄)- subtle grace, Datsuzoku (脱俗) – freedom from habitual behaviour, Seijaku (静寂)- tranquillity.

Common features of Japanese Interior Design:

Shoji walls: these are the screens you think of when you think of the traditional Japanese homes. They are made of wooden frames, rice paper and used to partition

Tatami: Tatami mats are used within Japanese households to blanket the floors. They were made of rice straw and rush straw, laid down to cushion the floor.

Genkan: The Genkan was a sunken space between the front door and the rest of the house. This area is meant to separate the home from the outside and is where shoes are discarded before entering.

Japanese furniture: often lowest, close to the ground. These include tables and chairs but often tanked are replaced by zabuton, large cushions. Furniture is usually carved of wood in a minimalist design.

Nature: As both the Shinto and Buddhist beliefs are great influences upon architecture, there is a strong presence of nature with the architecture. Wood is used for this reason and natural light is prevalent with in the home. The orientation is meant to reflect the best view of the world.

Islamic World Interior

The Islamic world has one of the most beautiful and impressive interior design styles across the world. Colour and detail are absolute staples in the movement. Windows are usually not paned with glass but covered in ornate lattices known as jali. The jali give ventilation, light and privacy to the home. Islamic Interiors are ornate and colourful, using coloured ceramic tiles. The upper parts of walls and ceilings are usually flat decorated with arabesques (foliate ornamentation), while the lower wall areas were usually tiled. Features such as honeycombed ceilings, horseshoe arches, stalactite-fringed arches and stalactite vaults (Muqarnas) are prevalent among many famous Islamic buildings such as the Alhambra and the Blue Mosque.

Byzantine (330/395–1453 A. D)

The Byzantine Empire or Eastern Roman Empire was where eat met west, leading to a melting pot of different interior designs based on early Christian styles and Persian influences. Mosaics are probably what you think of when you think of the Byzantine Empire. Ivory was also a popular feature in the Interiors, with carved ivory or the use of it in inlay. The use of gold as a decorative feature usually by way of repoussé (decorating metals by hammering in the design from the backside of the metal). Fabrics from Persia, heavily embroidered and intricately woven along with silks from afar a field as China, would also be used to upholster furniture or be used as wall hangings. The Byzantines favoured natural light, usually from the use of copolas.

Indian Interiors

India is of course, the font of all intricate designs. India's history is sectioned into many eras but we will focus on a few to give you an idea of prevalent techniques and tastes.

The Gupta Empire (320 – 650 CE): The Gupta era was a time of stone carving. As impressive as the outside of these buildings are, the Interiors are just as amazing. Gupta era buildings featured many details such as ogee (circular or horseshoe arch), gavaksha/chandrashala (the motif centred these arches), ashlar masonry (built of squared stone blocks) with ceilings of plain, flat slabs of stone.

Delhi Sultanate (1206–1526): Another period of beautifully carved stone. The Delhi sultanate had influence from the Islamic world, with heavy uses of mosaics, brackets, intricate mouldings, columns and and hypostyle halls.

Mughal Empire (1526–1857): Stonework was also important on the Mughal Empire. Intricately carved stonework was seen in the pillars, low relief panels depicting nature images and jalis (marble screens). Stonework was also decorated in a stye known as pietra dura/parchin kari with inscriptions and geometric designs using colored stones to create images. Tilework was also popular during this period. Moasic tiles were cut and fitted together to create larger patters while cuerda seca tiles were coloured tiles outlined with black.

Chinese Interiors

Common features of Chinese Interiors

Use of Colours: Colour in Chinese Interior is usually vibrant and bold. Red and Black are are traditional colours, meant to bring luck, happiness, power, knowledge and stability to the household.

Latticework: Lattices are a staple in Chinese interiors most often seen on shutters, screens, doors of cabinets snf even traditional beds.

Lacquer: Multiple coats of lacquer are applied to furniture or cabinets (now walls) and then carved. The skill is called Diaoqi (雕漆).

Decorative Screens: Screens are used to partition off part of a room. They are usually of carved wood, pained with very intricate murals.

Shrines: Spaces were reserved on the home to honour ancestors, usually consisting of an altar where offerings could be made.

Of course, Chinese Interiors are not all the same through the different eras. While some details and techniques were interchangeable through different dynasties, usually a dynasty had a notable style or deviation. These aren't all the dynasties of course but a few interesting examples.

Song Dynasty (960–1279): The Song Dynasty is known for its stonework. Sculpture was an important part of Song Dynasty interior. It was in this period than brick and stone work became the most used material. The Song Dynasty was also known for its very intricate attention to detail, paintings, and used tiles.

Ming Dynasty(1368–1644): Ceilings were adorned with cloisons usually featuring yellow reed work. The floors would be of flagstones usually of deep tones, mostly black. The Ming Dynasty favoured richly coloured silk hangings, tapestries and furnishings. Furniture was usually carved of darker woods, arrayed in a certain way to bring peace to the dwelling.

Han Dynasty (206 BC-220 AD): Interior walls were plastered and painted to show important figures and scenes. Lacquer, though it was discovered earlier, came into greater prominence with better skill in this era.

Tang Dynasty (618–907) : The colour palette is restrained, reserved. But the Tang dynasty is not without it's beauty. Earthenware reached it's peak in this era, many homes would display fine examples as well. The Tang dynasty is famous for its upturned eaves, the ceilings supported by timber columns mounted with metal or stone bases. Glazed tiles were popular in this era, either a fixed to the roof or decorating a screen wall.

Romanesque (6th -11th century/12th)

Romanesque Architecture is a span between the end of Roman Empire to the Gothic style. Taking inspiration from the Roman and Byzantine Empires, the Romanesque period incorporates many of the styles. The most common details are carved floral and foliage symbols with the stonework of the Romanesque buildings. Cable mouldings or twisted rope-like carvings would have framed doorways. As per the name, Romansque Interiors relied heavily on its love and admiration for Rome. The Romanesque style uses geometric shapes as statements using curves, circles snf arches. The colours would be clean and warm, focusing on minimal ornamentation.

Gothic Architecture (12th Century - 16th Century)

The Gothic style is what you think of when you think of old European cathedrals and probably one of the beautiful of the styles on this list and one of most recognisable. The Gothic style is a dramatic, opposing sight and one of the easiest to describe. Decoration in this era became more ornate, stonework began to sport carving and modelling in a way it did not before. The ceilings moved away from barreled vaults to quadripartite and sexpartite vaulting. Columns slimmed as other supportive structures were invented. Intricate stained glass windows began their popularity here. In Gothic structures, everything is very symmetrical and even.

Mediaeval (500 AD to 1500)

Interiors of mediaeval homes are not quite as drab as Hollywood likes to make out. Building materials may be hidden by plaster in rich homes, sometimes even painted. Floors were either dirt strewn with rushes or flagstones in larger homes. Stonework was popular, especially around fireplaces. Grand homes would be decorated with intricate woodwork, carved heraldic beasts and wall hangings of fine fabrics.

Renaissance (late 1300s-1600s)

The Renaissance was a period of great artistry and splendor. The revival of old styles injected symmetry and colour into the homes. Frescoes were back. Painted mouldings adorned the ceilings and walls. Furniture became more ornate, fixed with luxurious upholstery and fine carvings. Caryatids (pillars in the shape of women), grotesques, Roman and Greek images were used to spruce up the place. Floors began to become more intricate, with coloured stone and marble. Modelled stucco, sgraffiti arabesques (made by cutting lines through a layer of plaster or stucco to reveal an underlayer), and fine wall painting were used in brilliant combinations in the early part of the 16th century.

Tudor Interior (1485-1603)

The Tudor period is a starkly unique style within England and very recognisable. Windows were fixed with lattice work, usually casement. Stained glass was also in in this period, usually depicting figures and heraldic beasts. Rooms would be panelled with wood or plastered. Walls would be adorned with tapestries or embroidered hangings. Windows and furniture would be furnished with fine fabrics such as brocade. Floors would typically be of wood, sometimes strewn with rush matting mixed with fresh herbs and flowers to freshen the room.

Baroque (1600 to 1750)

The Baroque period was a time for splendor and for splashing the cash. The interior of a baroque room was usually intricate, usually of a light palette, featuring a very high ceiling heavy with detail. Furniture would choke the room, ornately carved and stitched with very high quality fabrics. The rooms would be full of art not limited to just paintings but also sculptures of marble or bronze, large intricate mirrors, moldings along the walls which may be heavily gilded, chandeliers and detailed paneling.

Victorian (1837-1901)

We think of the interiors of Victorian homes as dowdy and dark but that isn't true. The Victorians favoured tapestries, intricate rugs, decorated wallpaper, exquisitely furniture, and surprisingly, bright colour. Dyes were more widely available to people of all stations and the Victorians did not want for colour. Patterns and details were usually nature inspired, usually floral or vines. Walls could also be painted to mimic a building material such as wood or marble and most likely painted in rich tones. The Victorians were suckers for furniture, preferring them grandly carved with fine fabric usually embroidered or buttoned. And they did not believe in minimalism. If you could fit another piece of furniture in a room, it was going in there. Floors were almost eclusively wood laid with the previously mentioned rugs. But the Victorians did enjoy tiled floors but restricted them to entrances. The Victorians were quite in touch with their green thumbs so expect a lot of flowers and greenery inside. with various elaborately decorated patterned rugs. And remember, the Victorians loved to display as much wealth as they could. Every shelf, cabinet, case and ledge would be chocked full of ornaments and antiques.

Edwardian/The Gilded Age/Belle Epoque (1880s-1914)

This period (I've lumped them together for simplicity) began to move away from the deep tones and ornate patterns of the Victorian period. Colour became more neutral. Nature still had a place in design. Stained glass began to become popular, especially on lampshades and light fixtures. Embossing started to gain popularity and tile work began to expand from the entrance halls to other parts of the house. Furniture began to move away from dark wood, some families favouring breathable woods like wicker. The rooms would be less cluttered.

Art Deco (1920s-1930s)

The 1920s was a time of buzz and change. Gone were the refined tastes of the pre-war era and now the wow factor was in. Walls were smoother, buildings were sharper and more jagged, doorways and windows were decorated with reeding and fluting. Pastels were in, as was the heavy use of black and white, along with gold. Mirrors and glass were in, injecting light into rooms. Gold, silver, steel and chrome were used in furnishings and decor. Geometric shapes were a favourite design choice. Again, high quality and bold fabrics were used such as animal skins or colourful velvet. It was all a rejection of the Art Noveau movement, away from nature focusing on the man made.

Modernism (1930 - 1965)

Modernism came after the Art Deco movement. Fuss and feathers were out the door and now, practicality was in. Materials used are shown as they are, wood is not painted, metal is not coated. Bright colours were acceptable but neutral palettes were favoured. Interiors were open and favoured large windows. Furniture was practical, for use rather than the ornamentation, featuring plain details of any and geometric shapes. Away from Art Deco, everything is straight, linear and streamlined.

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Reliable Supplier of 195x12 Wood Grain WPC Composite Slat Fluted Wall Pa...

[zvetenze]

Rilski manastir (Rila monastery), raised balcony sitting area

Rila, Bulgaria

Painting of plant forms decorate the falsework capitals (bolsters) of the posts forming the gallery as well as the rounded perimeter of this projecting wooden balcony, located at the top level of a four-gallery section of the residential buildings. The balcony ceiling is formed of radiating woodwork, extending outward below the roof eaves. The complex convex fluting of the balcony edge can be seen in the ceiling, railing caps, undulating plaster and wood panelled surfaces. (photo 2000)

[ventura-international]

Ventura India - Leading Supplier of Architectural Laminates and Decorative Panels in Delhi NCR

Ventura India is a renowned supplier of high-quality architectural laminates, wood veneers, decorative panels, and wall coverings in Delhi NCR. With an extensive range of products and a commitment to excellence, Ventura India offers innovative solutions for residential, commercial, and hospitality projects.

Whether you're an architect, interior designer, or a homeowner looking to enhance your living space, Ventura India has the perfect materials to meet your requirements. Our product range includes:

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Wood Veneers: Enhance the natural beauty of your spaces with our premium wood veneers in Delhi NCR. Available in a variety of species, colors, and patterns, our wood veneers add warmth and elegance to furniture, cabinetry, and wall applications.

Decorative Veneers: Transform your interiors with our decorative veneers in Delhi. These exquisite veneers feature unique designs, patterns, and finishes, allowing you to create a personalized and captivating environment.

Wall Panels: Discover our extensive range of wall panels, including planks, 3D panels, leather panels, and fluted wooden panels. These panels offer creative possibilities for accent walls, ceilings, and feature installations.

WPC Cladding: Explore our WPC cladding solutions in Delhi that combine the natural appeal of wood with the durability and low maintenance of composite materials. Ideal for both interior and exterior applications, our WPC cladding provides an elegant and sustainable solution.

Laminates for Wall Covering: Our laminates for wall covering in Delhi offer a versatile and cost-effective solution for transforming plain walls into visually appealing surfaces. Choose from a variety of colors, patterns, and textures to create stunning interiors.

At Ventura India, we are committed to delivering top-notch products and exceptional customer service. Our team of experts is always ready to assist you in selecting the perfect materials for your projects. Visit our website https://www.venturaindia.com/ to explore our product range and experience the best in architectural laminates and decorative panels.

[undercover-ballerina]

Hermione Granger and th Dramione Shippers - Chapter 11

“Positively breathtaking.” said Draco as he kissed her hand when they met outside the gates. His lips lingered on her hand for a long instant before he started kissing his way up her arm gently pulling her closer. Her cloak fell back from her shoulder and he kept kissing up her throat, eventually reaching her lips. Her fingers reached the back of his head as his arms circled her waist. Hermione felt heat course through her body as the intensity of the kiss grew exponentially.

Draco eventually pulled away and the cold crept up on Hermione. He pulled her cloak back to cover her.

“I’m sorry, I got a bit carried away.” He said, not looking sorry at all.

“I’m glad to see you, too. Gomes.” Hermione chuckled.

“Who’s Gomes?” Draco frowned.

“Oh, right. Just a character from a muggle show. I’ll show you sometime.” She took his hand. “What’s the plan?” she asked.

“Edinburgh. I’ve reserved a table at The Witchery.”

He brushed one finger along her jaw and kissed her again. Just a soft kiss on her lips, but Hermione felt the heat spread from her chest all over again. He straightened up and apparated them.

They appeared in a small passage between a gift shop and an ice-cream parlor across the street from the witchery. They walked, hand in hand, the short distance to the restaurant. They were greeted at the entrance by a witch wearing black robes.

“Good evening Miss Granger, Mr Malfoy. Welcome to The Witchery by the Castle. If you’d like to leave your cloaks with me, I’ll escort you to your table.” They handed her their cloaks and she vanished them.

She led them to a small table by large, white, French windows in a wood paneled room with a high painted ceiling depicting images of the tarot. Candles spread a golden glow illuminating the leather chairs, the white tablecloths and the gilded statues scattered around the room. Draco pulled Hermione’s chair out for her and then sat on the opposite side of the table. He was wearing a black three-piece suit with a white shirt and a Gryffindor-red tie and pocket-square.

“We swapped house colors.” Commented Hermione nodding at his tie.

“I must say, Hermione, I think the color green was invented just for you. I might decide to start a quest to conquer the world just to forbid anyone else from wearing green ever again.” He smirked.

“Honestly, I think we’ve had enough world domination attempts to last us several lifetimes. How about we make a deal. You refrain from conquering the world and I wear green more often.”

“I could settle for that. I’m suddenly having visions of you wearing nothing but emeralds.” He eyed her through his lashes as he pretended to read the menu.

Hermione blushed. She was sure she’d read something along those lines in one of the Dramione fan fictions she’d read over the Christmas holidays. Two flutes of champagne appeared on the table. Hermione cleared her throat and tried to read what was written on the menu but her eyes would not focus.

[joehawke]

Gave Me Something To Lose

Inspired by this post. Please be aware this is very melodramatic and if that isn’t your thing then feel free to scroll past lol. Set many years after Vecna, Steve and Eddie and their relationship have changed a lot for reasons you’ll read just keep that in mind. :)

Plot loosely based on the musical The Last Five Years

There’s just some things Steve can’t explain, stupid stuff like why the sky is blue or why his feet squeak against the linoleum floor no matter how many times he replaces the loose wood panels. He’ll never understand the concept of magnets, and he’ll never understand why Robin insists on continuing to put up with her weird hippy parents despite her constant grievances. It’s the little things, like how Dustin and Suzie communicate that don’t make sense to him, or the way Hopper grumbles about being around so many ‘damn kids’ when Steve knows he wouldn’t change it for the world. It’s the little things he pays attention to that others wouldn’t notice, like the way Max draws stars on the cuffs of her jeans when she gets nervous or the way Mike and Nancy have the same tendency, a signature if you will, to pick at their skin when they get mad. It’s the little things he can’t explain, the little things that leave him lying awake at night asking himself a million questions. 

But it's also the little things that stick with him, like those unruly magnets he’s yet to figure out (though he’s sure if he were to ask Dustin he’d get his answer almost immediately, but maybe it’s the wondering that leaves him aware and present). 

It’s those stupid nagging unsure of explanations that have him and Eddie staring angrily at each other across the dim flickering kitchen light - and damn it, Steve thought he fixed that stupid bulb. Steve’s head is starting the throb, like every fiber and being in him is fighting against one another and isn’t that just great? Like he needs another fight. This wasn’t his plan. Maybe that was the issue. That’s what started this whole mess, wasn’t it? 

The enormity of time sits like a weight on Steve’s chest, the ticking of Wayne’s old grandfather clock giving way to the eerie silence of the living room, the sound reverberating off Steve’s mothers old china. Steve closes his eyes, the hope of another day far away from this one blur on the inside of his lids. The sound of a trash bag lures Steve out, and it takes everything in him not to just walk away and never look back, but he can’t. Who would he be if he did? Images of his father flash into his mind before he shakes him away with a force he hasn’t been met with in awhile. 

Steve watches with careful eyes as Eddie opens the bag wide, dumping the remnants of what was supposed to be something carefree and new, now beginning to crumble to the bottom of the flimsy transparent plastic. He watches as Eddie’s shoulder blades flex through the cream satin of his shirt with every sharp movement, and it all feels too harsh and Steve knows this feeling all too well. 

He closes his eyes once more and breathes in the smell of stale champagne and left over stuffed chicken, and tries to imagine a world where his relationships don't turn out like his parents. Images of Nancy and now Eddie filter into his head. He fails. 

He blows out the candles one by one, watching the smoke twist and twine its way into the dimly lit room, disappearing into the moonlight escaping through the curtains. He can feel a pair of eyes on him as he examines the crescent shape of pink leftover lips that have imprinted themselves onto the champagne flutes, Robin and Nancy’s signature colors making themselves known as Steve tucks the stem of each glass in between his fingers, ignoring the lingering pair of eyes as he makes his way to the kitchen. 

He can see Eddie from his peripherals clearing Steve’s mothers old china off the table, stacking them with a force that makes him cringe. Steve scrubs harder at the remanence of smudged lips and closes his eyes once again, hoping, praying to a God he’s not sure he believes in, that in this moment, he’ll wake up to the day he and Eddie first kissed outside his pool. Eddie with his ridiculous red and black board shorts, and Steve with his way too tiny yellow trunks, a giant smile playing on his lips as he watches Eddie play fetch with the border collie from down the street that sneaks in under Steve’s fence every time Steve grills. 

Steve’s pulled out of his trance by the sound of glass on glass and when he opens his eyes with a startle, Eddie has set the stacked plates down on the counter next to the sink. Steve turns and continues to scrub at the flutes, continues to keep his eyes locked in front of himself. 

Eddie has his calloused palms wrapped tightly around a beer bottle, the warm amber like liquid sloshing gently against the ceramic as he brings it up to his lips. Steve can feel him pause, like he’s weighing his options studiously, before he fully takes the long awaited sip, the liquid disappearing down his throat with one gulp. The silence cuts through the kitchen and Steve can’t decide if he should leave it, let it fester like a fresh wound, or let it dissipate into friendly chatter. Steve knows the latter is far from. He reaches for one of the stacked plates, the gold rim of the porcelain glimmering in the kitchen light, when a hand reaches for the sponge in Steve’s left hand, setting it down in the sink gently.

 Steve finally lets himself look up at Eddie, and the reflection he’s met with suddenly angers him. His cupid’s bow is wet with a golden tint of what Steve can only imagine to be as beer, and the purple crescent indents under his eyes are almost comical, though Steve doesn't laugh. He twines his hands with Steve’s, and instead of giving him the satisfaction of pulling away, Steve stands his guard and goes for looking down at their feet instead; Eddie’s “nicest” smudged combat boots that Steve always gets a good laugh at, and Steve’s freshly polished dress shoes his parents got him in Venice for some holiday long forgotten, stare back at him in a taunting manor. 

Silence morphs its way around the room, closing in on him like something dark, and he wishes he had the courage to say something, anything, but he doesn't. He can’t be his parents. And saying something - voicing it aloud, doesn’t that make his worst fear creep its hands up his throat, allowing them to choke him once and for all? So instead, Steve focuses on that stupid flickering light bulb and despite the memories the flickering tends to bring back, he sits in it nonetheless - because sitting in those memories he thinks, is better than sitting in this weird limbo he’s tried so hard to keep away. But he’s never been one to win a fight.

“Stevie...”

And just like that, the sound barrier breaks, the static that was beginning to engulf Steve, shattering in an instant, and he can’t tell if it makes him want to exhale or inhale, yet he doesn't respond. 

“Steve. Come on” Eddie says, his tone harsh and tired, his head lulling to the side. And Eddie’s never harsh. He’s gentle and sometimes jittery, but never harsh. He’s migrated his hands to Steve’s hips, and he can feel every nerve in Steve freeze, “Stevie please. Can we talk about this? Can’t we go one night without fighting?” Steve’s jaw tightens and it takes everything in him not to look up into the brown he knows is staring down at him; the brown forest Steve once used to imagine sonnets were made of. The brown forest Steve’s watched dim over the last few years. “For god sake Steve. I thought you would be happy! Why are you acting like this?” 

Out of everything that has been said tonight, this makes Steve physically laugh. He looks up at him, a smile starting to form on Eddie’s own lips and this makes Steve laugh harder. 

“What’s so funny?” Eddie asks, a slight hint of humor lacing the previous venom. 

“You think I’m laughing with you” Steve laughs out. A statement. Not a question. Tears blur Steve’s vision and part of Steve blames it on the laughter bubbling in his chest, but a deeper rooted part blames it on the salty storm that has been festering all night. Steve can feel Eddie’s demeanor change, his hands freezing in their place, wilting like a flower in late summer, and the still eeriness of it all grounds Steve in a way he’s yet to allow himself to explore. 

“What is your problem?” Eddie spits, a supercilious filter dripping with every syllable. Steve lets himself look up at this. Lets himself search his eyes for an answer he knows is long gone. Steve lets himself go. For this one, mere minute, he allows himself to defend himself for just this once. Screw his vows to not end up like his father. He’s tired of acting like the picture perfect housewife his mother once was. Correction; his mother still is.  

“My problem?” Steve asks quietly, a hint of nothing but unadulterated venom lacing his tone like cloyed honey. 

“Oh don’t play the victim Steve. You’ve been nothing but cold and bitter all night. Not everything is about you. Did that ever occur to you? Oh right, of course not, because nothing else matters to King Steve as he sits here and falters in his big old castle” Eddie spits, turning to the liquor cabinet before reaching for the bottle of heavy, amber colored liquid. 

Steve watches as he pours himself another glass, his nails digging into the palm of his hand, purple crescent shapes forging into the silky skin as he takes in the words Eddie let snake their way around their kitchen. King Steve King Steve King Steve King — No. No No. Eddie was supposed to be the person who saw through his stupid placated facade and Eddie was supposed to be the person who understood and when did that get so screwed up? When did they get so lost in translation? Steve’s so fucking tired of sitting still and acting like a good fucking trained puppy. 

“Eddie.” Breathe. Once. In. Out. Exhale. Stand your guard. “I found out you planned on packing up and moving across the country through a ‘celebratory’ dinner with our friends and family. That you were planning on leaving for yet another year long tour. Excuse me for being selfish”. Steve spits, watches as Eddie processes what he said, as he almost smiles in mirth at the fact that for once, Steve spoke up rather than nodded his head and agreed. That for once, Steve fought against, and Steve can’t tell if the clench of his jaw is out of curiosity or out of anger over the fact that Steve didn’t abide. And when the fuck did Steve become his mother? Steve refused to let him win this time.

Eddie says nothing. Steve pictures his mother keeping her mouth shut by downing her endless bottles of wine. Steve’s tired of drowning with his mother. He continues. “You can’t think that for one moment I was going to be happy about this, did you? I’ve supported you since we bought that stupid shoebox apartment and you told me Corroded Coffin got a record deal. I supported you when you were gone days at a time because you had to leave town to ‘record a new single’. I supported you when you left me home alone for another three weeks as you played dive bars across the state. I put my life on hold for you, so sorry if this so-called ‘surprise’ didn’t make me happy” Steve says, letting go of a breath he didn’t know he was holding, releasing his nails from the flesh of his palm. 

The air in the kitchen has gone quiet once again, and Steve thinks about an entity where silence isn’t the only option. Steve watches as Eddie searches his face for an answer to a question Steve’s yet to figure out. Steve sometimes wonders if people look at his life like some massive question and somehow he’s the wrong answer. Steve wonders when the day will come when people will realize he hasn't even solved his own unattainable mess of an equation. 

The grandfather clock strikes twelve and Eddie downs the rest of the warm hazy liquid, lazily tossing the cup into the sink. Steve steps back, an old habit he never quite realized he started doing. But maybe that’s a lie as images of Tommy Hagen yelling at him ‘that’s right Stevie boy, run away! Run away just like you always do!’ make his way to the front of his brain.

Eddie’s jaw clenches, and Steve watches as Eddie’s hands shake, a tell tale he’s nervous or upset. Steve doesn’t feel like deciphering which one it is today. Maybe Steve should’ve stopped there, maybe they could’ve gone to bed and figured it out in the morning. But that was the issue, wasn’t it? They never did figure it out. They’d go to bed with hope clasped between their fingertips as tense unsalvageable feelings warped their way between their sides of the bed. And Eddie would leave the next morning like nothing happened and Steve would wait at the door like a sad pitiful lost cause. And he was sick of it. He was so fucking sick of it. He vowed to never turn into his ‘grade A asshole’ of a father and yet, the one person he never would’ve thought to fear would be his sad excuse of a mother. And something in him aches for her. Something in him wants to reach out, hold her hand, whisper out broken promises as she tells him they’ll get out of this hole together. But his mother isn’t here and his fathers knuckles ache against his cheek as they try to reach down his throat and continue what Steve never wanted to start in the first place. “You know better boy, if you’re going to start a fight - you need to execute and end it. Got it?” So excuse Steve if he never was good at biting his tongue. 

“I’m not some fucking trophy wife for you to come home to and fuck away your stresses and then pack up and leave again. I’m not here for your - your – disposal” Steve spits, the venom starting to lace his words like something vile. Steve watches as something close to mirth flashes across Eddie’s eyes. 

“It’s not my fault you haven’t figured out what the hell you want to do with your life Steve! Excuse me for being happy for once your highness” Eddie laughs out, digging into his pockets if not just to have something to fidget with. 

“That’s not fair Eddie and you know it” Steve says quietly, and Eddie and Steve both know Eddie cut open a scar Steve’s been trying to close for ages now. And maybe Steve should blame himself really. A part of Eddie is right. Steve flunked out of his first few courses at the community college, but he had wanted to try again once he was in a better headspace. Only - that space never came. He was always too busy watching everyone else from the sidelines. He has nothing to prove for himself, and Eddie knows this. God Eddie knows this and he’s just bringing it to light isn’t it? And speaking of light, that stupid bulb is just flickering more aggressively and Steve’s head is throbbing twice as hard and his heart hurts and he’s so fucking tired. 

“Why not? You know it’s true. You sit around here all day moping and fixing shit that doesn’t need to be fixed. Have you ever stopped and thought, hm, maybe I should start fixing myself?” Eddie spits, continuing, and maybe Steve broke a while back, maybe Steve’s been broken since his father fed ideas of being nothing but a failure into his head. Maybe he’s been broken since Tommy Hagen planted the seed of an idea into his head and because Steve was too weak, he let the roots grow.  Maybe Steve’s been broken since he got rightfully punched by Johnathan Byers all those years ago. Maybe Steve’s been broken since his first encounter with the monsters he discovered lived outside just his head. But then Eddie came along and slowly but surely, started to piece his broken figures back together like it was the easiest thing he’s ever done. When did they start to fray around the edges and come undone again? When did Steve stop noticing Eddie had stopped picking up the pieces? Steve’s line of vision becomes blurry as tears threaten to escape his waterline. Eddie eyes Steve carefully, as if he were weighing an inner turmoil. “I will not lose because you can’t win Steve.” And suddenly, all the fight that Steve had left evaporates from his body like something ghostly.

“Fuck you Eddie” Steve whispers before turning back towards the living room and making his way out of sight into the dark hallway. Somewhere in the vast, unspoken quietude and space between them, lies a million questions, and this time, Steve won’t allow himself to explain them. 

I told you it would be melodramatic…

So whether or not you think Eddie or Steve or neither of them are the bad guy, I’ll leave up to your interpretation. Do I do a part two? Or leave it as it is to showcase not all relationships are perfect? (Cliche of me I know) thoughts are always appreciated

Please also note that I lowkey hated the characterization of both eddie and Steve and felt they were out of character until after I had finish and I came to the realization that I wrote them like that to showcase how hurt and insecurities can change both people and a relationship.

[peakyblinders1919]

Remember

This was as close to a ball as you were ever going to get. Fancy beaded gowns, men in tuxedos smoking French cigars, fountains of champagne flowing like water, romantic orchestra music and something electric in the air.

Not sure when you were separated from each other, Michael was glowing under the chandelier, his smile wide but fake as he discussed pleasantries with worthy adversaries. He sipped his whiskey, nodded his head, and only truly smiled when he caught your eye. His eyes, emerald green, radiant as the forests of the earth, locked onto yours, and he was offering a less-than-sorry apology to his company, and sauntering to your rescue across the marble dance floor. Checkered black and white like a chess board, he was the knight, the king, dancing effortlessly around other guests holding priceless champagne flutes, to return to your side. 

When he invited you to Arrow House, not as a friend, not as a date to show off to his mother, but as the only girl he wanted on his arm to show off, his prized jewel, he waited anxiously for your answer. He kept repeating how he knew it was a lot to ask, warned you how it was all going to end up feeling like one big show of announcing your relationship, you had listened and then you had countered with “do you want me to come or are you only trying to further steer me away? Because it isn’t going to work.”

The way he did smile when he was with you, like now after he was comfortably by your side, was full of freedom, relief, a contagiousness that possess the magic to ease the tense in your shoulders, his jaw. That smile of his was rare, kept locked up only for you and special occasions, and you were more than honored to be the one to guard it. Keep it safe.

He snuck his arm around your bedazzled waist, pretending to play with the dangling beads of your dress to the normal eye, but the way his fingertips pressed patterns into your side suggested he had other motived for his actions. 

The company you found yourself around- some young girls who knew nothing of the business world, merely here as things to flaunt by the powerful men who had actually been invited- oohed and ahed at the two of you. 

You’d blush if you could.

You’d blush if you cared.

Finishing the last sip of liquid gold, delicate gloved fingers placed the empty glass on a waiter’s moving tray, your hand finding safe purchase on Michael’s chest. You noticed the girls’ wandering eyes as said gloved hand dipped just beneath the expensive suit jacket, as close as you’d dare get to the skin on skin contact you desperately craved. But let them look.

He greeted you properly then with a kiss, chaste, soft, swift. 

“I’m terribly sorry to interrupt ladies, but I need to steal this beautiful lady for a moment. If you will…” Michael was scarily good at apologies.

He swept you off your feet, leading you out to empty hallway of the house, 5 degrees cooler and providing a break from the opulent madness in the ballroom. Away from prying eyes, save for the maids, you found yourself pushing him against the smart wood paneled walls giving him the type of kiss you had wanted him to give you inside; needy, hot, one to savor, licking the taste of expensive cigarette smoke from his lips, earth whiskey mingling with a hint of confetti and bubbles. He kissed you back all the same, hands becoming greedy as they pushed and palmed at the curve of your hip, pulling you flush against him and still needing a handful more. Somehow, even across the room mid-conversation, he knew you needed this.

Breaking the kiss, you locked your arms behind his back to steady yourself as you looked into his eyes. Pupils blown, lounge darting to lick the traces of you off his lips, he couldn’t hold your stare long, eyes darting back down to inspect the very lips he wanted another taste of.

Like a well-choreographed dance, he leaned forward and you leaned back, only to be met by his puppy dog stare.

“Don’t give me that look. As much as I want to Michael, don’t start what you can’t finish. I just want to have a lie down, my feet are killing me.”

That was met with a chuckle, solidifying what he already knew the second he had seen you bathed in gold, more beautiful then he’d ever seen you, the apples of your cheeks a rosy pink from alcohol, eyelids heavy, gaze starry, wandering around the room in search of something. In search of him.

“Let’s get those heels off then.” He had proven to you already that, though he should, he didn’t much care about what was proper and what was not, the country boy in him shining through at moments like this when he was disguised in a tailored suit kissing you nastily up against a wall and bending down to unbuckle your shoes and carry them by the straps on your journey down the carpeted hall. So plush under your bare feet, hand in hand, you skipped around the halls of the house, Michael checking behind every other door in search of your room for the night. The farther he searched, the more tired you became, Champagne sitting different than gin or whiskey, leaving your chest warm, cheeks hot to the touch, the rest of you weightless, floating on air, except for your eyes, which you struggled to keep open. 

“Here we are.” He announced much today your relief, nearly being dragged into the dark room. There was no time to admire the wealth of the room before you found yourself lying on the plus mattress, the soft feather down bed beneath you all that mattered. 

Your eyes closed for just a second, an overwhelming feeling of relief washing over you, providing you a little more energy to lean up on your arms when feeling the dip of the bed. In the silence, you selfishly took the time to watch Michael beside you. Study him and the cut of his hair, the form of his side profile, the long hook of his nose, the way his back tensed beneath the jacket, the curves of his body a roadmap of your entire world.

“Let me help.” It wasn’t a question so you didn’t bother waiting for an answer, crawling over to undo his tie and drape it on the headboard. His cufflinks were next, the buttons of his shirt, the shirt itself. Under eyelashes kissing his cheeks he watched you silently. Under other circumstances, there might have been something hot and needy about this interaction, but you were too tired and he was too in awe of how determined you were, how beautiful you looked in rhinestone and sequins in the light dancing over. All for him.

He caught your wrists in his as they creeped lower. He didn’t say anything, he didn’t have to, bringing his green hand to your cheek. His thumb grazed over the Apple do your cheek, still warm from Champagne. He traced everything line of your face, thumb pad brushing over your eyebrows, your cheek, down your nose, your bottom lip. You pouted, more than tired, near exhaustion, and needy for his love. You leaned in, a kiss thy was needy in another way, needy for fluid warmth, his reassurance, his soul.

“Thank you for coming.”

“Thank you for inviting me.”

“You’re a natural.”

“At what?”

“Fitting into this lifestyle and finding your place in it.”

“My place in it is by your side.”

And they’re you were, Hans resting on his leg and moving a bit more towards his length, taught and aching against his pants. Leaning to kiss him again, convincing yourself the electricity of the kiss caused your eyes to close but the champagne was unaccounted for.

Micheal stopped your hand again, ignoring the tired pout on your lips. His fingers found the strap of your dress, causing your back with an unexpected yelp at the coldness of them. 

“I’m sorry.” He whispered. Undressing you quickly, you kissed his fingers to warm them, slowly coming to find his motive getting you out of your gown was to get you under the covers. 

You fit into his side like a puzzle piece that had been missing forever and belonged there. He could read your mind, from the moment ok the dance floor where he rescued you until now, pulling your back flush to his front, strong protective arms wound around your waist. He kissed the crown of your head and held your secrets in the dark.

“I know you wanted to… I…” you yawned, moving further into his embrace and the warmth or offered. “I’m sorry.”

“Don’t apologize. My family is draining. I didn’t want to spend another minute down there away from you.”

“Don’t go soft on me now Michael Gray.” He heard the smile in your voice as strongly as you felt his.

Silence fell around you both like a blanket, oblivious to the party continuing downstairs. You had never been to party like this, and still it wasn’t the expensive drinks or the dance you shared with the man you were falling in love with that you would remember; it was the last hour of the night when it was just you and him against the world, the way you curled around each other, and the way he tried to make it sound like he was upset when he told you “your feet are ice-cold” but he really wasn’t, he couldn’t care less. 

happy thanksgiving to those in the States and anyone who celebrates! more than thankful for all of you