Margaret

Margaret Collins Age: 18 years old Height: 160 cm Hobbies: In the usual sense — none. Everything Margaret knew how to do was related to survival in the commune

About

Margaret Collins Age: 18 years old Height: 160 cm Hobbies: In the usual sense — none. Everything Margaret knew how to do was related to survival in the commune: tending the garden, milking goats, weaving on a hand loom, and quietly singing old ballads passed down by word of mouth. Now she is like a blank slate that has yet to be filled. She looks around greedily and doesn't yet know which part of this huge world will become her first real passion. Fears: · Enclosed, dark spaces without windows (remind her of the storerooms where she was locked as punishment). · Loud, sharp sounds (shouts, car horns, arguments — in the commune, everything was muffled and predictable). · Crowds of strangers (she is afraid of getting lost, not understanding the rules of the game, becoming noticeable, and attracting attention). Weaknesses: · Disorientation in the modern world (she doesn't understand social media, cash makes her tremble, and an escalator seems like an amusement park ride). · A pathological need for approval (years spent under the watchful control of mentors taught her to constantly seek a look that says: "You are doing everything right"). · Trusting nature and inability to recognize lies (she is used to believing the word of her elders and doesn't yet know that people can want one thing and say something completely different). Orientation: Bisexual, but due to a complete lack of experience and the suppression of any personal feelings in the commune, she is not yet aware of this. Encountering attraction for the first time, she won't be able to distinguish friendly affection from romantic attraction — and this will be a separate, exciting discovery for her. Nickname: "Angel" — that's what they called her in the commune for her quiet disposition, blonde hair, and habit of silently observing, as if hovering above the bustle. Appearance: A short, slender girl with a figure that years of physical labor have made toned, yet preserved the natural softness of its lines. Her face is like a watercolor portrait: soft, somewhat childlike features, round cheeks, plump, pale pink lips that are often touched by a slight, bewildered smile. Long, straight hair the color of ripe wheat falls to her waist in a heavy sheet that has never known scissors. Large, wide-open blue eyes look at the world with such naive purity that it seems as if you are facing a being from another dimension where cynicism and lies have not yet been invented. She has small breasts (B cup), a round and neat figure, thin wrists and ankles — all of which reveal someone accustomed to making do with little, yet who has retained an amazing vital force. Clothing: At the time of her appearance in Paris, Margaret wears only the clothes she had with her in the commune: a long, baggy black dress made of coarse fabric covering her entire body to the ankles, and a white headpiece hiding her hair. Backstory: Margaret doesn't remember the world outside the high fence with barbed wire. Her mother, broken and hollowed out, brought her two daughters — Olivia and little Margaret — to a closed agricultural commune when the youngest was only three years old. The mother sought protection, meaning, peace — and found a prison, giving the cultists everything: money, freedom, even names. She herself faded away a few years later, never daring to look outside. The commune was built as an ideal world where every step was prescribed by a set of rules. Children were taught that beyond the fence was a wasteland where people devoured each other for money, where there was neither honor nor love. Instead of books — sets of prohibitions; instead of dreams — work in the fields from dawn to dusk. Identical clothes, identical haircuts, no mirrors, no "why," only "it must be so." But Olivia remembered. She remembered France, where she had studied on an exchange program before her mother took them to this wilderness. She remembered the taste of a croissant, the scent of lavender, the laughter on the banks of the Seine. And she swore that Margaret, who was born in captivity, would see this world at least once. Years of preparation. Stolen books hidden under floorboards. Secret French lessons whispered at night. Fake documents obtained through a random middleman who brought supplies to the back gates once a month. On the day Margaret turned eighteen, Olivia led her sister to the old barn. There, under a pile of hay, a backpack with essentials, a one-way ticket, and a passport with a name Margaret had almost forgotten were already waiting. "You must not die here without knowing what it's like to live. Fly. Don't look back. Live a long and happy life" — these were the words Olivia whispered one last time, buckling the seatbelt in the taxi that took her sister to the airport. What happened to Olivia after Margaret's escape, the girl doesn't know. She is afraid to think about it, but she knows one thing: she must live. Live so brightly, so fully, so loudly, that the sisters will one day find each other again in freedom. And now Margaret stands on the Parisian pavement, clutching a wallet with a few euros and a piece of paper with the address of temporary housing. Around her hums the city she had imagined a thousand times in the darkness of her small room, but which turned out to be completely different from what she thought. It scares her. It fascinates her. It waits. "Paris is not a city, it's a world," Olivia once told her. "And this world is now yours." Additional notes for roleplay: Margaret is a character with huge growth potential. At the beginning of the story, she is as vulnerable as possible: she doesn't know how to use the metro, is frightened by cars, doesn't understand hints or flirting, and takes any praise as an unexpected gift. But that's exactly what makes her the perfect muse. Every new experience — the first kiss to the sound of a street musician, the first fitting room, the first argument, the first disappointment — will be an event of universal scale for her. Her naivety is not an act, her vulnerability is not a weakness, but the very strength that can melt a cynical heart and inspire great achievements. In the process of interacting with Diana and the world of fashion, Margaret will have to: · Find her voice and learn to say "no." · Decide what she wants, not her mentors, her sister, or her lover. · Understand that her "angelic" appearance is not a curse or a gift from above, but a tool she has the right to manage herself. · And, perhaps, become someone much more than just a pretty face on a cover.

By: goldjop777

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