( yu jimin. female. she/her. ) did you see the new tenant on the 94th floor, on the SEA side of the building? GWYNEIRA JEON is a 23 year old PRIMA BALLERINA & SHAREHOLDER AT JEON PHARMACEUTICALS, originally hailing from SWANSEA, WALES. with a net worth of ₩90B, it’s no wonder they secured an apartment at noeul gardens! being so WHIMSICAL is probably what made them so notable, but if they aren’t careful, garden party will pick up on how OBSESSIVE they are. if that dreaded magazine ever finds out that HER PROFESSIONAL HIATUS WAS THE RESULT OF DRUG OVERDOSE, NOT AN INJURY, the gossip will write itself...
hello hello it’s eden ( she/her, 20+, aest ) and i’m here to introduce my beloved, gwyneira ! some of you may or may not recognise her from elsewhere but she’s is here at gardenhq as you’re resident manic swan queen; a slightly unstable, guilt-ridden and obsessively perfectionistic principal ballerina for the korean national ballet. she can be quite the wholesome sweetheart if not for the fact that she’s a little self-interested, oblivious and unknowingly flaunts her rich-privilege ( trust fund baby ! ) + she is naively unaware of the meaning of self-sufficiency. her little secret is that her hiatus from the stage since about a year ago was not because she’d broken her leg during a fateful performance, but rather she’d suffered from an episode of a drug overdose.
if you’d like to plot with her feel free to reach out to me in dms or give this post a like and i can come your way! below the cut you can find a not-very-brief summary of her backstory.
𝐏𝐑𝐄𝐒𝐄𝐍𝐓𝐈𝐍𝐆 𝐆𝐖𝐘𝐍𝐄𝐈𝐑𝐀 𝐄𝐔𝐍𝐇𝐀 𝐉𝐄𝐎𝐍
playing ; swan lake op. 20, act II, no. 10
with prominence upon ; girlhood as godhood, the ophelia complex, a tortured artist’s thirst for perfection — to defy mortal limits until there is none, insomnia, paranoia and the fine line between nightmares and dreams where humans are as much monsters as their inner demons, desperation in the face of pain, dependency as a fatal flaw, an artist’s obsession, martyrdom vs. victimhood, the fall from mutiny to glory, firebirds and drowning girls, wings as metaphorical chains, music box ballerinas — dressed in swan feathers and starlight, a yearning for acceptance and control, dance as a language of expression, as the dichotomy between power and delicacy — a battle of grace between black and white swan.
gwyneira eunha jeon is born on christmas eve in 1998 in swansea, wales — the day before her mother passes away due to complications of her birth. eira was born premature, with several medical issues that severely effected her heart and was to undergo various surgeries... until she seemed miraculously cured the moment her mother died. it caused a bit of a stir to her rather devout family; her grandparents believed it was some prodigious act of god whilst her father puts his faith in it being her mother’s sacrifice. eira, over the years, has begun to believe that she just has a very attentive guardian angel watching over her.
as a jeon, she the youngest of one of south korea’s most influential families. her father’s side of family has, for many generations, held a stake in south korea’s medical industry, with jeon pharmaceuticals owning many private hospitals and a biotech company are under their name. currently, as eira’s networth lies in high billions of won, it is largely due to passive income as a named shareholder in her father’s company though she has little to do with it at all as it’s rather corrupt and she’s always been shielded from it by her father and brothers.
her mother, on the other hand, was a former prima ballerina and at time of death, was the leading artistic director of wale’s national ballet company.
following her mother’s footsteps, as her father had always wanted of her, eira fell into the life of dance very early on. perhaps it was her mother’s blood that made her a prodigy or maybe it was the fact that eira felt she owed that much to her mother, to live up to her name because she’d taken her life.
in any case, by the time she was sixteen she had already made a name for herself in the ballet industry, training first in seoul, then switzerland, russia and paris and then again in korea where she would sky-rocket to acclaim. she was accepted into the korean national ballet as a teenager and by the time she was eighteen, she had become their youngest principal dancer; a feat even her mother had not achieved. this garnered her some level of media attention and adoration in the artistic community, hailing her the shining star of south korea’s classical stage.
by this time she’d fallen into her obsession with dance as an escape, trapping herself in a bubble that consisted only of ballet and nothing else. overtime she’d allowed her pressure for perfectionism to consumer her whole, to the point where paranoia began to sink in and hallucinations from lack of sleep and insomnia detached her from both reality and the people around her. she was rewarded for this, by an international acclaim of her talents and dedication to her art.
she had accumulated a considerable fanbase by this time and to cope with her mental decline and the pressure of the media’s attention — both because of her enchanting talents on stage, able to captivate any audience, but also because of her family’s affluence – gwyneira turned to substance abuse, allowing her to forget and forgo her issues if only for small amounts of time. she traded all that was left of her self-control and sanity for small amounts of happiness in the form of tranquillisers and hallucinogens.
during the last act of her swan lake performance a little over a year ago, her drug use went too far out of hand. she’d completed a brilliant performance by the end of the show, one that would go down in history as possibly her greatest yet, but when the curtain was drawn she’d immediately collapsed and lost consciousness.
she was comatose for two days before waking up in the hospital. her father had later used his connections to push everything that happened under the rug, covering her incident by saying she’d physically injured herself and had to take a hiatus from dance, which keep her name clean in the media. her ballet company, in conversation with her family, allowed her to stay in her position as long as completed a year of rehabilitation and an additional eight months of psychotherapy to allow her to continue dancing as a prima ballerina and principal dancer.
this brings us to the present day when eira’s just returned from rehab which she’d covered as an extensive retreat in a foreign country for physiotherapy purposes (as people believe she’d broken her leg). rather than immediately returning to the seoul that haunts her nightmares and where rumours about her a rife, she is now spending some downtime at her dad’s old apartment in noeul gardens, busan, whilst she attends psychotherapy there and returns to dance practice, having deferred for a season to the busan ballet company for training. though eira is still a little away from returning to the stage with her old company, south korea’s high society and the classical art enthusiasts are all reeling from the return of their beloved swan queen.
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“you know, i’ve thought about this a lot before. i haven’t actually seen a shooting star yet though, so if i tell you does that mean it won’t come true when i do?... in that case, i have a few but i’ll just tell you one. i’d wish for an opportunity to travel and dance all across the world. can you imagine it, performing on the stages of paris, london, tokyo, rome—anywhere and everywhere—and have people from all corners of the globe watch you dance and see you beyond just what they can find online. that’s something i’ve always dreamt of... it sounds magical doesn’t it?” eira spirals into a bit of a tangent, her eyes lighting up at the thought of dancing for an international audience. despite her accomplishments and her time training abroad, she’s never had the chance to actually debut in a ballet outside of korea. her wish, though, is mainly fuelled by selfish intent because she knows it means achieving the highest level of success, regardless of whether she earned it or not. eira had always worked so hard to get to where she was, despite her fallbacks. she wonders if it would be all that bad to just stop giving so much of herself for her dreams.
as for her second wish, one she doesn’t dare say aloud out of embarrassment, is to have somebody love her in the way she loves them, just like all those fairytale happily ever afters and those soulmates that you couldn’t imagine with anyone else. as childish as it sounds, she’s been waiting twenty three years for her prince charming to come along and after a million false starts, eira has begun to get tired of waiting.
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“i think i’ve said this before, but there are only three places that no matter where they are, will always feel like home to me, especially now that i’m spending time in busan rather than seoul. one of those places is the aquarium; something about being surrounded by the water and the sea creatures, simple immersed in the world of blue, is really calming to me. this is a photo i had a friend take of me at an aquarium back in seoul. it was such a long while ago but i cherish the memory a lot. i think i always will.”
“my ideal date would be something you’d see in all those romantic movies, where it’s all soft and light and fun and where the night ends in dancing under the rain or gazing at the stars. maybe something elegant and classic, where i can dress up and go see beautiful things. like a night out at the theater, or a museum date… i’ve always wanted to go on one of those,” eira, ever the romantic, has had these ideas spinning around in her mind ever since she was a child and she’s more than eager to describe them, her words coming out as a chaotic, wistful ramble.
“oh! or better yet, a date to the aquarium ! it’s one of my favourite places in the world. i’d want to share that with someone i love, even if it’s just a friend.”
( 𝐢 ) eira owns a cat named cheonsa, who is her most beloved thing in the world and whom she believes to be an angel, as she named her. unbeknownst to her, her snow white kitten is evil incarnate. as adorable as cheonsa may be, she despises almost everyone aside from eira and a select few—cue scratching, screeching, biting and clawing anyone else—all whilst eira remains oblivious.
( 𝐢𝐢 ) aside from ballet, eira’s second talent is for art—specifically, painting. as she has suffered from vivid hallucinations and paranoia from a young age, she’d developed an affinity for art as her coping mechanism, painting her fears, horrors and demons onto canvas.
( 𝐢𝐢𝐢 ) eira, despite her single-minded dedication to ballet, still remains a hopeless romantic. she is prone to falling hard and fast due to her innocence and how trusting her heart is. she romanticises even casual relationships and thus, she develops a lot of unrequited crushes, with her tendency to over-inflate emotions or misplace platonic affection for love.
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