FACE: Rounded square shape overall, with a prominent double chin. Nose is short and aquilined, with a sharp bump near the bridge. Eyebrows have a raised, arclike shape, and are decently thin. Eye color is a light, hazel-y brown. Amblyopia presents itself in their left eye, which tends to angle itself upward — the corresponding eyelid also falls slightly. Light eyebags and crows feet are visible, alongside natural dark undereye circles. Their visceral vision is extremely blurry, and so they almost always don their rounded pince-nez glasses. Their facial hair is extremely patchy, usually shaved down to stubble. Mustache is usually still prominent despite this.
HAIR: Colorwise, a brown midtone. Extremely wavy with well-maintained curls. The cut is a bit strange — at the forehead, they have choppy, extremely short bangs, partially limited in length by slow incoming balding. The hair at the sides near the ears are the longest portions, and flow freely to the base of their shoulders. The back is once again cut short to about chin-length, and is often extremely scruffy, sticking out oddly.
BODY: They’re the tallest person on the train, standing at 6’1. Fat with mainly lower body weight, particularly in the stomach and thighs. Body hair is fairly thick, with a notable concentration near the chest. Their forearms are heavily scarred with mild scratches, burn marks, scale-y rough regions and discolored patches that divagate from being either paler, darker and more bruiselike and vibrant.
MAIN OUTFIT: Features the exoskeleton of a simplistic fancy suit. They wear a dark grey dress shirt that features some sharpened, silvery hemming, matching the chest of the blouse which is embroidered with abstract spirals. The topmost two buttons are usually left agape. They have a dark teal tie wrangled loosely around their neck, which features yet more embroidery — this time a depiction of a burning yellow comet. This hangs out past the mouth of their vibrant orange blazer, which is maybe the most captivating part of their outfit, featuring a jagged collar and sharply serrated lapels, the latter of which are decorated with large golden buttons. A black belt mostly hides beneath this, though part of it is worn loosely, freely falling at their side and displaying the inlaid golden moon phases pattern on the interior side of itself. Their pants resemble exceptionally loose bell bottoms, and feature circular patterns resembling The Starry Night painting’s skyscape. They don dark teal heels with decently chunky undersides — they close with a clasp yet again shaped like a meteor. They’ve also got black socks on. They wear their black leather gloves near-permanently, mostly to avoid cigarette burns when smoking.

GENERAL FASHION STYLE: They follow a seminal rule of keeping things simple, regardless of overall style — many of their auxiliary garments are often solid-colored blocks of clothing with minimal patterning or texturing, with any kind of decoration being limited to miniscule bits of embroidery at the hems, pockets or sleeves. This stems from a years-long insistence on independently sprucing up their clothing, and perhaps more damningly, their usual lethargy and uninterest in working on anything for too long. Stars and circular abstract rings are their favorite thing to compose, mostly because, in their own words, "I can give up on them any time and they’ll still likely look artistic, or at the very least, decent to look at." They usually don’t like wearing things that are too flashy, keeping to compositions of majorly deep sealike tones and only ONE bright color at most — this also extends to shapes, usually avoiding overly gimmick-y clothing and elements like shoulder-pads or frills.
The most variable part of their wardrobe is honestly their shoeswear… Naturally they value a good set of work boots or a classy pair of dress shoes, but especially around train times, they’ve taken a liking to low-height heels with "any legs that aren’t too spindly and arachnid." They’re also quite fond of coats, particularly the variety that drape around their entire body and weigh them down… they simply think its cozy.
Most of their outfits do indeed follow the structure of suits, of variable formality — they quite enjoy the incorporation of fancy vests and jackets whenever possible, and often prefer wearing long-sleeved shirts. They occasionally also wear dresses and skirts, though again keep things formal, often pairing the former up with capes or cloaks and almost exclusively choosing ones of long length.
Their fashion sense, to most people, is extremely trendy and "in", if a little generic. Their humility about overdoing motifs and their structural brevity often leaves a bit to be desired, especially by people who are more fashion-conscious and critical of homogenising styles… Demeter couldn’t really care less, though. Their only concern is looking 'presentable enough' and nothing more. Except, maybe, their more homely passive desire of simply wanting to show off impressionist styles they like in their couture.

POSTURE AND MOVEMENT: A major thing to establish is that their senses of sight and hearing are slightly obliqued — considering the amblyopia in their left eye and matching deafness in the same sided ear — and so they intermittently struggle with balance. Since the former’s a congenital thing and the other was acquired in their youth, they’ve never really felt the need to adopt a mobility aid, having grown used to their internally devised system of motion that keeps their ambulation 'safe'.
What that entails, precisely… They usually walk at a very slow speed, often focusing on maintaining full, well-distributed weight on their feet. When walking in a vacant space, they’ll stick close to the walls and brush their arm across said surface to maintain balance. Railings on walls, a distinct feature of Winter architecture, are invaluable to them for this reason. In furnished rooms they’ll often grab the sides of chairs and tables as they move along, and if they have to stand, they’ll often plant their palms on the surface of such nearby obstacles for the sake of stability. They also tend to angle the left side of their body to walls, posts, or people they trust (if they’re there) mostly so that they don’t get caught off-guard by any newcomers. They’re hardly ever seen pacing around or gesturing wildly, mostly because those kinds of quick, jerky movements can quickly disorient them — it’s not uncommon to see them resting somewhere all statuesque and unmoving, suspended in motionlessness for minutes at a time.
There’s some more specific mannerisms that crop up around their face. For one, they have a habit of tilting their head away from people whilst talking to them, for the sake of either seeing or hearing them better. In the midst of bright lights, they may shut their bad eye and henceforth only depend on their opposing one for sight — this mainly happens while they’re Fornaxgazing and caught off-guard by sudden bursts of light and color, since most indoor train lighting is dull enough to not bother them.
They have a habit of messing with their glasses whilst talking — the most frequent presentation of this is them simply pushing their glasses up their nose with their middle finger joint.

VOICE: Deep and smooth, although also well-scratched up by their smoking habits. There’s a profound "gravelly" quality to their voice, but the scratchiness I’m describing isn’t really abrasive or harsh. It’s moreso just a general dulling-down of all their words. Their consonants usually 'roll' and falter, unstressedly, granting them a very soft-spoken consistency — likewise their vowels inconsistently extend themselves, with them often either hanging on them for too long. There’s often very little rise or fall as they speak, though this hardly makes them stonily monotone — due to their breathiness they actually moreso come across as permanently 'awed' or impressed. To an extent it resembles the kind of speech someone may have when they’re about to fall asleep, heh. This blanket of unfocus does lift whenever they’re very invested in a conversation or just uttering quick asides, wherein their pronounciation gets noticeably 'sharper'. The pace of their speech is often voluntarily very slow, mostly so that they can plan out their phrasing comfortably in the midst of active talk… They insist on refraining from needless repetition and restarts of sentences, finding it shameful and frustrating on behalf of the person they’re talking to. Another grievance they have with their own speech is their general sense of pronounciation, in English, at the very least — since a lot of their English was learned through reading and they didn’t have much experience speaking it aloud prior to entering Fornax, they’re prone to pronouncing things phonetically to what they deem an "egregious" extent — such as pronouncing stoic as stoick. In truth there’s rarely any actual misunderstanding arising out of their enunciation, but… they do fear embarrassment!
As implied their accent strays quite far from an Average English one… Most of their pronounciation relies on their home tongues of Hungarian and German, and so their accent is a decently thick blend of the two. It’s been watered down over the years, due to them adopting some speech mannerisms from other traingoers and also just getting to exercise their English more. The most major audible change, I’d say, is the aforementioned 'softness' of their tone.