Eva’s profession as a writer & poet shines very clearly here — she uses her words to frame, give light to, and viscerally exhume her depression and her despair.
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The vanity table is a place of preparation – it is where she puts on a mask, literally and emotionally. The almost ritualistic application of kohl (dark eyeshadow) and rouge (red lipstick) reflects her need for control her public image: this is the face I choose to show the world.

Wearing a mask is common, even normal. After all, the mask is a tool we use to exert control.
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However the mask could be an unhealthy coping mechanism when it is used to conceal deep seated negative emotions - thereby preventing us from honestly confronting our deepest sorrows.

As Eva paints her face, she too, paints her despair in words. Every word seems carefully selected, with the intention of giving light to her depression and anguish. Specifically, Eva’s speech highlights how she feels about the compliments she has received— and how, despite her accolades, she still feels terrible inside.
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Here’s an observation: these beautiful depictions of how others view her reveals Eva’s hypervigilance to the world around her. She is hyper alert to her surroundings, such that she makes observations of even the most minute details.
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Unfortunately, Eva’s hypervigilance has a cost – every detail seems to affect her personally. In layman terms, Eva may be labelled as “too sensitive”. Feelings, for Eva, are capital.

Let’s unpack this a little.

First off – there is nothing wrong with hypervigilance. It is not a problem – clinically or otherwise. It is merely a normal personality trait, with a spectrum of manifestations (similar to how confidence can be healthy or appear as a rage-induced mansplainer). It is, of course, useful in detail-oriented work – but perhaps less so when actively utilised in other areas such as within relationships.