As a fashion enthusiast with a penchant for analyzing how clothing choices reflect character development, I find Sofia Falcone’s sartorial transformation utterly captivating. Her journey from blending into Gotham’s elite to embracing punk-inspired styles mirrors her transition from a timid heiress to a bold, unapologetic criminal mastermind.
Visit the Vulture Festival on November 16-17 in sunny Los Angeles to catch a glimpse of Gotham’s latest villain. We’ll be having a chat with Cristin Milioti there!
Similar to how The Batman draws inspiration from 1970s crime thrillers such as The French Connection, HBO’s The Penguin incorporates elements of gritty mob drama with exaggerated comic-book elements. The protagonist’s past is a grim narrative of emotional incest and fratricide in childhood, and these events are revealed through a therapist who uses his EMDR lamp like a hypnotist’s pocket watch. Throughout the series, we always remember that this takes place in Gotham City rather than Chicago or New York; a city shrouded in darkness due to emotional instability among supervillains, widespread corruption, and hints of Taxi Driver and The Godfather-esque themes.
Set in modern times, yet evoking the spirit of the late 20th century, “The Penguin” showcases this era particularly through its costumes. Designer Helen Huang drew inspiration from various vintage styles across decades. The main character, Oz Cobb (played by Colin Farrell), presents a contemporary take on the Penguin’s traditional formal attire, whereas Sofia Falcone (portrayed by Cristin Milioti) leans more towards the dramatic side of Gotham’s villains. She is part of the same lineage as characters like Two-Face and Harley Quinn, shaped by trauma and using crime as a means to cope emotionally.
In the TV series, Sofia’s blend of flair and emotional trauma is a fresh take on a familiar Batman motif. Originally, she was just a straightforward mob villain in the comics. Notable appearances include “Batman: The Long Halloween” and “Batman: Dark Victory,” where she remained loyal to her father’s legacy and truly deserved her Hangman title, unlike the Penguin. Her costumes were simple, with most outfits being plain suits and overcoats in contrast to the more flamboyant attire worn by characters like the Joker. However, in the Cristin Milioti and “Penguin” showrunner Lauren LeFranc’s reimagining, Sofia has been developed into a more complex and compassionate character. They’ve delved deeper into Carmine Falcone and Catwoman’s troubling father-daughter relationship seen in “The Batman.
In the series, Huang’s wardrobe for Oz portrays him as an awkward social aspirant striving for traditional mafia masculinity but lacking refinement to fit among high-society aristocrats. On the other hand, Sofia is a distinct type of outcast. Born into a criminal dynasty, she was exiled when she couldn’t conform. As Milioti delivers her intense portrayal, Sofia’s costumes trace a path from submissive heiress to ruthless mob boss, reaching its climax in her brutal retaliation against Oz in the second-last episode of the show. Dressed in high-heeled shoes with red soles and her mother’s vintage fur coat, she triggers an explosion at Oz’s underground headquarters, leveling it to ruins. This Sofia is relentless and uninhibited, betrayed or abandoned by everyone she once trusted.
Initially appearing in a pivotal moment, Sofia emerges as a radiant figure amidst the gloom. She enters and interrupts a discussion between Oz and the existing Falcone faction, dressed in an immaculate white skirt-suit reminiscent of 1960s designer André Courrèges. In a sea of men wearing somber suits, she mirrors the traditional femininity often associated with Jackie Kennedy. A delicate white scarf conceals the wounds on her neck; these are reminders of her harrowing time in Arkham Asylum.
Huang clarifies that the essence of Sofia’s story lies in her role within the family as a woman. To depict this, he drew inspiration from Edie Sedgwick, a prominent It Girl of the 1960s who transitioned from an upper-class heiress to a daring collaborator of Warhol. These costumes embody a more masculine notion of how a woman should present herself, with collared tops, kitten heels, and delicate jewelry reminiscent of the 1920s aristocracy.
Sofia’s new hairstyle is a hint of her rebellious spirit; a rough mullet reminiscent of Jane Fonda in the 1970s film “Klute.” According to Cristin Milioti, Sofia fought vigorously for this cut, and it was definitely worth it. The length of her hair gives her the flexibility to style it up for more formal occasions, but when she lets it down, it adds a rebellious Joan Jett vibe to otherwise conventional outfits. As the series progresses, her hairstyle becomes increasingly disheveled, suggesting that she may be self-cutting it.
After being discharged from Arkham Asylum, Sofia finds herself in a complicated position within the Falcone family. On paper, she is the rightful heir to her father Carmine’s empire, but the existing leaders have no intention of transferring authority. They view leadership as a male responsibility, and Sofia has previously struggled with maintaining a presentable public image for their criminal organization. Nowadays, she is more notorious by her moniker, The Hangman, and no fashionable coats can erase the stain on her reputation that comes with such a title.
In glimpses of Sofia’s life prior to Arkham, she appears at ease embodying traditional feminine roles, managing her unruly brother and serving as a social hostess. At a charity function, she wears a simple red cocktail dress, while dining with her father, she opts for pastel floral attire. She embodies the ideal daughter, not only through private devotion to her family, but also in her public image. Such women play a vital role in linking Gotham’s esteemed upper class with the questionable wealth of organized crime. Unaware, her greatest asset lies in her knack for adapting and fitting in.
Eventually, the darker aspects of their relationship surface. A journalist presents Sofia with evidence that her father was responsible for the murders of several women – among them, Sofia’s mother, whose death had been falsely labeled as a suicide. Once Sofia learns the truth, she becomes a target. Carmine sets her up for his own wrongdoings, committing her to Arkham Asylum for electroshock therapy and powerful sedatives; a common method used to discard “troublesome” female family members.
Currently, Sofia comes to understand that preserving her ‘good girl’ image is unnecessary. There’s no need to uphold respectability when the dominant male power structure has already disregarded her. Instead, she forges her own path as a crime boss, and her fashion choices grow more extravagant. She embraces a darker color scheme, with an increasing influence of mob wife style – leopard prints, fur coats, dramatic eye makeup, ostentatious jewelry.
In the fourth episode, Sofia experiences a significant change, fueled by mounting anger after being deceived by her father, deserted by her extended kin, and tricked by her latest associate, Oz Cobb. Disregarding instructions to depart from town, she attends a family gathering at the Falcone mansion with the intention of challenging (and eventually intending to harm) those relatives who overlooked her distress.
In a bold move that breaks the tranquil elegance, she enters wearing a vibrant yellow dress with a long train and a daringly low neckline, accentuated by a dramatic sweep of eyeliner reminiscent of Elizabeth Taylor’s Cleopatra. The designer, Huang, describes it as Sofia’s “debut” or “coming out,” referring to its eye-catching impact.
She expresses that she believes a bold burst of color would suit this particular segment well, given the intensity of the emotions portrayed. As the Falcone mansion’s interior is quite dim, they decided a vibrant citrine hue would stand out brilliantly. This material introduces an innovative texture to Sofia’s clothing collection; it’s a liquid satin with a chiffon layer. Moreover, it exposes more skin, revealing her scars and signaling the departure from traditional femininity. The item is both seductive and clearly non-conformist, setting the stage for the upcoming chapters in Sofia’s narrative.
When Sofia assumes leadership of the family business, she decides to use her mother’s surname, Gigante, instead of Falcone. As she prepares to greet her new staff, she chooses a large fur coat from her mother’s wardrobe. This coat, not only a classic symbol of status, but also bearing the name Isabella Gigante within its lining (rather than Isabella Falcone), indicates it was bought before her parents’ marriage, thereby distancing herself from Carmine’s influence.
Over her sleek black minidress, Sofia adorns her coat, subtly conveying that she’s a unique form of authority compared to her predecessors. Both Sofia and Oz aspire to be perceived as trailblazing rebels in the world of organized crime – Oz as an underdog from the working-class, and Sofia as a fresh departure from mafia family conventions. This image-awareness is reminiscent, albeit humorously, of certain Batman villains’ tendencies, although Sofia and Oz refrain from outfitting their associates in themed attire (it would have been exciting).
Instead of aiming to fit in among Gotham’s high society, Sofia makes a bold change, opting for Vivienne Westwood’s punk-inspired designs over the traditional elegance of Courrèges, Lanvin, and Celine. Embracing a nocturnal wardrobe characterized by dark materials, metallic accents, and fierce animalistic elements, she now embodies a different persona. Her necklines, plunging low, symbolize her rejection of guilt and a newfound sexual assertiveness. This transformation is evident as she begins a complex, sadomasochistic relationship with her therapist, Dr. Rush.
Huang points out that in addition to a darker color scheme, Sofia adopts fresh materials and shapes, opting for voluminous furs to create a larger presence. Her accessories transition from understated antiques to flamboyant, extravagant pieces. At her relative’s orphanage, she appears like a gothic version of Lady Gaga: wearing a black minidress and high heels, accompanied by a dark coat, a teal fur boa, an abundance of jewelry, and smoky makeup. This strikingly inappropriate attire for the setting may also serve as a form of psychological protection, as the orphanage reminds her of Arkham and its associated memories.
Over the past couple of episodes, I’ve noticed Sofia undergoing a transformation that culminated in her final form. In episode seven, there was an unexpected burst of color – a fiery red flash peeking out beneath the collar of her coat during the bomb sequence. As Huang explained, this shift to a more vibrant color scheme sets the stage for the intense drama ahead in the finale, where Sofia and Oz will confront higher stakes than they’ve ever faced before from my perspective as a movie buff.
Similar to several modern DC adaptations, The Penguin endeavors to strike a balance between grounded narrative and the eccentricities of its source material, offering a mature interpretation of seemingly absurd elements. Sofia excels at this task, seamlessly blending prestige drama complexity with the over-the-top aspects of Gotham City. By embracing the flamboyant nature of the setting, she underscores the notion that every formidable supervillain should possess an exceptional sense of style – a style that can convey its own story.
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2024-11-04 21:54