Elizabeth Swann: Governor’s daughter to Pirate King

One of my favourite film characters since childhood is Elizabeth Swann from the Pirates of the Caribbean. In this month’s blog we’re going to discuss how she represents development through character and, for the context of this article, costume. 

Elizabeth’s first appearance as an adult is estimated to be set in 1728, just after the golden age of piracy in the Caribbean (1716-1726). This was due to European naval powers, namely the British Royal Navy, taking a more aggressive response towards piracy. Europe’s influence stretched further than the seas, weaving itself into the fashion trends across the globe. As the governor’s daughter, Elizabeth would’ve had the duty of maintaining these European trends throughout the British colonies — reinforcing the prevailing European ideals. 

The gold dress:

The first dress we see her in is an example of the “latest fashion in London” according to her father. Contextually this would’ve been the ‘robe volante’, popularised in France. Whilst Elizabeth’s is stunning, there are a few inaccuracies with this costume. 

Most popular dress styles in this time period were derived from the ‘mantua’, a dress style we typically recognise across period films, including the following features:

• An open front revealing a separate underskirt/petticoat (often decorated)
• A decorative stomacher (a triangular, stiffened piece of fabric against the torso)
• Wide skirt often supported by panniers (hoops)
• Draped over skirt and train to enhance the silhouette and showcase the amount of expensive fabric that could be afforded by the wearer
• Elbow-length sleeves with decorative cuffs e.g. laced or ruffled 
• Typically floral or botanical patterns stitched with gold or silver thread as an indication of wealth 

It’s difficult to tell what style Elizabeth’s first dress was due to the shots only revealing parts of the dress. Though we can guess that it was some form of mantua with close inspiration to the robe volante, differing in its absence of box pleating (a typical feature of this dress) stitched from the top of the back of the dress and unstitched the rest of the way down. 

Generally, the main inaccuracies were within the script. The implication that Elizabeth hadn’t worn a corset before wasn’t likely due to her being a young-woman in the 1720s, daughter to the governor no less. Furthermore, the reference to a ‘corset’ in itself is also inaccurate as this term was not popularised until 1809-1810 when fashion began to prioritise smaller waists, developing the previous term ‘stays’  to ‘corset’. However, ‘corset’ was likely used in favour of current audience awareness, more people would know what a corset is, rather than a pair of stays. 

The intricate use of colour throughout these costumes is very well-considered, with this dress owning a light palette to emphasise her expected sense of delicacy and decorum. I like how they leave the medallion tucked beneath her stomacher, implying her underlying desire for choice and adventure, no matter what extremity it may cost. 

The dress is accompanied by a white broad-brimmed hat tied with lace. Historically, in Europe this style was associated with the working-class until the mid 1700s. But despite European influence in the colonies’ fashion, the practical need for sun protection in the Caribbean outweighed this view — especially so that they could preserve their fair skin, admired at the time. I like as well how in some shots the hat has a slightly slanted positioning, mimicking the slant of a pirate’s hat — suggesting her imperfect nature and refusal to abide by societal expectations. 

PIRATE KING:

Swann completes her transformation across the trilogy in her ‘pirate king’ outfit. Though inaccurate, it’s incredibly iconic and one of the most admired pirate costumes amongst audiences. 

What would a pirate in the South China Sea wear? 

The crew: 

• simple cotton/linen shirts 
• Short, plain jackets (for warmth and agility) or longer coats made of heavy wool/canvas with brass/bone buttons 
• Baggy canvas/linen trousers (that could be rolled up)

The captain: 

• finer fabric than the crew — looted silk, satin and brocade fabric used in coats and waistcoats 
• Decorated waistcoats — sometimes elaborate buttons 
• Plumed hats (not the iconic tricorne), fine linen neckcloths and silk stockings 
• Overall similar attempt to rich to demonstrate wealth and influence 

Generally, earth tones and muted colours were worn for the preference of practicality and acknowledgement of the physical labour and conditions they’d be working in. Overall styles in this region were similar to those amongst western pirates, differing by their use of local materials and their tailoring styles.

Western v Chinese tailoring styles 1720s-1730s: 

Western	Chinese
Priority: body-sculpting	Priority: ‘body-respecting’, natural
Cut: complex patterns	Cut: simple panels, mostly straight cut
Structure: constructive with different parts to be assembled together (e.g. the mantua)	Structure: non-constructive, minimalist and flowing silhouette
Aesthetic: defined waistline, structured fit	Aesthetic: slender, longitudinal — focus on flowing lines e.g. the ‘hanfu’
Closure: buttons often with front openings	Closure: side-front closures, decorative fabric loops and knots

We see how Elizabeth’s pirate king outfit followed more of the chinese tailoring style than the previous western styles she had been wearing, aside from perhaps the structured belt and overall highly decorated look — potentially as costume designers leaned more into fantasy themes. Though there may be a priority of fantasy, there is clear inspiration from cultural styles which is recognisable to audiences. 

In this costume, Elizabeth stands in loyalty to her new crew over the sanctuary offered by Norrington, demonstrating her autonomy and role as a leader. She also gets married in this outfit, highlighting her fierce independence alongside her love for Will, a well executed testament to her empowerment. 

Final thoughts:

Overall, the costume for this franchise are incredible as both historically accurate and iconic on screen. Swann’s costumes were what first interested me in fashion and I used to watch hours of video essays on YouTube about the historical accuracy and cinematic significance. So these costumes and this character are very dear to me as I may not have otherwise pursued my interest in fashion. 

I hope you enjoyed the first blog of our new ‘film series’ at edomal. Apologies that I was not able to provide accompanying photos to the descriptions of the costumes as I don’t have legal ownership over them. If you’d like any specific films/tv shows discussed, just send a message to @edomalfashion on Instagram or TikTok. See you next month and happy new year!