Elizabeth Janet Pickering was born in New York City in 1933. The world knew her simply as Betsy Pickering, and by the early 1950s, she was already carving out a place for herself in the fashion industry. She started modeling at the dawn of the decade, and by 1953, her face appeared on the cover of Vogue — the first of many appearances that would define an era.
The 1950s were a decade of sharp silhouettes, luxurious fabrics, and carefully constructed glamour. Betsy moved through all of it with ease, wearing everything from structured sheaths to sweeping evening gowns. She worked with some of the most respected designers of the time, including Jo Copeland, Christian Dior, and Ben Reig.
Betsy Pickering in figure-defining silk satin dress, panier framed by Jo Copeland-Patullo, 1954
By 1954, Betsy was already a recognizable face in high fashion. Her collaborations with designers ranged from tailored cocktail wear to bold evening looks. The following year brought more work with major names on both sides of the Atlantic.
Betsy Pickering in black silk crêpe dinner/cocktail sheath by Ben Reig, rhinestone-bow cap by Dior, 1955Betsy Pickering in Lyle & Scott cashmere sheath by Christian Dior, 1955
1956 was a particularly active year for Betsy. She modeled an impressive range of looks — from velveteen sheaths to mink stoles to sculptural millinery. Each piece showcased a different dimension of her versatility as a model.
Betsy Pickering in an elegant Merrimack velveteen sheath by Anne Fogarty, 1956Betsy Pickering wears a CMB Majestic Canada Mink stole, 1956
Betsy Pickering in a black velvet chéchia with mascara veiling by Svend, 1956
Betsy Pickering in a dinner hat by Svend, 1956
Hats and accessories were a central part of 1950s fashion, and Betsy wore them with authority. Her work with milliner Svend alone demonstrated how much a single accessory could transform a look. Going into 1957, she continued to appear in Vogue shoots that spanned the full breadth of women’s fashion.
Betsy Pickering in a black velveteen dress by Anne Fogarty, 1957
Betsy Pickering in Argentine broadtail lamb jacket by Zimmerman-Scher, 1957
Betsy Pickering in a brilliant blue velvet gown by Grès, 1957
Betsy Pickering in black satin cocktail dress by Nina Ricci, 1957
Betsy Pickering in brown wool-Orlon suit by Handmacher, 1957
Betsy Pickering in romantic evening dress by Jacques Heim, 1957
Betsy Pickering in a deep-red velour cap by Tatiana du Plessix, 1957
By 1957, Betsy was working with a remarkable roster of designers — Grès, Nina Ricci, Jacques Heim, and Handmacher among them. Her ability to shift from a structured wool suit to a sweeping velvet gown within the same editorial season made her one of Vogue’s most relied-upon faces.
As 1958 arrived, the fashion world began experimenting with new silhouettes and fabrics. Betsy was right in the middle of it — photographed on Wall Street and in studios, wearing everything from a cotton batiste minaret sheath to a golden satin evening gown by Lanvin-Castillo.
Betsy Pickering in Arnel and rayon suit by Glenhaven, 1958Betsy Pickering in emerald silk dress with floating back panel by Helga, 1958
Betsy Pickering in golden satin evening gown by Lanvin-Castillo, 1958
Betsy Pickering in the minaret sheath of cotton batiste, 1958
Betsy Pickering on Wall Street, 1958
1959 marked the most prolific stretch of Betsy’s documented career. That year, she modeled for an extraordinary range of designers — from Yves Saint Laurent and Christian Dior to Anne Fogarty, Larry Aldrich, and Nina Ricci. The breadth of that single year captures just how central she was to American and European fashion at the close of the decade.
Betsy Pickering in black crêpe cardigan suit by Ben Zuckerman, 1959
Betsy Pickering in black rayon-crêpe dinner/theatre/dance dress by Lee Claire, 1959
Betsy Pickering in black silk crêpe dress by A. Goodman, 1959
Betsy Pickering in black wool egg-shaped dress by Simonetta, 1959
Betsy Pickering in cashmere two-piece from Lyle & Scott, 1959
Betsy Pickering in white crêpe dress with satin polka-dots by Charles Dickey, 1959
Betsy Pickering in Como Italian silk dress by Vera Stewart, 1959Betsy Pickering in imported pink wool riding jacket suit by Ben Zuckerman, 1959Betsy Pickering in imported silk brocade sheath and jacket by Mollie Parnis, 1959
Betsy Pickering in late-day shirt dress of yellow silk surah by Anne Fogarty, 1959
Betsy Pickering in late-day shirtdress of navy blue crêpe by Larry Aldrich, 1959
Betsy Pickering in pale blue silk dress with pleated bertha collar by Yves Saint Laurent, 1959
Betsy Pickering in pale blue silk shift with flat bow by Lanvin-Castillo, 1959
Betsy Pickering in pinstriped suit by Christian Dior, 1959Betsy Pickering in short black faille evening dress by Patrick de Barentzen, 1959Betsy Pickering in silk faille dress with piqué accent by Jo Copeland, 1959Betsy Pickering in black silk crêpe dress by Miss Bergdorf, 1959Betsy Pickering in chiffon worsted flannel Spring suit by Ben Reig, 1959
Betsy Pickering in navy blue flannel suit by YSL for Dior, 1959
Betsy Pickering in suit with leopard accents by Herbert Sondheim, 1959
Betsy Pickering in two-piece dress by Nina Ricci, 1959
Throughout the decade, Betsy’s name appeared consistently on the International Best Dressed List — not as a one-time mention, but year after year. Her style was recognized as more than personal taste; it was a reflection of the era’s values around elegance, confidence, and precision in dress. In the early 1970s, that sustained recognition earned her a place in the Best Dressed Hall of Fame, cementing her position as one of the defining fashion figures of the postwar generation.
Kimberly Adams is passionate about classic movies, actors, and actresses. She offers a fresh perspective on timeless films and the stars who made them unforgettable. Her work is an ode to the glamour and artistry of a bygone era, and a tribute to the enduring appeal of classic cinema.
