Style File № 56

How to dress like Betty Draper from Mad Men

Full-skirted day dresses, cardigans buttoned at the top, gloves, a headscarf and never a hair out of place.

Full-Skirt Day DressButtoned CardiganDay GlovesSilk HeadscarfStructured Bag

1960–1970, Ossining, New York 8 pieces 2 looks

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№ 56 Mad Men Grace Kelly on the outside. BettyDraper The facade of perfection. 1960–1970, Ossining, New York 8 pieces Full-Skirt Day Dress · Buttoned Cardigan · Day Gloves

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The Wardrobe, Decoded

Grace Kelly on the outside.

Janie Bryant named her references plainly: "My inspirations for Betty were Grace Kelly and my grandmother. It was all about the facade of perfection — the outside is rooted in perfection and beauty, and the inside is crumbling." After Betty marries Henry Francis, Bryant switched the reference to Jackie Kennedy.

Why we can't let it go

Betty Draper is the saddest wardrobe on this site and one of the most beautiful. Bryant's line — perfect outside, crumbling inside — is the whole design, and it's visible in every scene.

The clothes are immaculate to a degree that stops being aspirational and starts being unsettling. Gloves for a car journey. A full skirt to sit in a kitchen. Nothing is ever creased, because Betty has nothing to do except make sure nothing is creased.

And the reference switch is the best detail — Grace Kelly while she's Don's wife, Jackie Kennedy once she's Henry's. She never stops being a wife defined by the man, and Bryant tells you by changing whose photographs she's dressing from.

01

The House

A kitchen, a garden, a very long afternoon

Immaculate to an unsettling degree, in cool pale colours.

In this look 4

pieces · current prices are shown on Amazon

02

Out

A drive, a school, a riding lesson

Everything closed and finished — gloves, scarf, a small hard bag.

In this look 4

pieces · current prices are shown on Amazon

How to actually wear the Betty look

The silhouette is a fitted bodice over a full skirt, hitting mid-calf. It needs a proper petticoat or a heavy enough fabric to hold the shape — a limp skirt reads as a nightdress. Colours are soft and cool: powder blue, buttermilk, sage, dove grey. Nothing saturated and nothing warm. Everything is buttoned, closed and finished — a cardigan over the shoulders, gloves, a headscarf, a small structured bag. The completeness is the character. And the hair matters as much as the clothes. Set, sprayed, unmoving. Betty's whole wardrobe assumes nothing will ever be disturbed.