Sue Williams Bio
Sue Williams is an American actress, glamour and nude model. Born Karen Sue Hamilton on May 13, 1945, in Glendale, Arizona, she has also been credited as Sue Hamilton. Playboy named her its April 1965 Playmate at 19. Her appearance came during the 1960s, as Playboy grew into a major force in American magazine publishing.
Williams has enhanced breasts, blue eyes and blond hair. Her measurements are 34-20-34.
Working with photographers Bill and Melba Figge in 1964 gave Williams the practical education that would change her public life: Melba sent their prints to Playboy, Hugh Hefner asked for more, and the resulting feature became the Figge Studio’s first centerfold. The spread also carried a few small firsts in the magazine’s record—she is cited as the first Playmate under five feet tall and, by several contemporaneous accounts, the earliest Playmate to have breast implants—details that made the pictorial as much a footnote in publishing history as a personal debut.
The Playboy exposure opened a second, short-lived chapter in Hollywood. She signed with American International Pictures and, credited on screen as Sue Hamilton, made her film debut in How to Stuff a Wild Bikini as “Peanuts,” sharing the frame with fellow magazine personalities such as Marianne Gaba and Jo Collins. AIP kept her in the company stable for a handful of beach-party and teen-oriented pictures released across 1965–66.
Her visibility with AIP went beyond screen credits. Syndicated magazine pieces that tied studio starlets to fashion and beauty columns—headlines such as “Starlets Seek Natural Look” and “Use Makeup the Professional Way”—placed her image in national newspapers and fan-service features. She also joined a studio-backed cosmetics effort, appearing in the “Super-face” advertising work for Sheer Magic makeup alongside fellow AIP player Patti Chandler to promote titles like The Ghost in the Invisible Bikini and Fireball 500.
Brief and tightly focused, her crossover from magazine pages to B-picture publicity captures a specific industry pattern of the mid-1960s: a moment when glossy pinups, teen cinema and studio marketing intersected, leaving a recognizable if compact trace on the era’s pop-cultural landscape.
