No 5 The Film By Vanessa Friedman Instagram

“I’m a terrible person to be giving beauty tips. I’m such a lazy beauty person.” “Lazy” is the last word that comes to your mind when you think of Vanessa Friedman, 48, The New York Times’s fashion director, who is known for her direct and insightful commentary on fashion’s frenzied scene. The flame-haired critic’s road to success came about after a series of smart career moves. After a stint at a law firm in Paris, the native New Yorker moved back to the city, where she worked at the bottom of the ladder at Vanity Fair.

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From then on, she contributed to various publications, including Vogue, The New Yorker, and The Economist. Prior to assuming the role at The Times in 2014, Friedman was the fashion editor for the Financial Times, a position the paper created in 2003 in an effort to expand its style coverage. I go through periods where I’ll try anti-aging serums, but I rarely stick with them long enough to make any difference. I say I’m attempting to embrace my aging, but that might be a rationalization. On her makeup routine: I use the Porefessional Face Primer from Benefit.

I have an anti-shine obsession. I’m endlessly powdering, but I’ve not found the perfect one yet. I use black mascara every morning plus a black eye pencil, and I use a brow pencil because my brows barely show up on my face anymore, which is depressing. No one tells you when you’re 16 and start plucking your brows that you should hold onto every single hair. And I’ve been doing it ever since. If they ever stop making it, I will have a crisis.

On her hair bun: After I got married, I cut my hair really short because I had always been curious about how it would feel. I discovered that it was much more work than long hair. When I was growing it back out, I had my first baby, and she would reach up and pull my hair.

So I started pulling it back: first in a twist, and then in a bun. I decided I liked it. Also—I’ve learned this over time—hair that is strictly pulled back sometimes makes other people nervous, which can be an advantage during an interview sometimes. My hair now takes me five minutes in the morning out of the shower. Suzy [Menkes] and Anna [Wintour] clearly use hair as a signature.

It’s very effective. You could see a silhouette of Suzy, and you’d know exactly who it was. Karl Lagerfeld uses hair in the same manner. Absolute consistency in your hairstyle is a shortcut to image.

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Getty Images I used to have brown hair with blonde highlights when I was working at Vogue at age 25. It was the time when Linda Evangelista dyed her hair red.

Anna [Wintour] wanted me to do a story for the beauty department, which was run by Amy Astley at the time, about getting glamorous, and that meant dyeing my hair red. She clearly felt I was not glamorous enough [ laughs]. They sent me to colorist Louis Licari, and he wasn’t sure, either.

He thought maybe strawberry blonde would be better, but I just thought, Why go halfway? When we took the towel off, it turned out I looked better. It was kind of liberating to do something that was so clearly fake (even though most people actually think it is—or was—natural). I don’t wear too much color because it’s all on my head. I go to Corinne Adams at Serge Normant at John Frieda now. She's terrific; I met her when she worked with Christophe Robin in Paris, and I met him when he was doing John Galliano’s hair when John was at Dior.