We know Anne Clifford, the Countess of Pembroke, Dorset and Montgomery (1590-1676) best as the diarist and formidable combatant in the lengthy inheritance dispute that ensued when her father, George Clifford, the Earl of Cumberland, bequeathed his estates to his brother, Francis Clifford, rather than to her. We do not think of her as a woman who was concerned with beauty and appearances, perhaps because to do so would seem to diminish her intelligence and tenacity. Yet, in early modern England, one’s appearance was not necessarily a trivial matter. Hair was not inconsequential for Anne Clifford, either. She made it a matter of record and documented it in portraits, life-writing, account books and her chronicles of her family history. In this way, hair becomes what Marina Warner calls a ‘language of the self’: ‘like language, or the faculty of laughter, or the use of tools, the dressing of hair in itself constitutes a mark of the human. In the quest for identity, both personal and in its larger relation to society, hair can help.' By exploring how Anne Clifford’s use and subsequent rejection of hair’s requisite beauty practices manifest her changing approaches to the ideology of luxury, this paper will consider the means by which hair allowed an aristocratic woman to fashion her identity in writing and visual art.