06.11.09 Stevie Nicks - The Perfect StormStitsh take great pleasure in introducing our new guest blogger Miss Nash, a fashion insider who will each week share her opinions on what's on her mind. Miss Nash splits her time between New York and London, working as a freelance womenswear designer and fashion journalist. She aims to please, but most often succeeds in offending people. Her blog postings will alert your attention to what to avoid like the plague, what to indulge in, and maybe even educate - but always in a lighthearted manner. Miss Nash doesn't take herself too seriously - so neither should you.
 WHERE do i begin when faced with the task of telling you about Stevie Nicks? How can I possibly do this woman justice with mere pictures and words?
Stevie is a force to be reckoned with. She is all of the natural elements combined into one human entity - a perfect storm trapped in the body of a diminutive and seemingly delicate Californian songstress. Her music is haunting, melancholy, aggressive, honest, powerful, melodic. I would urge you to go onto itunes/spotify/last fm/pandora, whatever you use to get your music fix, and listen to just a handful of her tracks - On the Edge of Seventeen, Dreams, Landslide, Gold Dust Woman, Sara, Rhiannon, Storms, Stand Back... She was consistent in her musical style and storytelling whether she was collaborating with Fleetwood Mac (the band with which she first gained worldwide acclaim and success) or when working on her own solo material. As part of Fleetwood Mac, she was an extraordinary and enchanting frontwoman - dancing around the stage, enrapturing audiences across the globe with her presence and a vocal range that could go from a whisper to a wail in one shake of her tambourine.
From the early 70's when she was part of the folk rock duo Buckingham Nicks; throughout the highs and lows of fronting Fleetwood Mac, to the triumphs of her Solo career, Stevie has blazed a tempestuous trail, leaving in her wake some of the most energizing and captivating music ever written. She was given the rather obvious title of the 'Reigning Queen of Rock and Roll' by Rolling Stone magazine, but it hardly does her justice. I don't believe that there is a title in any known language that could perfectly summarize her achievements to date.
I saw Stevie performing as part of Fleetwood Mac at Wembley Arena last saturday night. The whole evening, everything about it was incredible - the band's energy, their unbridled passion, enthusiasm, and the electric chemistry between the four of them was intense. They are all now in their mid to late 60s, and yet they were thrashing around - strumming, banging, shaking, thrusting - like they were on the first leg of their 1977-78 Rumours tour. All of the turbulent emotions that their music sprang from back then seemed as though it was still fresh and the forefront of their minds. They weren't just singing about thoughts, feelings and experiences that happened over 20 years ago - the past betrayals, sadness and burning desires appeared to be completely intact - still unforgiven. I felt sick to my stomach with sadness when Nicks and Buckingham (her first love and now fellow Fleetwood band member) performed 'Landslide' together - the tumult between them appeared to be raging stronger than ever. Their relationship never truly ended, it was just suspended and remains unresolved to this day. They continue to work through their differences through music. It was heartbreaking and yet strangely satisfying to watch...The show was unforgettable. Totally and utterly.
As a great admirer of Stevie's singing and songwriting, I have inevitably become obsessed with and inspired by her unique style. Hers is a style of dress and self expression that has, through the years, remained as consistent as her music; no matter her changing environments, external pressures, or varied social encounters.
Take a snapshot from any stage of her career from the late 60's up until today, and there will always be several aspects of her overall look that remain still, whilst the details move with the influence of changing times. The things that remain constant are: - Her mane of long golden blond hair - whether it's untamed and wild with curls, permed and teased into oblivion, or worn in sleek waves from crown to waist. - An excess of fabric - in the form of an enormous shawl draped over her shoulders, or long billowing sleeves that gave her wings when she raised her arms and swirled around her body when she twirled across stage. - Eccentric accessories to complete her stage persona - be it a Top Hat, a tambourine streaming with ribbons, a cane, a velvet beret, or a feather hair piece.
In the 70s when Stevie started touring with Fleetwood Mac, she was already in charge of her presence onstage. She connected with the crowds whilst wafting between Lindsey on guitar, John and Christine on bass and piano respectively, and Mick Fleetwood - caged within his drum kit like a crazy grizzly bear. She cast her spell on all Fleetwood fans, and became the recognised frontwoman of the band, whilst Christine McVie - who had originally been the groups first and only female singer/songwriter- remained in the shadows. Unlike the heavily styled, over-considered, pimped-out get-ups of today's mock-rock bands and pop singers, Stevie's look was a natural, very personal and unadulterated extension of her musical personality. Her style of dress is drawn from the same emotions that are at the heart of all of her songs. Everything that she put together was instinctively based on something real, something that was part of her history or something true to her present: Her long hair, shaggy bangs and flyaway layers are indicative of her free-spirited Californian roots. Delicate chiffon, luxurious silks, velvet and lace gave otherwise easy and breezy west coast designs weight and drama fit for performance. Hoods, bodices, cuffs and hems were smothered with beads or dripping with fringe, adding mystery and intrigue to the layers. Sequins lifted otherwise dark and murky colour palettes which revolved around a base of black. Long, drapey sleeves and shawls with tassels gave her volume and dramatic presence on stage - competing as she was with 4 other large personalities, and countless more out in the audience.
As much as Stevie's look was confident and theatrical, the shawls, cloaks and large winged sleeves also served as a form of protection for her. She was physically so small, and emotionally so fragile - the extra mass that she added to her tiny frame acted like a shield and a source of power for her. As well as waving her arms around and creating dynamic expansive shapes, she would often wrap herself up and draw the fabric tight around her as she sang - blocking out any negative feelings shot at her from fellow band members during the more emotionally complicated songs; placing a gentle barrier between herself and the band's craving fans, and fending off any criticisms from the media and so called industry 'experts'.
Off stage, Stevie's clothing didn't really differ that much in essence from her show wardrobe. It was merely turned-down and less precious. The voluminous sleeves, long dresses and hair all remained unchanged, but the luxurious fabrics, eyecatching embellishments and props were left on stage. Like leaving her instruments on set at the end of the night, she left her hat, sequins, glitter and gold. During Fleetwood's lengthy recording sessions and downtime, the Californian in Stevie really came to the fore - no one does laid-back casual like the Californians, and in Stevie's case this was no exception. Everything about her look was graceful, comfortable, relaxed and effortless. In the summer she'd wear large brimmed floppy straw hats, and in the winter an oversized shaggy fur coat - mimicking her unruly head of hair. Instead of the huge shawls, she'd wear long slim scarves wrapped once or twice round her neck, and left to trail to the floor - another comfort of sorts when the capes, hoods and cloaks were inappropriate.
Along with all of the inspiring and admirable fashion moments of Stevie's career, there have been some definite blips, which I feel obliged to mention. And - as with most people's past fashion disasters - these fell smack bang in the middle of the 80s. It kind of comes with the territory: If you made music in the 80s, and then decided to make a few music videos to aid the communication of that music, you were EXTREMELY fortunate if you didn't end up looking like a extra from a Victorian period drama who had shopped for accessories at T. J. Maxx and then got put through a neon rainbow paint carwash. After a 5 year hiatus, Fleetwood Mac made a comeback in 1987 with the album 'Tango in the Night'. The most well known and best loved songs from this body of work were 'Big Love', 'Everywhere', and 'Little Lies'. The videos for both 'Big Love' and 'Little Lies'
were pretty typical of the period. Fuzzy, shifty camera work, poignant glances made in random directions, bad miming, even worse hair styles (MULLETS! GIRL MULLETS!) and terrible terrible clothes. Mick Fleetwood and John McVie managed to come out of it unscathed because they didn't really stray from the usual garb that they'd been rocking out in for the past 20 odd years; but Buckingham, Christine McVie and Nicks had given the 'ok' to the onset stylists of the day, and got screwed over as a result. I don't know how it was possible, but Lindsey looks like he's aged about 30 years between 1982 and 1987. How is that possible? Maybe because he's wearing the most god-awful, ill-fitting suit that you're ever likely to lay eyes on. McVie looks kind of silly and dorky - like she borrowed a child's playschool uniform, complete with little straw boater hat, and then there's Stevie. At this point, I think it's important to point out that Stevie was going through a pretty tough time in the wake of a stint in rehab. The album was made over an 8 month period, and Nicks was apparently only present for about 2 weeks over that whole time. It is said that even when she was physically present, her presence was never really felt. This could go a long way towards explaining the slight deviation in her personal style, as exemplified in the 'Little Lies' video. Her look was still lacy, extreme, layered, long sleeved and dramatic, but now the overall effect made her look like a witch, and not in a good way. Her hair was permed into a frizz beyond all control and hacked into a nasty top-heavy mullet. The Victorian influence is definitely there - with the high, restrictive collars, petticoat skirts and slightly corseted waist. And as you'd expect from the 80s - the shoulders are huge, and the earrings are bigger. Queen Victoria does Dynasty. I love you Stevie, but I was not loving this look, nor the stylist who told you it looked great before you walked out on set. At the height of her solo career - whether she was performing to a crowd of thousands, or holed up in a corner of a studio - Stevie's style was unfaltering, consistent and true to form. In this sense, a comparison can easily be drawn between Stevie Nicks, Joan Jett, and Lady Gaga. The latter - for example - who is so consistent in her style, both on and off-duty, that one is led to believe that this is the way she would dress even if there was no one else around to bear witness. For both of these women, the way that they dress is a necessity, a compulsion; part of their creative process and therefore of their everyday lives. With both Gaga and Nicks, you don't just see a moment of mindless schizophrenia when you attend one of their concerts. You witness an ultimate conclusion of real personality, talent and creativity. The stage gives them the means to express this ultimate version of themselves, because a street corner or coffee shop just wouldn't do. And in contrast to the majority of performers, the fantasy does not die or disappear when they're not in the direct glare of the spotlight. These women don't run backstage, put on tracksuits and sweatshirts, and breathe a sigh of relief. They exit through the back door and keep on going - turning everything in their paths into gold.
2009 and Stevie is still going strong, with a look that remains as captivating as it was back in the 70s. Her outfits last Saturday evening were gorgeous, carefully considered ensembles - reminiscent of the past, and totally appropriate for the woman she is today. The dresses were long, full in the skirt, and slightly corseted, with full and fluid sleeves. Her long blond hair had been smoothed into gentle waves. For her performance of 'Gold Dust Woman' she wore a huge shawl embroidered with hundreds of tiny gold beads. And, of course, at the end of the night she came out in a top hat for the finale. My favorite dress was made of red velvet, had a low scoop neckline, and 3/4 length sleeves dripping with crystals. Even her microphone was covered in strands of silk, chains and glittering beads. Everything about her person that evening was decadent, feminine and, even though not unexpected, it was completely Stevie. In today's fashion climate which changes so rapidly and is full of cross contaminations, confusing mishmashes of 10 styles in one outfit, and mindless imitations, it is always a joy to discover and be reminded of a woman who is dressing with confidence, has a unique identity and stays true to herself no matter the season.
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