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Stevie Nicks is almost as well known for her distinctive fashion style as she is for her enchanting music. She first envisioned her Gypsy image in the early 70's....while onstage performing with Fritz, she looked into the audience and spotted a girl in a flowing chiffon skirt and high cream suede boots....and knew right away that this was the look for her.
The first strong visual image she presented to her audience surfaced while performing Rhiannon in 1975, soon after joining Fleetwood Mac. The song conjured up visions of a character from Welsh mythology that Stevie played out by wearing long black chiffon sleeves that looked like butterfly wings as she twirled, and layered black chiffon skirts with a handkerchief hemline. Her hair was still self-described as "brownish blondish", it was just to her shoulders when she joined the band with a bit more length in the back, worn basically straight with layers and the occasional green or blue strip of colour. Around the same time, Stevie began sporting a black silk top hat onstage, this became an immediate icon of her look and soon (by 1977) became associated with Lindsey's song Go Your Own Way, because she often donned the hat for that song only. The hat was often decorated with a scarf tied around it, most often white chiffon (but on the 1989 tour, a pink scarf tied around the brim symbolized the song Whole Lotta Trouble). The flowing black chiffon Rhiannon costume was immortalized on the classic Rumours album cover, outtakes from this photo session show Stevie in the top hat as well.
As did many ladies in the mid 70's, Stevie was wearing suede knee-high boots that had a chunky heel and a small platorm. Even Christine McVie would often wear the very same boots as Stevie did. However, by 1977, Stevie was sporting much taller platorms, with her boots adding six inches of height to her tiny frame. She said that she felt it gave her a better presence onstage, especially next to such tall bandmates as Mick Fleetwood and Lindsey Buckingham. The jewelry she was best known for in this era was a pair of silver bracelets that she frequently wore on her left arm; she also occasionally wore Southwest influenced turquoise jewelry. Her hair was past her shoulders now and was blonder, worn in a natural layered style that was copied by girls everywhere. Around this time, she had a beautiful big shawl made from saffron gold fabric - splashed with gold sequinned starbursts, it was a beautiful sight under the stage spotlights.....long one of Stevie's favourites, it was not seen all that often until the 1997 Fleetwood Mac reunion tour, where she wore it every single night while performing Gold Dust Woman. During the Rumours tour, Stevie began wearing two different feathered headdresses. They were crocheted caps (one was cream and one was black) with long strands of feathers dangling down her back and mixing with her hair. These headdresses would later reappear in the BellaDonna era (1981, including the cover of the Edge of Seventeen 45 picture sleeve) and also onstage during the Rock A Little tour (1986).
The Tusk era (1979 - 1980) saw Stevie wearing simpler versions of her earlier outfits, the black chiffon skirts were often replaced by lighter colours and tiny floral prints and the first of her famous shawls took the spotlight. As the top hat came to symbolize a certain song, so did the various capes and shawls.....the red wrap, combined with an upswept Gibson Girl style hairdo, was the look while performing the magical Sara while the haunting and riveting Sisters Of The Moon brought Stevie out onstage in a black chiffon shawl striped with black sequins (often draped over her head). A rust coloured velvet beret, worn with much of her hair tucked up inside, was nearly always worn while singing Angel. Stevie's hair during the Tusk era was darker, almost reddish and sometimes she had blond streaks on either side of her face. She frequently wore very long, thin scarves tied around her neck onstage. A simple gold crescent moon pendant became her signature piece for years to come (she even gave replicas of this necklace to her friends). The moon was sometimes paired with a matching gold pyramid, a simple triangle.
Stevie was ready for her solo career to begin and with it, came yet another look. Wrongly pegged as a witch because of her fondness for black, she pointedly switched to wearing alot of white and cream and other light colours in hopes that the false rumours would be forgotten. The BellaDonna album cover depicts Stevie in an all white version of her black Rumours cover outfit, this time accentuated with fabulous thick, gathered leg warmers covering the tops of her by-now famous platform boots. This era debuted another beloved shawl, often referred to as the Blue Lamp shawl....made of royal blue burnout velvet, this shawl was used for various stunning promotional photos snapped by the talented Herbert Worthington including a series of shots with Stevie posed by the blue vintage lamp about which she wrote a song. She also began wearing a pure white shawl with long white fringe while performing Edge of Seventeen, referred to as the White Winged Dove shawl. A very unusual piece of stage clothing was first seen on this tour - it was a simple black lace overlay, open on the sides, adorned with sequins. Her hair in this era was spectacular, curly permed on top with long wavy layers on the sides and in the back....sometimes she straightened it all into fluffy layers. Stevie was still wearing the gold triangle and the moon pendants. Stevie made a break with her customary look and appeared in a fabulous little velvet mini skirt with a small velvet jacket and high boots when she appeared on the Bob Welch & Friends TV special; she looked stunning.
1982 put Stevie on the road with Fleetwood Mac promoting the Mirage album, and she was still favouring white clothing onstage. She was also still wearing the black lace overlay. The enormously popular Gypsy video now gave the fans and press alike the perfect descriptive name for Stevie. The video was a fantasy of Stevie images, showing her in beautiful vintage clothing (for which she has a fondness) and layered white handkerchief skirts with leg warmers and boots. On tour, Stevie was almost always wearing a black ribbon tied around her neck. Her hair was still permed but blown out mostly straight and fluffy.
The Wild Heart era found Stevie with very curly permed hair again and some glamorous new shawls, the most famous of which was the Stand Back cape. It was made of black chiffon with round gold leaves on it and would nearly always be worn while performing Stand Back (both solo and with Fleetwood Mac) until 1994 (she wore an almost identical replica of the original version), and then in 1997 she went with a different shawl altogether. She also had a long velvet, hooded number known as the Rhiannon cape (the album cover shows her wearing this)....it was also frequently worn for Beauty And The Beast. Stevie began to wear more red, including a beautiful red cape glittered with gold - she had a matching cape in white and gold, as well that was worn frequently. The black ribbon was gone from her neck after the very beginning of the tour, but she began wearing a large gold floating heart pendant and a gold fringe type choker. Stevie had only occasionally been seen wearing a cross necklace in the past, but around 1983, she was photographed a few times wearing one. The fabulous leg warmers disappeared around now...and although she did wear her trademark platform boots for most of the shows, on a rare few occasions Stevie actually wore high heeled shoes instead! In Austin, TX her temporary change in footwear was mentioned in the local newspaper because concertgoers were so surprised.
The Rock A Little era debuted Stevie's love of vintage jewelry, many unusual pieces appeared such as the wide red crystal bracelets and one of a kind necklaces. Her clothing was much more layered now, often wearing more than one shawl at once and she was also getting back into wearing black. She debuted a beautiful white lace shawl scattered with silver sequins (prominent in the Red Rocks concert video) - in later years, this shawl was often worn while performing Has Anyone Ever Written Anything For You?. When Stevie was seen on TV for the first time in a few years, prior to the release of the album, her hair was shorter - about shoulder length - very white blonde on top with the length of her hair quite dark. But by the time she filmed her videos for Talk To Me and I Can't Wait, her hair was longer and golden blonde again, permed with curls and waves all over with straightened pieces on the sides of her face.
Stevie had a very different look for the Tango In The Night Tour with Fleetwood Mac. Instead of shawls over skirts and tops, she was sporting more one piece outfits like a long black muumuu decorated with big gold flowers down the front, and fitted black dresses with dripping sleeves of lace or burnout velvet. She did occasionally wear a wrap, such as the large red shawl with the gathered ruffle and sewn-in sleeves. In the videos for Seven Wonders and Big Love, she sported shorter skirts with crinolines, but these were not seen onstage during the tour. The top hat was still in use, but Stevie also started wearing other hats onstage....on this tour, most notably a black boater style hat adorned with an enormous rhinestone and white embroidery (she also had a red version of this hat) and a wide black Revolutionary War type felt hat. Her hair was very rounded and bouffant on top with long pieces hanging down, very blonde.
With a broken foot in 1989, Stevie had to start her The Other Side Of The Mirror tour wearing platform Reeboks, but did switch to her trademark boots after the foot healed. Her hair was very similar in style to the Tango look although she now added fun, extra long extension pieces to frame her face. She wore quite a few long coats over a base stage costume, in a variety of colours and often made of satin with enormous shoulders. Bustiers were often part of the costume, and the skirts were still layered and handkerchiefed. More hats appeared on this tour, including tiny hats with fingertip veils. The Blue Lamp shawl made a few appearances on this tour, as did the white lace shawl and the velvet hooded cape. A new prop was added for this tour only, Stevie would hold a lacy fan while performing the song Alice.
In 1990, Stevie hit the road again with Fleetwood Mac to promote Behind The Mask. Her hair was curly and blonde but with a softer look, as if she used large rollers in it. Bustiers were prominent now, sometimes even worn with a short black flounced mini-skirt and she wore lots of enormous rhinestone "chandelier" or "shoulder duster" earrings. Other vintage jewelry was evident, even a rhinestone spider pin clipped to her shoulder. Large cross pendants were also being worn now, along with dangling crucifixes and a very large filagree gold heart necklace. Stevie was wearing lots of black again, with red seeming to be the next favourite colour.
Stevie adopted a sweet, almost girlish look for her 1991 Timespace tour.... crinolined skirts (not handkerchiefed) trimmed with ruffles, long sleeved sparkling and lacy bustier bodices. She began wearing gloves alot more, often with several rhinestone rings slipped on top. She wore her hair shorter, although still past the shoulders, with lots of soft curls and bangs. A few Victorian style velvet hats showed up on this tour, as well.
Stevie's look was quite different by 1994, for Street Angel. Gone were the familiar bangs, her now silver-blonde hair was also no longer permed but parted on the side and braided tightly every night - giving her a crimped, fluffy hairstyle after it was unwoven. Promo photos for the era showed her with perfectly straight, smooth hair. She favoured off-the-shoulder wraps,such as a white version of the red one worn onstage in 1990, and she was still wearing black gloves covered with rings. She wore very few hats on this tour other than ones handed to her by fans during the show, and she still wore beautiful long dangling earrings.
Stevie experimented with some looks in 1996 when she made three different solo concert appearances. On July 4, she appeared in Tampa, Florida with long wavy (but not permed) hair, again golden with bangs. Her outfit was reminiscent of the classic black chiffon Rumours cover, accented with a bright red underskirt. Around her neck was an enormous sparkling cross pendant. In August, she appeared in Columbus , OH wearing a floor length robe with long flowing sleeves, looking like she stepped from a fairy tale book....absolutely enchanting....same hairstyle as in Tampa. She also began sporting a pair of wide, rhinestone bracelets that were perfect for catching the stagelights as she moved her arms during a performance. The Gold Dust Woman shawl had reappeared, tied to her microphone stand - she intended to put it on for the song, but was unable to get it untied! The beautiful white lace shawl was donned for Has Anyone Ever Written Anything For You?. Her hair was straight by the time she played the Boston Common in October, wearing a long black satin coat over a black dress, both the gold shawl and white shawl were worn, as were the wide sparkling bracelets.
Stevie's look for the 1997 The Dance reunion with Fleetwood Mac was classic. She returned to her layered black chiffon skirts, paired with simple black tops and sometimes the black chiffon wings. Stevie changed into various beautiful long coats each night, they all appeared to be made of burnout cut velvets. She wore the platform boots in a variety of colours - black, garnet red, and beige. Only two shawls were worn, the Gold Dust Woman and then a new Stand Back look - black chiffon with thin gold glittering stripes and sparkly fringe. The wide rhinestone bracelets were again worn, and her hair was long and silky straight, parted on the sides with bangs.
The Enchanted Tour started on May 27, 1998 and Stevie went out on the road looking fabulous, albeit much the same as she did on The Dance Tour, which surprised me. I was expecting she'd appear onstage with the beautiful wavy style she sported in the People magazine profile just weeks before the tour began, but she appeared again with the long straight style. She was wearing mostly a black bustier top with elbow length sparkling sleeves trimmed in fringe, with a layered handkerchief hemline skirt (made of burnout velvet and sparkly chiffon), over which she wore a variety of shawls and jackets. The familiar gold spotted Stand Back cape had returned, as well as the Gold Dust Woman shawl and the silver spangled white lace Has Anyone? shawl. For Twisted, Stevie's been wearing a red chiffon shawl reminiscent of the Wild Heart tour. A white shawl with gold sparkles was worn (over a long taupe/cream satin coat) for Edge of Seventeen, tossed aside before Stevie began her walk along the stage to touch the fans. To my knowledge, no hats were worn on this tour but I did see her wearing gloves in several photos, and she primarily wore garnet red boots. There was no real prominent jewelry - Stevie's been wearing simple beaded choker necklaces and one diamond shaped pendant mostly. The wide rhinestone bracelets are gone (what a shame, I love the way they glitter on stage!) although the various rhinestones were still pasted to her forehead a la The Dance tour.
Stevie appeared in concert with Sheryl Crow during the Central Park In Blue television event in September 1999. She was wearing what appeared to be one of the same dresses she wore during the Enchanted Tour, although her familiar Gold Dust Woman shawl had been replaced with a new one.Her hair is still straight with bangs, and the crystals were again decorating her eyes and face. Stevie was sporting a new jewelry look - 3 dangling earrings in her left ear.
Stevie's primary clothing designer is Margie Kent, of Los Angeles and her longtime personal stylist is Kim Brakely. Pasquale Fabrizio is the LA shoemaker who makes her beautiful platform boots. In recent articles, Stevie says she shops for clothing at such LA stores as Morgan LeFay and Trashy Lingerie. InStyle Magazine featured Stevie and her fashion in their September 1998 issue, click here for the full page article with photos.Return home