They began as a vehicle for the blues visions of tragic genius Peter Green, continued through fascinating, often overlooked, transitional records during the early Seventies with Jeremy Spencer, Danny Kirwan and Bob Welch, and hit an astonishing peak when songbird Christine McVie, mad drummer Mick Fleetwood and ultra-reliable bassman John McVie hooked up with the Southern California songwriting team of Lindsey Buckingham and Stevie Nicks. Days and nights would just go on and on.”īut the soul of the Mac’s magic has always been their songs. Huge amounts of illicit materials, yards and yards of this wretched stuff. “Parties going on all over the house,” John McVie told Rolling Stone in 1977, recalling the making of their classic Rumours LP. Through it all, there’s been brutal romantic blowups and historic levels of drug use.
Fleetwood mac everywhere mac#
As the Times of New York pitched it, he just needs time.Fleetwood Mac have been rock’s greatest soap opera for five decades - from their Sixties origins in the English blues-rock scene to their Seventies reinvention as California rock superstars through their smooth Eighties hits and right up to today. However Williams, I suspect, could still untie the knotty problem that is Givenchy. It’s good to speak to everybody.” Even if the risk in trying to speak to everyone is that you end up connecting with no-one. The beautiful thing about the brand is that it speaks to different women.
So we built the collection together-it’s a dialogue between us. And that it would be more dramatic in the rain.” He added of Roitfeld’s involvement: “She understands the house and the Parisian woman. And the liquid in the hair… it would look incredible.
Fleetwood mac everywhere skin#
Was Willams losing his mind when that storm came in? He feigned calm, saying: “I was thinking that their skin would look beautiful with the water on it. So this is a house with codes, after all.
Fleetwood mac everywhere series#
These, Williams said afterwards, were part of a series of archival looks that he and Roitfeld had dug up from the archives and reworked. Another dress was tied up at the back in a series of bows: simple but lovely. A red dress featured a gorgeous swooping rear hemline that curved from the shoulder to sacrum. The closing phase was rather magnificent, although the party was often at the back. He’d brought in Carine Roitfeld-no longer working with MaxMara-as a stylist and shifted the emphasis of what that newspaper’s writer Jessica Testa inferred was a house with no distinct codes. A fascinating piece in the New York Times had already created an anticipatory contextualization for what was a radical shift under Matthew Williams. You were better off wearing dark pants-that cork stained.īy the time the first models emerged there was blue above.
We wiped them down and sat on our umbrellas to avoid getting soaked unmentionables. The set-up was a runway and benches made of cork.
What had seemed an imminent catastrophe was scaled down by the time we arrived to mere potentially preventable disaster. Luckily Valentino had started so late, and, thanks to footwear dramas, gone on so long, that the fashion traffic jam was around 30 minutes late squeezing its way to this show. At the moment this Givenchy show was due to start in the Jardin des Plantes-outdoors-it was raining in a concerted and highly depressing manner.
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