While Nicks’s sartorial choices have been widely mimicked, it’s rare to hear echoes of her magnanimity in modern pop songs, which are frequently defensive and embattled, preaching self-sufficiency at any cost. On runways, on the streets, and in thriving Etsy shops, you can find an assortment of cloaks, crescent-moon pendants, flared chiffon skirts, and the occasional jewelled headdress. Young women are now embracing benign occult representations, reclaiming the rites and ceremonies that women were once chastised (or worse) for performing. Lorde, Azealia Banks, FKA Twigs, CHVRCHES, Grimes, and Beyoncé have all incorporated bits of pagan-influenced iconography into their music videos and performances.

This intimation is newly germane: a vague but feminine mysticism is in. The image was girlish and delicate, yet inscrutable, as if Nicks were suggesting that the world might not know everything she’s capable of.

Nicks did not invent this storefront-psychic aesthetic-it is indebted, in varying degrees, to Hans Christian Andersen’s Thumbelina, de Troyes’s Guinevere, and Cher-but, beginning in the mid-nineteen-seventies, she came to embody it. Behind her, next to a small crystal ball, is a tambourine threaded with three long-stemmed white roses. One arm is bent at an improbable angle a sizable cockatoo sits on her hand. The cover of “Bella Donna,” Stevie Nicks’s first solo album, shows the artist looking slender and wide-eyed, wearing a white gown, a gold bracelet, and a pair of ruched, knee-high platform boots.

Stevie nicks wild heart video