Alexander McQueen's Most Iconic Runway Shows
Fashion genius Lee Alexander McQueen was known for his theatrical runway presentations and edgy political collections. L'OFFICIEL rounds up the most memorable runway shows that made fashion history.
Alexander McQueen is a ready-to-wear and haute couture house founded by the late Lee Alexander McQueen. The designer's shows were known to be taboo, artistic, intellectual, and dramatic, pulling inspiration from past historical tragedies and triumphs, and also what made up the current political landscape. L'OFFICIEL revisits nine of his most iconic runway presentations that defined both his legacy as a designer and the legacy of his House.
Autumn/Winter 1995, "Highland Rape"
A commentary on the abuse of power England enacted on Scotland, "Highland Rape" was one of McQueen's earliest and most controversial runways. Scottish tartan, sheer fabric, and McQueen's iconic low-rise pants were staples of the collection.
Autumn/Winter 1996, "Dante"
A gothic Victorian collection held in a candle-lit church, "Dante" featured unique denim, 18th-century-inspired corsets, and eye masks with an appliqued Jesus. If the drama of the London church setting wasn't enough, another idiosyncratic element of the show was the seated skeleton in the audience.
Spring/Summer 1997, "La Poupée"
Perhaps one of McQueen's most groundbreaking shows was "La Poupée," which translates to "The Doll" from French. This collection, inspired by the erotic doll art of Hans Bellmer, played on this idea with sleek, sexy tailoring and sending down models restricted by metal cages. The silver stamped eye makeup, as seen on Kate Moss, would be referenced in beauty for many years to come.
Autumn/Winter 1998, "Joan"
Channeling history's tragic feminist figure Joan of Arc, "Joan" told a story of strength, martyrdom, and the Old World. Staples of the collection included chainmail-inspired mesh, Romanov image-printed suits, elongated foreheads à la Queen Elizabeth I, and glaring red eye contacts. As many of his collections brought in a natural element, "Joan" ended with a ring of fire circling a model.
Spring/Summer 1998, "Untitled"
Previously named "Golden Shower," denoting the rain finale to the show, the show was quickly renamed "Untitled" after garnering controversy for its original title. McQueen famously showcased snakeskin, water motifs, sharp tailoring, fringe elements, and dramatic black eyeliner in this show.
Spring/Summer 1999, "No. 13"
"No. 13" was a quintessential '90s collection with a twist. A seemingly monochromatic collection with mesh dresses, slinky grey satin, and dainty embroidery soon became a technological spectacle at the finale of the show. Model Shalom Harlow's strapless white dress, spinning on a turnstile, was sprayed with paint by robots that activated at the close of the collection.
Spring/Summer 2001, "Voss"
In true performance art, "Voss" had models trapped in a glass box as the audience watched from outside. Some looks were reminiscent of goth aesthetics and some were reminiscent of hospital wear, but the show was overall oddly ethereal; especially as Moss whimsically opened the show.
Autumn/Winter 2009, "Horn of Plenty"
"Horn of Plenty" was another controversial collection under McQueen's belt. Whether from the sex doll-esque overdrawn lips to the ostentatious houndstooth silhouettes to the massive trash heap in the middle of the runway, much conversation was to be had about the spectacle of "Horn of Plenty."
Spring/Summer 2010, "Plato's Atlantis"
"Plato's Atlantis" is known to be a trend-setting collection of the early 2010s, as it debuted the armadillo shoe, notably worn by Lady Gaga. Exploring the interplay of nature and technology, the pieces were alienesque and reptilian. The collection also holds a sad memory, as "Plato's Atlantis" was McQueen's last collection during his lifetime.
