# List of Alexander McQueen collections

British designer Alexander McQueen designed 36 womenswear collections under his eponymous fashion label during a career that lasted from 1992 until his death in 2010. As a designer, McQueen was known for sharp tailoring, historicism, and imaginative designs that often verged into the controversial. His runway shows were known for being dramatic and theatrical, with some including elements of performance art. McQueen drew inspiration for his clothing and shows from a broad range of sources, including film, history, nature, world religions, art, and his own life. Through his work, he explored themes such as romanticism, sexuality, and death.
He used unusual cuts and silhouettes to play with the human form, making wearers appear inhuman. Early in his career, he originated an extreme low-rise trouser cut called the "bumster", which became a brand signature. Other significant designs include the skull scarf, another brand signature, and the armadillo shoe, often worn by singer Lady Gaga.
Womenswear was the focus of McQueen's career. In his early collections, he sometimes presented menswear or had male models walk in the shows, but his label did not have a regular menswear line until 2004. From 1996 to October 2001, McQueen was – in addition to his responsibilities for his own label – head designer at French fashion house Givenchy, for which he produced both haute couture and ready-to-wear collections each season. This article concerns itself with McQueen's own-label womenswear collections.

## Collections

List of collections :
| Collection | Season | Show date | Show location | Themes and inspiration | Notes |
| Jack the Ripper Stalks His Victims | 1992 graduation collection | 16 March 1992 | Duke of York's Headquarters, London | London serial killer Jack the Ripper and prostitution in the Victorian era, particularly their practice of selling locks of hair | Thesis collection for Master's degree in fashion at Central Saint Martins; purchased in its entirety by editor Isabella Blow |
| Taxi Driver | Autumn/Winter 1993 | March 1993 | The Ritz Hotel, London | Taxi Driver, a 1976 neo-noir film by Martin Scorsese; to a lesser extent McQueen's taxi driver father | Debut of bumster trousers; exhibited rather than shown on runway; no pieces survive as entire collection was accidentally lost immediately following the exhibit |
| Nihilism | Spring/Summer 1994 | 18 October 1993 | Bluebird Garage, London | Eclectic collection with no straightforward theme, elements of primitivism, pushback against feminine womenswear | First professional catwalk show |
| Banshee | Autumn/Winter 1994 | 26 February 1994 | Café de Paris, London | The Gaelic banshee, a spirit whose wailing foretells death; romanticised survival through tragedy | Isabella Blow walked in the show |
| The Birds | Spring/Summer 1995 | 10 September 1994 | Bagley's warehouse, London | The Birds, a 1963 natural horror film by Alfred Hitchcock; ornithology; the mathematical designs of graphic artist M. C. Escher | First McQueen show styled by long-time collaborator Katy England |
| Highland Rape | Autumn/Winter 1995 | 13 March 1995 | Natural History Museum, London | English violence towards Scotland, especially the Jacobite risings and the Highland Clearances | First critically-significant collection, led to 1996 hiring by Givenchy |
| The Hunger | Spring/Summer 1996 | 23 October 1995 | Natural History Museum, London | The Hunger, a 1983 erotic horror film featuring vampires | First time McQueen showed menswear; first show produced by Sam Gainsbury, who would produce every subsequent show |
| Dante | Autumn/Winter 1996 | 1 March 1996 | Christ Church, Spitalfields, London | Religion and warfare; named for Dante's Inferno, a 14th-century epic poem describing Hell | First appearance of English supermodel Kate Moss in a McQueen show |
| Bellmer La Poupée | Spring/Summer 1997 | 27 September 1996 | Royal Horticultural Hall, London | Poupée, a 1934 series by surrealist photographer Hans Bellmer, which presented deconstructed dolls as a commentary on Nazi ideals | First show worked by Sarah Burton, who became McQueen's right-hand woman; Black model Debra Shaw walked while shackled to a metal frame, generating controversy |
| It's a Jungle Out There | Autumn/Winter 1997 | 27 February 1997 | Borough Market, London | Life cycle of the Thomson's gazelle; savagery of the fashion industry; paintings by the Old Masters | Set accidentally caught fire during the show |
| Untitled | Spring/Summer 1998 | 28 September 1997 | Gatliff Road Warehouse, London | Transformation and metamorphosis; human-animal hybridisation; John Galliano collection "Forgotten Innocents" (Spring/Summer 1986) | Originally titled The Golden Shower in reference to the sex act and retitled after objections from sponsor American Express |
| Joan | Autumn/Winter 1998 | 25 February 1998 | Gatliff Road Warehouse, London | Martyrdom and persecution in the medieval era, especially that of French folk heroine and saint Joan of Arc | McQueen was photographed for The Face magazine in April 1998 in hair and makeup similar to that used in this show |
| No. 13 | Spring/Summer 1999 | 27 September 1997 | Gatliff Road Warehouse, London | Arts and Crafts movement of the 1880s to 1920s; finale inspired by Rebecca Horn installation High Moon (1991) | Show ended with model Shalom Harlow being spray-painted by robots |
| The Overlook | Autumn/Winter 1999 | 23 February 1999 | Gatliff Road Warehouse, London | The Shining, a 1980 psychological horror film by Stanley Kubrick, particularly its winter setting | First attendance of Vogue editor Anna Wintour at a McQueen show |
| Eye | Spring/Summer 2000 | 16 September 1999 | Pier 94, New York City | Islamic culture and clothing, especially the burqa; relationship of Western world to Middle East | First time presenting outside of London |
| Eshu | Autumn/Winter 2000 | 15 February 2000 | Gainsborough Studios, London | Named for Yoruba deity Eshu; African-inspired primitivism with elements of Victorian fashion | Anti-fur activists broke into the venue before the show and vandalised the set, necessitating a police response |
| Voss | Spring/Summer 2001 | 26 September 2000 | Gatliff Road Warehouse, London | Staged as a voyeuristic look inside a stereotypical insane asylum; dresses of unusual materials like seashells and microscope slides | Finale showpiece presented author Michelle Olley nude, masked, and covered with live moths, in a recreation of Sanitarium (1983), a photograph by Joel-Peter Witkin |
| What a Merry-Go-Round | Autumn/Winter 2001 | 21 February 2001 | Gatliff Road Warehouse, London | Dark underside of carnivals and circuses; Child Catcher villain from Chitty Chitty Bang Bang (1968) | Final presentation at Gatliff Road; first appearance of skull print that is now a signature of the brand |
| The Dance of the Twisted Bull | Spring/Summer 2002 | 6 October 2001 | Stade Français sports club [fr], Paris | Spanish culture, especially bullfighting and flamenco dancing | First collection after selling label to Gucci Group; first McQueen collection shown in Paris |
| Supercalifragilistic-expialidocious | Autumn/Winter 2002 | 9 March 2002 | La Conciergerie, Paris | Films of American director Tim Burton, especially Sleepy Hollow (1990); English school uniforms; photography of Helmut Lang | Lighting and invitation by film director Tim Burton |
| Irere | Spring/Summer 2003 | 5 October 2002 | Grande halle de la Villette, Paris | Three-phase narrative: shipwrecked pirates, drowned maidens in black, and birds of paradise | Debut of the "oyster dress", a riff on a 1987 design by John Galliano called the "shellfish dress" |
| Scanners | Autumn/Winter 2003 | 8 March 2003 | Grande halle de la Villette, Paris | Journey eastward through the clothing of northern Eurasia: Siberia and the Russian Far East, Tibet, and Japan | Clear plastic wind tunnel was suspended over the runway for some models to walk through |
| Deliverance | Spring/Summer 2004 | 10 October 2003 | Salle Wagram, Paris | Depression-era fashion, expressed as dance performance based on 1969 film They Shoot Horses, Don't They? | Choreography by dancer Les Child; McQueen's usual severe tailoring was dropped to enable the models to dance |
| Pantheon ad Lucem | Autumn/Winter 2004 | 5 March 2004 | Grande halle de la Villette, Paris | Ancient Greek draped garments; science fiction films like Close Encounters of the Third Kind (1977) and 2001: A Space Odyssey (1968) | Entire title often incorrectly translated as Latin for "Towards the Light"; this is the correct translation for "ad lucem" but neglects to account for "pantheon" |
| It's Only a Game | Spring/Summer 2005 | 8 October 2004 | Palais Omnisports de Paris-Bercy, Paris | Contrast of fashion cultures played out as chess-like game inspired by giant chess scene from film of Harry Potter and the Philosopher's Stone (2001) | Chess game choreographed by dancer Les Child |
| The Man Who Knew Too Much | Autumn/Winter 2005 | 4 March 2005 | Lycée Carnot, Paris | 1950s fashion, particularly as seen in the Alfred Hitchcock thriller The Man Who Knew Too Much (1956) | Show invite based on theatrical poster for Hitchcock's film Vertigo (1958); first McQueen handbag, named for actress Kim Novak, who frequently appeared in Hitchcock films |
| Neptune | Spring/Summer 2006 | 7 October 2005 | Imprimerie Nationale, Paris | 1980s fashion, including power dressing, hard glamour, and body conscious designs | All models were at least 5'11" in reference to the 1980s trend for Amazonian supermodels |
| The Widows of Culloden | Autumn/Winter 2006 | 3 March 2006 | Palais Omnisports de Paris-Bercy, Paris | Second examination of English violence towards Scotland in more mature and melancholy terms; centres the widows of the Battle of Culloden (1746) | Show closed with an illusion of Kate Moss as an apparition within a glass pyramid at the centre of the stage |
| Sarabande | Spring/Summer 2007 | 6 October 2006 | Cirque d'hiver, Paris | Exploration of fragility and decaying grandeur through floral motifs | One dress was covered with fresh flowers, which began to fall off on the runway in a moment of serendipitous beauty |
| In Memory of Elizabeth Howe, Salem, 1692 | Autumn/Winter 2007 | 2 March 2007 | Le Zénith Arena, Paris | Religious persecution conducted by Puritans in 17th century; ancient Egyptian religion; occult symbolism | Final McQueen show styled by Katy England |
| La Dame Bleue | Spring/Summer 2008 | 5 October 2007 | Palais Omnisports de Paris-Bercy, Paris | Reinvention through fashion; avian and butterfly motifs; personal style of Isabella Blow | Collaboration with Philip Treacy to memorialise their mutual friend Isabella Blow, who committed suicide in May 2007 |
| The Girl Who Lived in the Tree | Autumn/Winter 2008 | 29 February 2008 | Palais Omnisports de Paris-Bercy, Paris | Fairy tale narrative about a girl who lived in a tree; British culture and national symbols; clothing of India during the British Raj | Philip Treacy created a single headpiece for the collection: an enormous peacock with fanned tail, made from driftwood and sea fan coral |
| Natural Dis-tinction Un-natural Selection | Spring/Summer 2009 | 3 October 2008 | Le Centquatre, Paris | Beauty of nature contrasted with the impact of human industry | First of final three collections which shared a theme of the destruction of nature by humanity |
| The Horn of Plenty | Autumn/Winter 2009 | 10 March 2009 | Palais Omnisports de Paris-Bercy, Paris | Dark satire of the fashion industry with pastiches of notable designers and McQueen's past works; many items made to resemble trash | Creative process documented by photographer Nick Waplington, published in photo book Alexander McQueen: Working Process |
| Plato's Atlantis | Spring/Summer 2010 | 6 October 2009 | Palais Omnisports de Paris-Bercy, Paris | Human evolution following global flooding as a result of climate change | Final fully-realised collection; first livestreamed fashion show in history; debut of the armadillo shoe; debut of Lady Gaga single "Bad Romance" |
| Angels and Demons | Autumn/Winter 2010 | 10 March 2010 | Hôtel de Clermont-Tonnerre [fr], Paris | Religious paintings of the Medieval and Renaissance periods | Collection left incomplete at the time of McQueen's suicide in February 2010, completed posthumously by his assistant Sarah Burton; title is unofficial |