The 'Spray Paint Dress' from 'No. 13', 1999

The finale of McQueen's 1999 show created instant fashion history when model Shalom Harlow stepped out in a strapless white cotton dress before two robotic arms sprang to life and started to spray paint the dress as Harlow slowly rotated on a wooden plinth. Luminous green and black paint were sprayed onto the dress as Harlow acted shocked, creating a captivating show for the audience and a pivotal moment in fashion history. Once the robots finally finished spray painting Harlow then even took a bow to the rapturous applause.

The 'Razor Clam Dress' from 'Voss', 2001

Described by model Erin O'Connor as 'probably one of the most exciting shows I've ever done, in my career', the Voss show centred around the theme of asylums. The audience sat around a mirrored cube in which models acted like 'mental patients' wearing hospital headbands, slithing in pale cocktail dresses and skirts, clawing at the glass and one model even had a headpiece made with stuffed eagles. McQueen made the white panel dress decorated in razor clams especially for O'Connor and before she went on stage gave her instructions to just rip the dress off as if she was having a breakdown. As striking as the image was of the razor clam shells clattering to the floor behind the cube of glass, the most memorable sight from the show was the tableau revealed after the models had left. Another cube appeared to reveal a larger nude woman with her face covered by a mask and surrounded by moths, a shocking tableau to end the shocking show.

The Lace Antler Headdress from 'Widows of Culloden', 2006

The 'Widows of Culloden' show opened with the famous hologram of Kate Moss. Inside a glass pyramid the image was projected, Kate Moss in a floaty white dress moving and twisting in mid air, a piece of art in itself. This ethereal and almost unreal opening to the show set the romantic and poetic tone to this collection. One of the most breathtaking and celebrated creations that featured during this show was the beautiful headdress, a collaboration with Philip Treacy. The headdress featured beautiful, hand made delicate lace set against a pair of antler horns, teamed with an ethereal lace dress it encompassed the image of 'fantasy heroines wandering glens' that McQueen was aiming for.

The 'Horn of Plenty' Catwalk Show, 2009

This show highlighted McQueen's dissatisfaction at the state of commercial fashion. The centre of the catwalk was a scrap heap of debris from McQueen's own past catwalk shows and the models strutted down a shattered glass runway, symbolising the 'broken' state of fashion. The clothing appeared to be parodies of classic fashion looks, Christian Dior hound's-tooth for example and these designs were set against models wearing almost grotesque make up including blown up 'sexualised' lips. Despite what some called an 'ugly' portrayal McQueen's tailoring talents still stood out, the nipped in waists, structured shoulders and striking silhouettes showed elements of his true fashion talents.

The 'Armadillo Shoes' from Plato's Atlantis 2010

McQueen's final runway show was a striking contrast to the previous years show, it started in typical shocking McQueen fashion with a video of a naked model covered in snakes and led on to the show which took inspiration from reptile and snake skin. Despite the wonderful structured dresses in marbled shades of blue and patterned in butterfly wing prints it was the shoes that made the lasting impression. Described as being 'hooflike', the high blunt platform shoes in snakeskin prints showed off McQueen's extraordinary unique vision.