In February, Seán McGirr unveiled his inaugural collection for Alexander McQueen, but it was met with harsh criticism from fashion critics, buyers, and social media commentators alike. The response was so overwhelmingly negative that it was hard not to feel a pang of sympathy for him—and perhaps even some concern for his mental well-being. However, a significant shift occurred in May at the Met Gala when Lana Del Rey made her much-anticipated return after a six-year hiatus, captivating everyone in a custom McQueen dress that embodied the essence of “sinister Mother Nature.” The gown featured an enchanting tulle canopy adorned with intricate tree branch embroidery, signaling a turning point for the brand and its new direction under McGirr’s vision.
As the seasons progressed, interest around McGirr’s designs began to snowball. Notably, the pop star Charli XCX embraced McGirr’s unique hoof boots in her Brat Girl summer, while Troye Sivan sported a striking top featuring a smashed-glass effect during his London concert tour. These high-profile endorsements marked the beginning of a renewed intrigue in McGirr’s ambition to disrupt the fashion cycle, shifting it away from a state of peak polish towards a more daring and spontaneous aesthetic.
During a preview for his upcoming collection, McGirr reflected on his debut, describing it as a swift sprint rather than a marathon; he had only four weeks to craft what he termed a “character study.” Now, having taken the time to delve deeply into the brand’s expansive archives and collaborate closely with the London atelier team, he expressed newfound confidence: “It feels way more solid,” he stated.
His bold sophomore presentation for spring 2025, showcased on Saturday night, is set to silence the initial skeptics. As guests exited the show at L’École Nationale des Beaux Arts, one attendee remarked, “We’re back in business.” This was a moment of palpable excitement, particularly for O.G. McQueen muse Daphne Guinness, who, with her striking dagger-point hairdo, skillfully navigated the cobblestone surfaces in her heel-less shoes. She sat alongside prominent figures like Kering’s CEO François-Henri Pinault and his wife, Salma Hayek, signaling a powerful show of support for McGirr’s creative evolution.
The collection itself was deeply rooted in commercial viability, characterized by an appealing blend of romantic and rock ‘n’ roll tailoring alongside essential black and white shirting, which should serve as a cornerstone of the brand’s offerings. Additionally, it featured enough chic evening wear to maintain a steady flow of celebrity interest and dressing. Importantly, McGirr drew clear connections to the past, incorporating elements from McQueen’s iconic fall 1994 “Banshee” collection, the famed bumster pants, Savile Row craftsmanship, and inspirations drawn from wild nature and the rich tapestry of London’s underbelly. However, he confidently infused a modern flair, giving the collection a more relaxed street-style vibe that enhances its wearability.
McGirr also brought his distinct London influences to the table, paying homage to traditional Jermyn Street shirt makers and military tailors, alongside nods to Victoriana, Etonian school uniforms, and communion dresses. He also drew inspiration from East End kids who “try to be posh but fail,” merging a kaleidoscope of cultural references to enrich his narrative.
This creative fusion culminated in a striking display of strong-shouldered blazers and coats, featuring a signature twist-front silhouette that mimics the action of clasping a garment tightly against the biting cold rain. The collection showcased white shirting with dramatically elongated collars, punk-influenced back kick flare pants, the audacious bumster design completed with ruffled embellishments, alongside casual yet stylish washed cotton trenches, bustle-back kilts, and shrunken jackets.
Describing his approach, McGirr elaborated on the powerful, visceral energy behind the collection, merging formal references with a more rebellious spirit. He skillfully combined the toughness of biker jackets with the elegance of Edwardian frock coats, while intertwining elements of corsetry with ethereal, shredded silk organza dresses, all grounded by chunky platform shoes or sturdy, strappy sandals.
As he delved into McQueen’s archives, McGirr was particularly drawn to the “Banshee” collection due to his Irish heritage; he often encountered tales of mythical female spirits that herald death, known for their long, flowing hair, which they are often depicted as combing. This cultural narrative found its way into the collection’s fabrications, manifesting in delightful flossy, shredded silk tops, delicately hand-combed lace dresses and sets with distressed finishes, as well as literal brush-shaped embellishments on handbags and jewelry. The collection’s dramatic finale featured a striking gown adorned with a cascade of silver chains, reminiscent of hair billowing in the wind, worn by a contemporary banshee who walked barefoot down a fog-enshrouded runway.
With the weight of McQueen’s rich legacy resting on his shoulders, Seán McGirr is embarking on a compelling journey to reinterpret and modernize the brand’s codes. As he ventures further into the creative process, audiences are left to wonder whether he possesses the visionary prowess to guide Alexander McQueen into uncharted territories, pushing the boundaries of creativity in the world of fashion.
