THERE is this phrase that likes to get thrown around: “trust the process“. And after Seán McGirr’s controversial debut collection for McQueen earlier this year, this is exactly how everyone approached his sophomore show. We had to trust that the young Irish designer was finally going to unearth some of the dark beauty of Lee’s designs for spring-summer 2025.
Rooting himself in the history of the British House, McGirr felt drawn to Lee’s second runway collection. Not because it felt symbolic of his own but because the late-designer had been inspired by Irish folklore, specifically the tale of banshees who could be heard wailing as boats sank.
“The banshee is rooted in the history of McQueen, but it’s also a story that I grew up with, so feels deeply personal to me,” explained the show notes. “For me, she has come to represent something real and potent now”.
Examining the sketches of the original collection, McGirr brought back the sharply tailored suits that echoed Lee’s Savile Row training, the showing of breasts through chiffon, and the nods to the Elizabethan era through the high-neck ruff collars.
Opening with a return to the striking precision of the brand’s ateliers, an array of twisted suits made their way down the runway with translucent white shirts peaking through openings. Slowly evolving with cut-out detailing, two-pieces that swapped the jacket for a tight waistcoat and finally into a belted mini-dress edition – it’s surely noted that the slow progression made sense as wearability was lacking in his first collection.
Staying with the tailoring for a few moments longer, shirts were designed with Jermyn Street traditions in mind, as compact cotton poplin were given cursive, sharp collars; shoulders of coats were pinched and raised alluding to AW24; and British mill, heritage checks, like houndstooth, were reimagined on a subverted scale. These subtle changes made for a pleasing understanding that McGirr now knows he must stay with the meticulous fine-tuning of tailoring as ready-to-wear at McQueen breaths in Savile Row tradition.
Whilst the decision to align more with the past was a needed familiarity to calm the critics, it’s McGirr’s version of banshees that allowed for a deeper exploration of warped femininity. Scallop-edged heritage lace and fine cobweb lace blended together with trailing organza to create a variation of colourful ship-wrecked dresses that were finished with thick crystal embroidery – often seen during Sarah Burton’s tenure.
Ending on an evening-wear note, an extension of his Met Gala gown for Lana Del Rey was revisited and arrived for SS25 in the form of a sheer black dress with thorn embroidery – a look that I imagine is already being fought over for the red carpet.
The final look was a dramatic entanglement of silver 3D embroidery marking an end to his homage to the mythical creatures and also coming as a reminder that McGirr will bring the McQueen audience its requested darkness. Still you can’t expect the same guts, gore and golden showers of the past. Burton didn’t even do that so why should McGirr?
Time will tell how well the new McQueen will translate but I think it’s time we trust the process. Despite the turbulent start to his time as creative director, his take on the House is becoming recognisable. You can tell its McQueen and most importantly you can tell its McGirr’s McQueen.
by Imogen Clark