The transition of leadership at McQueen commenced with a woman elegantly draped in glossy black laminated jersey. One arm was gracefully pinned across her breast, while the other remained discreetly tucked inside her skirt. Seán McGirr drew inspiration from Lee McQueen’s iconic spring ’95 collection, particularly the moment when a model was encased in transparent pallet tape. The concept of a compressed silhouette became the cornerstone of the entire collection,” explained the 35-year-old newcomer as he prepared for the show. “My aim was to bring these silhouettes to the forefront, infusing them into real garments.”

The venue, a disused railway shed on the outskirts of Paris, resonated with the rawness of McQueen’s original location—a derelict rave warehouse in London’s Kings Cross where ‘The Birds’ had been showcased. Despite the weight of expectation, McGirr exuded confidence. His vision for the brand? A blend of playful aggression and uplifting elegance, aiming to infuse McQueen with a newfound lightness.

In addition to the concept of constriction, which manifested in the binding McGirr applied to skinny-legged jeans and as belts on menacing, broad-shouldered men’s leather coats, there was an underlying sense of impending release. ‘This animal within; some of it feels quite visceral,’ he mused. Explosions of fur-like knitwear erupted from beneath tailored pieces and the seams of jeans. Later, animal prints emerged—one resembling cut-up animal-spot sweaters, as if the model had adorned themselves in a DIY punk interpretation of animal skins.

McGirr embraces the notion of deconstruction, customization, and repurposing found objects—a penchant for smashing things up. Notably, one of his party dress embroideries drew inspiration from the shattered screen of a cell phone, serving as a commentary on social media. ‘It’s akin to the act of discarding your phone,’ he explained. Interestingly, McGirr abstains from Instagram, perhaps emblematic of a rebellious streak within his generation.

While McQueen’s signature elements were evident in McGirr’s jet-beaded pants suits and substantial tailored coats, initial impressions suggested a departure from the grandeur of McQueen’s red carpet spectacles. Instead, there was a shift toward street and club wear—an evolution that remains enigmatic for a creative director making their debut, especially one who has yet to be fully revealed to the public eye.

McGirr dropped a few subtle hints, each revealing facets of his Irish Dubliner heritage. First, there were the boots—sturdy and robust, encased in horse-hooves, with a horse-tail playfully swaying from the heel. McGirr shared in an earlier interview that these designs drew inspiration from the horse-keeping Travelers of his hometown.

The second clue unfolded in the air: as Enya’s ethereal tune ‘Orinoco Flow (Sail Away)’ filled the finale, McGirr ignited laughter and spontaneous singing among the audience. It was a delightful moment that broke the ice, hinting at the promise of something luminous—a chink of light in McGirr’s creative journey.