Seán McGirr’s second collection for Alexander McQueen opened with a sharply tailored suit, its lapels rolled together at the chest, as if bracing against an unexpected London downpour—or perhaps a metaphorical storm from critics. McGirr faced heavy scrutiny after his debut last season, stepping into the shoes of Sarah Burton, who had not only been Lee Alexander McQueen’s right hand but had led the brand with great success for over a decade. The Irish designer’s introduction was bound to be difficult, and the choice of a remote warehouse in Paris for his first show, combined with a chilly, rainy journey, didn’t help win him immediate favor.

This time, however, McGirr seemed to hit his stride. He hosted his sophomore show at the École des Beaux-Arts, a prestigious venue along the Seine’s Left Bank, a world away from his previous cold and distant setting. The change in location—and the extra time he had to prepare—brought a more cohesive and commercially appealing collection to the runway. It was clear that McGirr had learned from his earlier experience, and this collection felt more assured.

In preparing for this show, McGirr delved into the brand’s archives, particularly Lee McQueen’s original sketches. “McQueen’s signature was the S-bend,” McGirr explained, “so I was thinking about how to reinterpret that.” The result was the striking rolled lapel design on the opening suit. He also referenced McQueen’s infamous “bumster” trousers, but with a modern twist. His version featured mid-rise pants with a mesh panel just below the waistband, offering a subtle, cheeky flash of skin, without the scandalous edge of the originals. The collection also featured military-inspired elements, like a cropped surplus jacket paired with a bustle-backed mini kilt, and a cotton mac with a contrasting velvet collar for a more relaxed look.

McGirr drew further inspiration from McQueen’s second runway show, *Banshee*, connecting with the shared Celtic heritage and the strong spirit of the banshees his mother used to tell him about. This reference allowed for dark, romantic undertones in the collection, most evident in a long black dress embroidered with thorns, a nod to the Met Gala dress he designed for Lana Del Rey.

This season, there was also a noticeable shift toward more red-carpet-ready designs. McGirr showed a clear talent for eveningwear, which is an advantage in an industry where celebrity influence plays a pivotal role in shaping a brand’s identity. One of the audience members was Daphne Guinness, who famously acquired Isabella Blow’s extensive McQueen collection after her passing. Her presence signaled an endorsement of McGirr’s vision, adding weight to the evening. 

Some of the standout looks included a lilac georgette party dress, its edges frayed and embroidered with silver bullion, which felt both whimsical and striking. Another was a brushed white chiffon mini, paired with a gold beaded and sequined jacket, making a bold statement. However, the real showstopper—the look that seemed destined for someone like Guinness—was a gown adorned with shining silver chains, following the contours of the body with dramatic precision.

McGirr made significant strides with this collection, demonstrating his growing confidence and offering a glimpse of what his future at McQueen might hold. There’s a palpable sense that he’s finding his own rhythm, while still respecting the legacy of the house.