McQueen Spring-Summer 2025: Sean McGirr Finds his Stride with Magnificent Collection

By Jesse Scott

Sean McGirr is here to stay. Only the third creative director in the rich history of the McQueen house, McGirr solidified his vision for the brand with a spectacular sophomore collection that layered references to Lee, Sarah Burton, and the designer’s own Irish heritage while remaining distinctly and delightfully modern.

Beginning with a series of exquisitely tailored looks, referencing Lee McQueen’s iconic A/W 1994 “Banshee” collection, and closing with a ferocious bejeweled dress that seemed to envelop the model like an armored glove, it is rightfully being heralded by the fashion community as a coming-out party for a young designer who is undoubtedly only at the start of his McQueen journey. A star-studded guest list including Salma Hayek, Daphne Guinness, and Anna Wintour witnessed a watershed moment - and what was quite simply one of the best shows of the Spring-Summer 2025 season.

After incorporating references to varying eras of McQueen in his first show for the brand, McGirr used Spring-Summer 2025 as an opportunity for a deep dive into a specific flashpoint to which he has a profoundly personal connection.

The A/W 1994 Banshee show, which coincidentally enough was Lee’s second runway offering, was a tribute to Scottish folklore and the powerful female spirits that inhabit it. “The banshee is an essential part of the brand’s history,” McGirr explained to the press. Thirty years after its first appearance, it has been revived to lethal effect, whirling in a sea of taffeta and rhinestones interspersed with dark leather. 

McGirr sees the banshee as a positive force, not an ominous one, telling the press that it is “something powerful and real, someone that can be seen as a guiding force.” This belief was reflected throughout the collection, which starred graceful lace dresses seeming to float down the runway amidst a sea of smoke. McGirr was confident and uncompromising in executing his vision. One of his best pieces was comprised of over 130 meters of shredded silk chiffon, so voluminous and richly layered that it initially appeared to be shearling.

The collection was notable for its structure, as sharply cut jackets and oversized collars added a particular ferocity to the looks. Many details recalled the Victorian-inspired silhouettes that Sarah Burton emphasized in her swan song at McQueen, albeit with the dangerous edge that is rapidly becoming a McGirr hallmark. McGirr also presented his own interpretation of the bumster, which made headlines when it first debuted in 1993 and remains an integral part of the McQueen mythology. 

From lace ruffles to belt-style buckles, McGirr used necklines to dramatic effect. Meticulous and intentional with each piece in the collection, he also told a compelling narrative through footwear. A personal favorite look was a pair of white heels adorned with 216 leather feathers. Elsewhere, platform oxfords and rugged boots with an oversized tongue have the potential to become McQueen icons.  The boots featured a T-bar buckle that recurred many times throughout the collection, a simple yet sleek motif that feels effortlessly contemporary.

Working from a largely black and white color palette, with the notable exceptions of flamboyant orange and pink dresses and a gold jacket bedazzled with thousands of metal attachments, McGirr crafted a shadowy and seductive paradise this season. 

The collection recalled Lana Del Rey, and not just because of the deadly thorn dress that conversed with her recent Met Gala look. Dark, romantic, and twisted in the best way, it was a collection for complex heroes and heroines who embrace beautiful chaos with a touch of Victorian sophistication. Truly tantalizing, it illustrated McGirr’s inspired vision for McQueen and leaves the fashion world waiting with bated breath for the next chapter in his narrative.