Seán McGirr blends historical dandyism with contemporary sensibilities in his third collection for McQueen, FW25.
Seán McGirr's third collection for Alexander McQueen transports us to a world of radical dandyism, one that is deeply embedded in history yet modern in execution. The designer masterfully reinterprets 18th-century ruff collars, Victorian jewelry, and the gothic sensibilities of neo-dandyism, all while infusing a contemporary energy that defines his McQueen. Staged within the botanical gardens of Paris, the Fall/Winter 2025 collection embraced the tension between the extravagant and the restrained, evoking the same literary and historical richness that Lee McQueen so often indulged in—but with McGirr's refined restraint.
This was a McQueen collection that refused to be confined to a single narrative. Instead, it oscillated between opulence and austerity, offering a new perspective on dandyism as an art form of self-expression and defiance. As McGirr states, "To me, dandyism is the ultimate act of adornment; deeply personal, playful and transgressive. It raises questions of character and identity, idealism and gender. I wanted to explore the enduring relevance of the dandy's radical spirit in our modern world."
The New McQueen Silhouettes
McGirr's neo-dandy explored the visceral and the tactile, borrowing codes from the Victorian gothic era and reinterpreting them in signature McQueen precision. Silk georgette cascades in fluid waves, its edges left raw, whispering against the skin like the ghost of a forgotten love letter. Intricately traced florals bloom across lace in shades of black, crimson, and ivory, simultaneously delicate and darkly seductive.
McQueen FW25: Looks 27, 31, 45 (Photo courtesy of McQueen)
Accessories to Match
McGirr's accessories play with distortion and ornamentation. The Farringdon bag, structured and supple, featuresMcQueen's signature harness detail, while the T-Bar Sling and Drop Bagbring sculptural elements to classic leather craftsmanship. Jewelry nods to Oscar Wilde's fascination with beauty and artifice, with crystal-encrusted sunflowers and sharp faceted embellishments. Footwear is equally expressive—elongated Oxfords and sharply pointed boots in patent black, crimson, and fuchsia lace give the collection an undercurrent of provocation.
McQueen FW25: Looks 18, 22, 38 (Photo courtesy of McQueen)
The show space itself was a poetic extension of McGirr's vision. Staged against an installation byTom Scutt, the set evoked a portal into Victorian London—mirrored, askew, and fragmented like a dreamscape torn from “The Picture of Dorian Gray.” The mood was further heightened by a haunting soundtrack of 19th-century strings blended into hypnotic arpeggios, cycling through a sonic journey that spanned British electronic music and classical romanticism.
McQueen FW25: Looks 46, 47, 49 (Photo courtesy of McQueen)
There is weight in carrying the McQueen legacy, but McGirr does not shy away from its challenge. His Fall-Winter 2025 collection is a declaration that his McQueen is neither a replica of the past nor an outright rejection of it—it is something entirely its own. Each season, he sharpens his vision, balancing the house's signature theatricality with a newfound precision. It is aMcQueenthat walks the tightrope between heritage and disruption, continually redefining what it means to be radical in fashion.
Special Guests in Attendance
(L to R) Sofia Isella, Zsela, Chappell Roan, Georgia Davies and Abigail Morris of The Last Dinner Party attend the McQueen Autumn Winter 2025 Show on March 8, 2025 in Paris, France. John Glacier, Alexander McQueen creative director Sean Mcgirr and Kai-Isaiah Jamal CEO of Kering Francois-Henri Pinault and Dame Anna Wintour Ewan Mitchell and Davey Sutton Ewan Mitchell, Sadie Soverall, Harry Lawtey, Una Burnand and Victor Alli (Photos by Jed Cullen/Dave Benett/Getty Images for McQueen)
