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mcqueen needs to end with seán mcgirr
In the same week it was announced that Anthony Vaccarello would be leaving his post at Saint Laurent; Kering have sent Seán McGirr of Alexander McQueen to the chopping block. Two very different designers who received very different treatment.
When Brussels-born Vaccarello ascended to the role of creative director at the French house a decade ago, the industry wasn’t quite what it is today. He stepped into the shadow of Hedi Slimane, who during his tenure completely revolutionised the brand, adopting something of a rock ‘n’ roll aesthetic and celebrating immense commercial success. They were big shoes to fill, and Vaccarello did just that: literally, with the creation of the iconic Opyum heel. He wasn’t an overnight success, yet with time he made the house his own and developed a design language that would be enjoyed by the masses.
Kering did not extend that same courtesy to McGirr throughout his brief time at McQueen. The Irish designer was only the third creative director of the fabled house, following on from only Lee McQueen himself and his successor Sarah Burton, who would spend 13 years at the helm. Let’s not pretend that McGirr did a phenomenal job heading up the British house; he didn’t. His love for the founder was evident, and his respect for the codes was clear, but the execution simply wasn’t there. Whilst Vaccarello morphed Saint Laurent into his own, the most McGirr achieved was a watered-down version of what was already there.
His career began, like his predecessors, at Central Saint Martins, before working for the likes of Uniqlo, Dries van Noten and Burberry. Most notably, he assumed the role of ‘head of ready-to-wear’ at JW Anderson, before he was catapulted to fame with his move to McQueen. It’s no surprise that he responded almost like a deer in the headlights. Whilst his experience may have been vast, it wasn’t enough to suitably prepare for the demands of a house like McQueen. His debut, to be quite frank, was lacklustre, and the collections never particularly improved.
The point at which the whole mechanism, which was hanging by a thread, disintegrated was his SS27 show. The brand was returning to its London roots after a quarter of a century across the pond in Paris, and everyone within the British fashion industry was ecstatic. Unfortunately, the collection did not live up to the fantasies we were all conjuring up. It epitomised his time at the brand entirely: a series of mediocre looks held loosely together by the McQueen name, but lacking the depth and theatrics the house is known for. It’s fair to say it was not well received, and with that, just 25 short days later, it would be announced that McGirr was ousted.
McQueen ss'27
The whole situation feels a little unjust. McGirr had to go, and his departure was something of an inevitability, yet it begs the question: when will this merry-go-round of creative directors finally end? Everyone loves a debut; the buzz circulating the class of SS26 was undeniable; but in this modern age, it seems if a designer hasn’t found their footing within a year or two, it’s game over. Dario Vitale lasted one season at Versace, and it’s looking increasingly like Pierpaolo Piccioli will be waving goodbye to Balenciaga after just three. McGirr had six (and in all fairness to Luca de Meo, he was appointed before he became Kering’s CEO), which one would argue should be enough.
For a more seasoned professional, perhaps three years would be ample. But McGirr wasn’t that. He had a stacked CV and, of course, the love of the game, but helming a major house is no easy feat, and it was simply too big of an ask at that stage of his career.
Is this cycle now doomed to continue? Someone has to take his place; it’s a question of who. The names Hannah Rose Dalton and Steven Raj Bhaskaran of Matiéres Fécales have been floating around. They certainly have that sharpened edge that would fit McQueen, but with their own brand reaching new heights, it’s difficult to imagine the pair would abandon that in favour of working for a conglomerate. Some would say that the duo are a modern-day Lee McQueen, and should be treated as such, which means leaving them to their own devices.
It’s a nice sentiment that the house would take on someone green, perhaps someone a little rough around the edges. However, the pressure that the job entails is far too immense for a rookie from the classroom. It’s a true balancing act.
My two cents aren’t worth a dime, but for me, I’d sooner see the house close down. That was what Lee expressed in footage from the 2018 documentary “McQueen”. When asked if he’d ever leave the company, he responded “Just burn the place down”. His work was something personal, and nobody quite has the ability or the creativity to take his place. Burton was a strong custodian, but of course she worked alongside him for years. When she departed, so did any connection to the past, and with that, the heritage brand lost its way.
Other houses have closed and laid dormant for decades. Think Schiaparelli; they relaunched in 2019 under Daniel Roseberry to re-establish themselves as one of Paris’ leading couture brands. Imagine if they’d spent years being diluted by designers; what would have become of the house then?
Lee McQueen’s legacy is a special one, and deserves to be protected. Whilst I can’t imagine that Kering will forgo one of their Crown Jewels, the only way to prevent further tarnishing of the name is to let go altogether, at least for a little while.
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