McQueen is all about Cinema, Mod, & Archives | McQueen Fall 2026 – Paris Fashion Week

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by brownfashionagal

Seán McGirr is now a few seasons into his role at McQueen, and you can see the direction he’s trying to build. This season, McGirr looked to cinema again, specifically Todd Haynes’s 1995 film Safe. The reference shaped the show’s central idea: the tension between perfection and paranoia in a world where everyone feels constantly watched. That mood came through in the staging too. Models walked through a pale labyrinth of curtains, some carrying masks or wearing them, which added to the slightly eerie atmosphere.

The clothes balanced that darker concept with pieces that felt surprisingly approachable. Miniskirts, babydoll dresses, and knee-high boots dominated the runway, clearly aimed at a younger audience. McGirr also referenced Mary Quant’s iconic 1960s miniskirt, but updated it with low-slung hips and oversized cargo pockets. It gave the sweetness of the silhouette a bit more attitude.

There were also clear nods to the house archives. Tailoring borrowed ideas from McQueen’s past collections, including the single hook-and-eye jacket inspired by the 1997 La Poupée show. Another standout detail was the use of chainmail-inspired construction, especially a hand-crocheted peplum top made from small metallic rings and Lurex yarn. Pieces like that showed real craftsmanship and felt closer to the dramatic spirit people associate with McQueen.

At the same time, some parts of the collection felt less resolved. The eveningwear, often sheer and lightly structured, lacked the kind of intricate detail that McQueen gowns are known for. They looked pretty, but not especially memorable. Overall, the collection explored interesting ideas about performance and identity, but the execution felt uneven. McGirr clearly understands the world of McQueen and continues to pull from its history. It just feels like he might need a little more time to fully shape his version of the house.