Bryan Ardon



The basis of my thesis collection, MIMICRY, is survival and adaptation. I am likening the process of transition through life to the way that we as animals survive and transform biologically.
Image: Metamorphosis and the molting process that many animals and insects undertake has inspired me. Moths, for example, begin as very vulnerable larvae and eventually encapsulate themselves into a protective cocoon and go into a state of hibernation, growing the energy they need to transform. Once the process is complete, they break out of the cocoon, leaving a vestigial sac of what they once were and emerge into the creature that they have become. Humans do this as well, but in a more metaphorical sense; as we grow and transform as people, we leave behind the parts of ourselves that no longer fit who we currently are, sloughing off the attributes of the past.
Image: Some animals that are preyed upon develop defense mechanisms like being bitter or poisonous, evolving to have colorings or markings that indicate to predators that they are dangerous (aposematism). These colorings are usually very bright and contrasting, creating a harsh physique that predators learn to be afraid of. This is what I have created for myself to feel safe, and this is what I want to provide to my wearers, so they can protect themselves until they no longer need protection. The way that animals have survived biologically for eons is the same way that we as humans survive socially; we protect our vulnerable insides with armor and external defense mechanisms to ward off dangerous predators.
Image: Portfolio scan of aposematic visual research
Image: Portfolio scan of molting visual research


Textile manipulation became an integral component to the storytelling of my collection. I wanted to create fabric that simulated the metamorphoses I was referencing. I chose bases of fine cotton canvas and silk chiffon to elevate the garments.
I then layered techniques of painting, distressing, fusing, and overlaying the bases with silk organza and silk chiffon to disrupt the natural state, mimimicking a transformation. Some of the garments were also made reversible, furthering the idea of transition and flux.
Image: Fine cotton canvas with paint and fused silk organza overlays
Image: Silk chiffon with multiple layers of silk chiffon overlays


My goal for the construction of this collection was to continue with my experimentation of patternmaking, using the Shingo Sato method. I deleted all side seams and darts in my patterns, replacing them with curvilinear forms to create more ergonomic garments.
Since my collection is so heavily influenced by biology and evolutionary function, I wanted my garments to reflect this in the way that they enveloped the body, wrapping around it in a continual manner; the same way skin and exoskeletons manifest. Due to this methodology, my patterns resemble puzzle pieces more than that of traditional patterns.
Image: Patterning of canvas blazer, canvas skirt, canvas pants, slough top, and slough pants
Image: Patterning of reversible canvas dress


An important aspect of my collection that I want to highlight is the ability to create multiple looks from the base 5 looks. In todays age of media overexposure, where we're expected and encouraged to have a myriad of clothes to build new outfits with,
I think it's important as a designer to create garments that can be worn in many different ways, so our customers can get the most out of their purchase. Many of the garments in the collection are reversible or multifunctional, allowing for a breadth in the collection that can satisfy the needs of the modern consumer.

Editorial Images

Team: Hudson Bohr, Matt Stejbach, Alaïa Kutyrev, Mikaela Phillips, Michelle Lau


Bryan Ardron is a 22 year old fashion designer currently living in New York City. Growing up in a conservative city in southern California, he had to learn how to overcome the adversity and “otherness” he felt while reckoning with his queer and multiracial identities.

Funneling the pain from these struggles into his creativity, he made it his mission to celebrate the parts of himself and others that normative society deemed to be different or shameful, and to find beauty in sadness. Infusing these ideals into his work through his introspective design process has become his fashion ethos.