Elisa Asuncion PALOMINO PEREZ

Academic and Research Positions

From 2021 Smithsonian National Museum Natural History Arctic Studies Center. Research Associate.

01/01/2025–31/12/2025 Università Ca' Foscari DSAAM - Department of Asian and African Mediterranean Studies. Research fellowship for the production of a book on the themes of the Marco Polo Center.

01/10/2024–30-12-2024 Kunsthistorisches Institut in Florenz, Max-Planck-Institute. Department Prof. Gerhard Wolf. Postdoctoral Fellowship: ‘The Arctic View from Florence’

01/07/2024-31/07/2024 Fondazione Giorgio Cini. Centre for Comparative Studies of Civilisations and Spiritualities. Utopia, Art, and Spirituality Fellowship: the Artistic Odyssey of Luigi Pericle.  

01/02/2024-30/06/2024 Kunsthistorisches Institut in Florenz, Max-Planck-Institute. Department Prof. Gerhard Wolf. Postdoctoral Fellowship: ‘Fish Skin Magic: Exploring Occult Practices in Ancient Mesopotamia and Arctic Indigenous Cultures’

01/10/2023-30/01/2024 Koç University's Research Center for Anatolian Civilizations. ANAMED. Postdoctoral Fellowship. ‘Fish Demi-Gods in the Aquatic Landscapes of Ancient Anatolian Civilizations’.

01/07/2023-30/09/2023  MPIWG Max Planck Institute for the History of Science. Depart III. Proteins and Fibers. Postdoctoral Fellowship: ‘At the Edge of Land and Ocean, Arctic Fish Skin’.

01/11/2022-30/01/2023 AHRC Kluge Fellowship at the Library of Congress. British Research Council Fellow. Pre-doctoral Fellowship. Kluge Center Project: ‘Indigenous Artic Fish Skin Heritage’.

01/06/2019-30/08/2019 Fulbright Visiting Scholar Program at the Smithsonian Institution Arctic Studies Center. NMNH. ‘Indigenous Arctic Fishskin Clothing.

01-09-2018/01-08-2021 AHRC LDoc London Doctoral Design Centre. Funded by the UK Arts and Humanities Research Council. Full PhD studentship.

Education

2017-2023 London College of Fashion. Center for Sustainable Fashion. University of the Arts. PhD on Sustainable Fashion and Arctic Anthropology. PhD title: Indigenous Arctic Fish Skin Heritage, sustainability, craftsmanship and material innovation (Supervisors at LCF: Dilys Williams and Simon Thorogood. At Smithsonian NMNH Arctic Studies Center: William Fitzhugh and Stephen Loring.

2014-2015 University of the Arts. London. Postgraduate Certificate Teaching and Learning in Art & Design.

1990-1992 Central Saint Martins. University of the Arts. London. MA Fashion and Textiles.

1989-1990 Central Saint Martins. University of the Arts. London. Postgraduate in Textile Design.

Non-Academic Experience

01/09/2018-present        Fishskinlab. London. Fish leather research lab. CEO and Creative Director.

01/01/2010- 30/03/2012 Elisa Palomino. Fashion Brand. NY/London. CEO and Creative Director.

01/01/2008 -30/07/2010 Diane Von Fürstenberg. NY. Vice President of Design. PAP/ accessories.

01/04/2007-30/07/2007 Roberto Cavalli. Florence. Studio director. Womenswear Prêt-à-porter.

01/01/2000-30/03/2007 John Galliano. Paris. Studio director. Women/menswear Prêt-à-porter.            

01/01/2000-30/03/2007 Christian Dior. Paris.  Senior trend researcher. Prêt-à-porter, Haute Couture.

01/09/1995-30/12/2000 Moschino. Milan. Senior fashion designer. Cheap & Chic. Print and scarfs.                       

01/03/1993-30/07/1995 Timney Fowler. London. Senior textile designer. Furnishing, fashion scarves.

Teaching Record

2023  The Swedish School of Textiles, University of Borås. BA Fashion External examiner.

2019-2023  Central Saint Martins, University of the Arts, London. BA Fashion Print Senior Lecturer. Tenure track position.

2012-2019 Central Saint Martins, University of the Arts, London. BA Fashion Print Pathway Leader. Tenure track position.        

2012-2016 Central Saint Martins, University of the Arts. Arts.com Ltd. London. Developing international short courses.

2021-2022 Istituto Marangoni, Firenze. BA Fashion Design MA Fashion Design. Adjunct lecturer.

2014-2021 Polimoda, Florence. BA and MA Fashion design and Accessories. Adjunct lecturer

2017-2019  Iceland Academy of the Arts. Reykjavík, Iceland. BA Fashion. Guest lecturer.

2016-2018 Bunka Gakuen University, Tokyo. MA in Clothing science. Guest lecturer.

2013-2015 Royal Danish Academy of Fine Arts, Copenhagen. MA Fashion Design. Guest lecturer.

2015 Academy of Arts, Architecture & Design, Prague. External examiner MA Fashion Design.  

2015 De Monfort University. Leicester, UK. External Examiner BA Fashion Textiles and Accessories.

2010-2012 Academy of Art University, San Francisco. MA and BA Fashion. Adjunct lecturer.

2009-2010 FIT Fashion Institute of Technology. New York. Writing the MA Fashion Design curriculum.                       

2005-2019 Shenkar University, Tel Aviv. Israel. BA Fashion. External examiner.

2002-2006 Central Saint Martins, University of the Arts. London. External Examiner for the BA Fashion Print Examination Board.

Doctoral Supervision

2025   Università Iuav, Venice. External reviewer PhD thesis by student Clizia Moradei.

2023-26 Max Planck Institute of Colloids and Interfaces, Berlin. External supervisor Johanna Hehemeyer Cürten.

2023 Università Iuav, Venice. PhD jury member for PhD student Shawana Khalil.

Workshops and Summer Schools

2025  Deep Dig: Arctic Fashion. Penn Museum and Smithsonian Arctic Studies Center Sustainability, Identity, and Healing/Fish Skin Material Culture.

2020 Alutiiq Fishskin online tanning workshop during Covid 19 with Alutiiq Native Elder June Pardue.

2019 Parsons School of Fashion, New York Athabaskan fish skin workshop with Athabaskan Native Joel Isaak

2019 Anchorage Museum, Anchorage. Sketchbook workshop with local Alaska Native artists.

July 2018 Hezhe Culture Museum Heilongjiang. Hezhe Fish skin school with Hezhe Native Wenfeng Yu

July 2018 Nibutani Ainu culture museum, Hokkaido, Japan. Ainu Fish skin summer school with Shigeru Takano.

April 2018 Icelandic Textile centre, Blondous, Iceland. Nordic Fish skin school with Lotta Rahme.

July 2017-August 2018 Maisu, Eastern Tibet, China. UAL  summer school on Tibetan arts & culture.

EU Funded Projects

2019-23 EU Horizon 2020 RISE. FishSkin a Sustainable Material for the Fashion Industry. Grant agreement ID:  823943 https://cordis.europa.eu/project/id/823943  €600.000

2018    Worth Partnership Project. COSME. Fishskinlab. Using Ocean Food Waste.  10.000€. https://worth-partnership.ec.europa.eu/projects/fishskinlab_en

2017   Erasmus + Staff Mobility Icelandic Sustainability and craftsmanship. £1000.

Research Grants

2023   LCF PhD Support Fund. Palaeography and Archival Studies. Medici Archive Project. Florence. £1600.

2021   AHRC LDoc Student Development Fund. PhD grant. £1450.

2021   Textile Society. Professional Development Award. Japanese dyes on fish skin. £300.

2021   John Crump Studentship. British Association for Japanese Studies. £600.

2021   CSM Fashion Program. Fund for Knowledge Research Projects. £500.

2021   Japan Foundation Intellectual Exchange Conferences. Indigenous Fishskin conference Hokkaido. £9950.

2019   AHRC LDoc Student Development Fund. £2000.

2019   Daiwa Foundation Grant. Japanese dyes on fish skin. £3000.

2019   Nordic Culture Fund. Handmade. FishSkin Horizon 2020 network event. 50000 DKR.

2019   Icelandic Textile Centre Residency. Nordic Fish skin craft £1000.

2018    Nordic Culture Fund. OPSTART. Nordic Fish skin craft workshop. 25000 DKR.

2018    Society of Dyers and Colourists. Nordic Fish skin craft workshop. £500.

2018    FRPAC. Foundation for Research and Promotion of Ainu Culture. Ainu Fish skin workshop. £1000.

2018   The Japan Foundation Endowment Committee. Ainu Fish skin workshop. £2500.

2017   The Great Britain Sasakawa Foundation. Ainu Fish skin workshop. £3000.

2017   Refresh Project. Central Saint Martins. Faculty Exchange at Bunka University. £2000.

2011-12 Centre for Fashion Enterprise. London’s business incubator supporting fashion design talent.

1989-92 Spanish Ministry of Industry grant. Postgraduate & MA Fashion at Central Saint Martins €100,000.

1886-87 AFS scholarship. High School Studies in Italy. Intercultural learning. Non-profit organization.

Travel Grants

2024   Society of Dyers and Colourists. Dyes in History and Archaeology 2024. Conference travel grant £500.

2023   ICOM ICME 2023 Museum of Ethnography. Budapest, Hungary. Conference travel grant £800.

2023   Bibliotheca Hertziana Max Planck Institute, Rome, Italy. Conference travel grant. €300.

2023   Fondazione Giorgio Cini, Venice, Italy. Conference travel grant. €300.

2023   Artefacts XXVIII National Museum of Nature and Science. Tokyo, Japan. Conference travel grant $1500.

2016   IFFTI International Foundation of Fashion Technology Institute. Exchange at Bunka University. £3000.           

International Prizes/Awards

2021 Fashion Film Festival Milano 2021 'Preservation of Hezhe Fishskin'. Best Green Fashion Film

2021 Croatia Fashion Film Festival 2021 'Preservation of Hezhen Fishskin'.  'Best documentary'.

2020 IFFTI Senior Researcher Award. ‘Indigenous Fish Skin Craft and Contemporary Fashion’.

2012 Spanish Government award for professional involvement towards women’s equal opportunities.

2010 Whoisonnext and VOGUE Italia. Fashion Freedom winner. Fashion show Alta Moda Rome.

2010   Fashion Freedom Nairobi. ITC, United Nations. Creating fashion jobs amongst marginalised women in Kenya and Uganda.

2010 Academy of Art University, San Francisco. President’s Award for Excellence in Design.

Professional Roles and Memberships

2024 ICOM-CC Objects from Indigenous and World Cultures Working Group. Assistant Coordinator.

2024 History of Science Society. Member.

2022-2025  CSEA Spanish HE Council Councillor. Working on the new Arts Education law.

2021 ICOMOS International Polar Heritage Committee Associate Member.

2020  Society of leather technologists SLTC. Member.

2020 The Textile society. 2020/1023. Member.

2019  Costume Society of America. Member.

2019 Union of Concerned Researchers in Fashion. Member.

2018 SRUK CERU Society of Spanish Researchers in the United Kingdom. Member.

2018 ALG Archaeological Leather Group. Northampton University. Member.

2018  TFRC Textile Future Research Centre. University of the Arts. Member.

2018 EAJS European Association for Japanese Studies. Member.

2018 ICOM International Council of Museums. Member.

2018  Cristóbal Balenciaga Foundation. Education Advisor.

2017  BAJS British Association for Japanese studies. Member.

2017 Society of Dyers and Colourists. Member.

2017  Bilbao Art & Fashion. Program supporting fashion talent. Advisory Committee.

2016  Spanish Association of Museologists. International Scientific Committee Adviser.

2015 HEA Higher Education Academy Fellow. Recognition number: PR095260.

2002  ICOMOS. International Council on Monuments and Sites. Member

Editorial Boards

2025 Contemporary Japan. German Institute for Japanese Studies. Taylor & Francis. Editorial Board.

2024 Arctic art environmental change. Routledge. Member of Editorial Board.

2024-2025 2nd International Cristóbal Balenciaga Conference. Member of Editorial Board.

2021 International Journal on Basque Studies. Academic peer reviewer.

2020 Open Archaeology Journal. Academic peer reviewer.

Advisory Board and Jury Member at Competitions

2025 Smithsonian Academic Appointments (SOLAA) Panellist Smithsonian Artist Research Fellowship

2022 Northampton University. UK. Periodic Subject Review of Leather Technology program.

2020-21  US-UK Fulbright Commission: Fulbright Reading panellist UK Postgraduate awards.

2017 Royal Academy of Fine Arts. Antwerp, Belgium. Jury of MA Fashion show.

2016-present Bilbao Art and Fashion. Jury of the International Competition. Bilbao, Spain.

2013  Mango. Barcelona, Spain. Jury of the International Fashion Competition.

2010 Academy of Art University. San Francisco, USA. Jury of BA Fashion show.

2009-2010 FIT Fashion Institute of Technology, New York, USA. Jury of BA Fashion show.

2004-2011  IT’S Competition. Trieste, Italy. Jury of the International Student Competition.

2002-2006 ESMOD, Paris, France. Fashion Jury of BA Haute Couture and Prêt-à-Porter students.

Conferences

2024 Mapping Race Through Indigenous Arctic FishSkin Artefacts: Exploration, Assimilation and Ethnic Negation. Emerging Scholars in Premodern Critical Race Studies. Newberry Library, Chicago, USA.

2024 Polar Cartographies and Material Cultural Exchanges: The Recognition of Native Arctic Cultures at the Medici Court. Kunsthistorisches Institut in Florenz Max-Planck-Institut. Florence, Italy.

2024 From Arctic Inuksuit standing stones to Göbekli Tepe’s megalithic round enclosure: crossroads of practical and spiritual life. World Neolithic Congress 2024. Şanlıurfa, Turkey

2024  Adornments from the Sea:  Fish Skin, Bone, Vertebrae, and Otolith used by Alaska Natives. Costume Society Diamond Anniversary Conference. London, UK.

2024   Dye Plants used in Fish Skin Artefacts by the Nivkh and Nanai Indigenous Peoples of the Amur River. 43rd International Conference- Dyes in History and Archaeology. SDC Leeds, UK.

2024 Spirit and Skin: The Role of Fish Skin Objects in Arctic Indigenous Cosmologies. Objects. Between Absorption and Isolation. Kunsthistorisches Institut in Florenz, Max-Planck-Institute. Florence, Italy.

2024 The Flow of Indigenous Fish Skin Heritage between Arctic States.  World Congress of Environmental History. University of Oulu, Finland.

2024 Indigenous Arctic Heritage Preservation in the Digital Age: A Regulatory Framework for Sustainable Development. Academic Council on the United Nations System Annual Meeting 2024. Global Governance and Sustainable Development. UNU Tokyo, Japan.

2024 Fish Skin Indigenous Knowledge with Indigenous scientists June Pardue and Anatoly Donkan. Ecsite- European network of science centres and museums 2024 conference. Ljubljana, Slovenia.

2024 Mesopotamian Magic: Fish Skin Rituals as Technologies of the Past. Animals in Anatolian and Turkish History. Penn State College of the Liberal Arts and Koç University ANAMED. Istanbul, Turkey.

2024 Traditional dyeing methods with Native Arctic Plants for fish leather. Everything and Everybody as Material: Dialogical Bodies. The Swedish School of Textiles - University of Borås. Borås, Sweden.

2024  The Gilt Leather Trade amongst Judeo-Converso merchants of Cordova and Livorno in the XVI C. The Renaissance Society of America 2024 conference. Chicago USA

2023 Digital Engagement with Arctic Material Culture Heritage at International Museums. Crafting Experiences in Museums: Physical or Digital? ICOM UK Conference.

2023 Arctic Fish Skin collections: Connecting Museums and Arctic Communities. ICOM ICME 2023 conference Museums and Change. Museum of Ethnography. Budapest, Hungary.

2023  A 3D simulation of a Fish skin parka from the Anchorage Museum. EFHA European Fashion Heritage Association International Conference 2023. Centraal Museum, Utrecht, Netherlands.

2023 Italian autarchy period through Salvatore Ferragamo’s contribution. New Leisure for a New Nation: Art and Entertainment in Italy. Bibliotheca Hertziana Max Planck Institute, Rome, Italy.

2023 ‘From the Fish Demi-Gods of Ancient Mesopotamia to the Sacred Fish skins robes of Arctic Coastal Societies’. Occultural transfers between North and South. Fondazione Giorgio Cini, Venice, Italy.

2023 ‘Traditional Fish Leather Dyeing Methods with Indigenous Arctic Plants’ 42nd International Conference Dyes in History and Archaeology 2023. Centre for Textile Research, Copenhagen, Denmark.

2023 Decolonisation of Ainu Fish Skin Artefacts in National Museums. Fashion in 3D Decolonizing, Deconstruction, Decentering. Rimini Campus, Bologna University, Italy.

2023  The role of Ainu Fish Skin Artefacts promoting the Circulation of Knowledge among Arctic Communities. Artefacts XXVIII. National Museum of Nature and Science. Tokyo, Japan.

2023 Use of Indigenous Arctic Plants as Dyes and Tannins in Traditional Northern Fish Skin Processing.'Visualizing Drugs & Dyes' Art and Pharmacology in Medieval worlds. Basel University, Switzerland.

2023  Forest and Ocean-the Ainu, the Inuit, Fisherfolk, Fish Oils, Fish Skin and Grasses. Fibers of Existence “Proteins and Fibers" Max Planck Institute for the History of Science. Berlin.

2023  Dis-robing the Guardaroba: The Arctic as viewed from Florence. Reading the Book of Nature across  Sciences, History and Philosophy. Museo Galileo, Florence.

2023 Indigenous Arctic Fish Skin Fashion: Indigenous Knowledge. Our Shared Future Life on a Sustainable Planet. Smithsonian NMNH. Washington DC USA

2023  The Manufacturing of Environmental-Friendly Materials in Italy during the War: The Use of Fish Leather by Salvatore Ferragamo. Earth, Water, Air, and Fire. Università Iuav di Venezia. Venice, Italy.

2022 'FishSkin Horizon 2020' Open forum connecting society to science. Science Agora. Tokyo, Japan.

2022 'Fishskinlab: Arctic Fishskin craft'. In gremio – in praxi IV Leather fashion – craftsmanship and clothing through the ages. Institute of Archaeology Polish Academy of Sciences. Warsaw, Poland.

2022 'Arctic Indigenous Fish Skin Networking Conference'. Bunka Gakuen Costume Museum. Tokyo, Japan. Funded by Japan Foundation Intellectual Exchange Conferences.

2021'Fish Skin: Water based ink jet printing on fish leather' Fish waste for profit. Reykjavik, Iceland.

2021'Patagonian fish skin tanning processes'. XXXVI IULTCS Congress Greening the Leather Value Chain. Addis Ababa, Ethiopia.

2021'Making fish skin pattern-based garments: developing digital tools for the fashion industry based on  Ainu Indigenous tradition' Responsible Fashion Series - Breaking the Mould. University of Antwerp, Antwerp, Belgium.

2021'A virtual Ainu fish skin workshop during Covid 19'. Global Fashion conference. Academy of Fine Arts of Warsaw, Poland.

2021 ‘Indigenous Arctic Fish Skin: A study of different traditional skin processing technology' Society of Leather technologists and Chemists. 123rd conference. Northampton University, UK.  

2020  Science Agora. 'FishSkin Horizon 2020': Advantages and mutual benefits of bilateral EU-Japan collaboration in research and innovation. Kyoto Seika University, Kyoto, Japan.

2020  'Athabascan Fish Skin workshop at Parsons, New York'. Costume Society of America Symposium: Made in New York. NY, USA.

2020 ‘Indigenous Fish Skin Craft  Through Contemporary Fashion’. International Foundation of  Fashion Technologies Institutes. IFFTI conference. Kent, Ohio, USA.                        

2019 'Material Design Innovation: Fish Leather, a new environmentally friendly material'. Design Research for Change. Design Museum. London, UK.

2019 'FishSkin: Sustainability, Craft and Material Innovation and its application to Fashion Higher Education.Craft Conference 2019. Viljandi, Estonia.

2019  'Cristóbal Balenciaga Museum: Promoting the educational role of fashion universities’ Museums'. ICOM Annual conference. Kyoto, Japan.

2019 'FishSkin: Developing fishskin as a sustainable raw material for the Fashion Industry. Centre for Innovation in Traditional Industries'. Kyoto Seika University. Manga Museum, Kyoto, Japan.            

2019  'Arctic Indigenous materials inspiration in contemporary Fashion'. Carrie M. McClain M. Museum. Nome. Alaska, USA.

2019 'Preservation of Hezhen Fish Skin tradition through Fashion Education'. D TEXT International Textile Design Conference. Lisbon, Portugal.

2019 'Indigenous Arctic Fish skin clothing traditions: Cultural and ecological impacts on Fashion Higher Education'. CUMULUS 2019 University of Lapland, Rovaniemi, Finland.

2019  'Preservation of early medieval Fish Leather tradition through Higher Education' IONA: Early Medieval Studies on the Islands of the North Atlantic Simon Fraser University, Vancouver, Canada.                              

2019  'V&A CSM and Cristobal Balenciaga Museum: Promoting the educational function of Museum collections and Archives'.  ICOM UK 2019 Conference. British Library. London, UK.  

2019  'Hezhen Fishskin tradition'. British Council. Crafting Futures: China. London, UK.

2018 'An exploration of Fish Leather Craftsmanship amongst Nordic Universities in Iceland'. ELIA- European League of the Institutes of the Arts Biennial Conference, Rotterdam, The Netherlands.                         

2018 Preservation of Ainu Fish Leather Tradition through Fashion HE. British Association for Japanese Studies 2018 conference, Sheffield, UK                            

2018 An educational experience at Dzongsar-Tibet around craftsmanship HEA Higher Education Academy. Birmingham, UK.    

Fieldwork Experience in Museums

2023   Museum of Ethnography. Budapest, Hungary.

2023   The Ethnological Museum. Berlin, Germany.

2023   Ethnographic Museum. Stockholm, Sweden.

2023   Palacio de Viana. Córdoba, Spain.

2023 & 2024   Fondazione Ferragamo. Firenze, Italia.

2023   Penn Museum. Philadelphia, USA.

2022   Minneapolis Institute of Art. Minneapolis, USA.

2022   Bunka Gakuen Costume Museum. Tokyo, Japan.

2022   Upopoy National Ainu Museum and Park. Shiraoi, Japan

2021   Museo Antropologia ed Etnologia. Firenze, Italy.

2021   Reykjavik City Museum. Reykjavik, Iceland.

2021   National Museum of Iceland. Reykjavik, Iceland.

2021    Stibbert Museum. Florence, Italy.

2019 & 2023 Smithsonian National Museum of Natural History, Washington D.C., USA.

2019    Smithsonian National Museum of American Indian, Washington D.C., USA.

2019    Anchorage Museum, Anchorage, Alaska, USA.

2019    Wells Fargo Museum, Anchorage, Alaska, USA.

2019    Alaska State Museum, Juneau, Alaska, USA.

2019    Sheldon Jackson Museum, Sitka, Alaska, USA.

2019    Carrie M. MacLaine memorial museum, Nome, Alaska, USA.

2019   Pratt Museum, Homer, Alaska, USA.

2019   Alutiiq Museum, Kodiak Island, Alaska, USA. 

2019   University of Alaska Museum of the North, Fairbanks, Alaska, USA

2019   Victoria & Albert Museum, London, UK.

2019   Museo de América, Madrid, Spain.

2018   Museo de Antropología, Madrid, Spain.

2018 & 2022   Hokkaido University Museum, Sapporo, Hokkaido, Japan.

2018 & 2022   Ainu culture research centre of Hokkaido Museum, Sapporo, Hokkaido, Japan.

2018 & 2022   Ainu Museum, Sapporo, Hokkaido, Japan.

2018   Kushiro city museum, Kushiro, Hokkaido, Japan.

2018 & 2022 Abashiri Hokkaido Museum of Northern Peoples, Abashiri, Hokkaido, Japan.

2018 & 2022   Nibutani Ainu Culture Museum, Nibutani, Hokkaido, Japan.

2018 & 2022   Shigeru Kayano Ainu Museum. Nibutani, Hokkaido, Japan.

2018   National Museum of Ethnology Minpaku, Osaka, Japan.

2018   Jiejinkou Hezhen Village ethnic museum, Jiejinkou, China.

2018   Hezhen Ethnic Minority Culture Museum, Jiejinkou, China.

2018   Musée du Quai Branly-Jacques Chirac, Paris, France.

2018 & 2021   Blönduós Textile Museum, Blönduós, Iceland.

Exhibitions

2025 OCEANISTA: Fashion and the Sea. National Maritime Museum. Amsterdam, Netherlands.

2024 OCEANISTA: Fashion and the Sea. National Maritime Museum. Göteborg, Sweden.

2024 OCEANISTA: Fashion and the Sea. Maritime Museum of Finland. Kotka. Finland.

2023   Corramos el es( ) tupido velo: Women artists at Fundación Antonio Pérez. Cuenca, Spain.

2021 FUTURES exhibition. Smithsonian Institution Arts & Industries building. Washington, USA.

2021 OCEANISTA. Fashion and the Sea. Maritime Museum of Denmark. Copenhagen, Denmark.                                            

2018-2021TRANSMISSIONS. Cristóbal Balenciaga Museum. Guetaria, Bilbao, Spain. Educational adviser and curator of exhibition by CSM Fashion students.

2017  V&A Museum. Fashion in Motion Show: Inspired by Balenciaga. London, UK. Advisor of CSM BA Fashion students show, in response to Balenciaga Museum archives.

2012 British Library. Fashion Late. London, UK. Advisor of CSM BA Fashion Print show, in response to British Library early rare book collections.