Elizabeth Galindo is a couture and Costume designer who is a member of the Costume Designer’s Guild Local 892. She is also a costume and production design researcher working with directors such as David Fincher, Terrence Malick and Paul Thomas Anderson. Galindo earned a Bachelors of Science from the University of Southern California. Galindo earned a Masters Fine Arts and a PhD in Performance Studies with an emphasis in Film and Fashion at the University of California, Davis. Galindo’s dissertation is titled The Interaction of ‘Originary Practices’ and Costume Design in the Development of Historical Film Genre in 21st Century Hollywood Cinema” , the dissertation will be published by Chronicle Books, San Francisco, 2013
Galindo studied and earned several proficiency degrees in silk screening, hand blocking and embroidery work on fabrics at the Fuji Institute in Florence, Italy. She was also chosen among many candidates to be earn the first paid internships at the Salvatore Ferragamo and Roberto Cavalii silk screening studios outside of Florence, Italy. Galindo was invited to study at the Kyoto Costume Institute in Kyoto, Japan, examining contemporary Japanese designers and 21st century fabric making. Dr. Galindo has been a guest lecturer at FIDM in Los Angeles and San Francisco, University of Reading in England, Pitti Museum in Florence, Italy. Dr. Galindo speaks on The Relationship between Fashion and Costume Design in Film and her love of bias cut clothing, which changed the look of Hollywood glamour forever.
Dr. Galindo own personal clothing designs is highlighted in the book “California Couture’ and has several articles published in the Costume Designer Guild magazine.
Galindo is currently working with Special Event planner Preston Bailey on writing a book on “The History of the Wedding Gown in World Cultures” for the Wedding Planning Institute. She is also working with two private clients cataloging and appraising 10,000 pieces of Haute Couture dating back to the 1900s thru 2010.
Her current research focuses on the role of artisanal craft skills in the creation of ‘authenticity’ in historical film.