SHOW DAY!

Two weeks after the show and we’re still reeling from the thrill of it all! Thank you so much to everyone who bought a ticket - you were a fantastic audience and truly made the night! If you want to relive it one more time, here’s a rundown of the day from someone (me) on the inside…

8am - The Old Fruitmarket

As the rest of the city nursed Friday night hangovers, the committee convened bright and early at the Old Fruitmarket. Despite the bleary eyes, the mood was high. After a few coffee runs, preparations quickly got underway. The team were prepped and spirited by our vice president Liv, who stepped in to be the voice of Rose for the day. Losing her voice on show day was a cruel irony for our president, yet it only goes to emphasise her dedication to this society. She persevered and, like every other blip she overcame in the run up to the show, had found her voice again by the end of the night. 

10am - The Balloons

Determinedly put to work by the production team, who’d done an incredible job organising the committee’s roles for the day (as well as the show itself), the marketing team were assigned to the balloons. A straightforward job for the influencers on the team, you’d think. The first problem began with a helium can we couldn’t open; the second with a can we couldn’t close. Taking one for the team, I filled the first balloon and then promptly popped it.

Realising the balloons were a lost cause, we decided to leave it up to the Card Factory. So off we set on a mission across Glasgow for someone to gladly blow up 50 balloons for us. Walking back along Argyle Street almost hovering with the helium was one of the more stressful experiences of my life but, if nothing else, it made for some excellent #content.

12pm - Model Rehearsals

Back in the Fruitmarket, we walked into the show rehearsals. It’s no easy feat to strut and saunter down that catwalk in six inch heels but the models did it with a perfected nonchalance. After weeks of rehearsals, it’s a credit to Craig and the rest of the creative team that the show itself ran so smoothly on the night. We also have to thank our amazing production sponsors, Inhouse Productions, for all their support making the creative vision for ESSENCE really come alive.

3pm - Meeting our Sponsors

After a quick run home to eat some lunch and get ready for the show, I was shortly back in the Fruitmarket setting up the VIP room as our drinks sponsors started to arrive. This year, we were delighted to have Panther M*lk, CILLÍ and Kwenched on board. We are thrilled to have the support of such incredible local businesses committed to embracing their Scottish roots!

6pm - VIP Pre Party

As the first guests started arriving for the VIP pre party, we had the wonderful Edinburgh based DJs PASO to soundtrack the beginning of the night. The duo made their Glasgow debut at the sold out GCFS x Femme DM club night in the Berkeley Suite back in January. Their exceptionally danceable blends of trance beats and acid house really got people buzzed for the start of the show. Drinks, raffle tickets and CHAS merch were flowing fast!

9pm - ESSENCE

At 9pm on the dot, the show kicked off in front of a packed Fruitmarket crowd dolled up to the heavens in their finest black tie. We can thank our main show DJ, Carmen Baia for the energy in the crowd throughout the entire show. Carmen is a hugely popular Glasgow-based DJ, known for her Latin influenced dance, jungle and house sets. Having played across the city for promoters such as Breathe, Houseplants and Glass Tank, we were delighted that Carmen took up the decks for Essence. 

Looks ranged from Zoe Allison’s leather chaps to Oliza Howieson’s ephemeral knitwear and Tarika Kinney’s Schiaparelli style hands-on dress. Speaking to some people in the crowd, there was a sense that some had been unsure what to expect from a student fashion show, but I couldn’t help but feel smug at the fact they all were overwhelmingly stunned by the degree of talent, creativity, production and professionalism on display. 

So often events and initiatives like GCFS are undervalued and dismissed simply because they’re run by students. In the case of student fashion shows, even when they are held up and celebrated, Glasgow students seem to miss out once more. Sizing up this unfair neglect and proving it has absolutely no weight, Essence goes to show that students in this city are truly some of the most artistic, innovative and hard-working there is. 

11pm - After Dark Club Night

Finally, on a post-show high, everyone headed over to the Corinthian Club for the Essence After Dark, after party. This was our first year running a post show club night, and the tiled dance floor of the Corinthian club, just a few minutes from the Old Fruitmarket, felt like the perfect venue. Our incredible lineup included Jenn Gunn, Bellarosa, Shedcat, Orla Halligan and Santiago. 

At the centre of it all, though, is our charitable partner, CHAS. As much as the night was a charity fundraiser, it was also a celebration of all the vital work CHAS does to support young people and their families requiring palliative and end-of-life care. Every penny of the money raised from both the show and the past seven months of fundraising will go directly to support CHAS’s Balloch based hospice, Robin’s House, just outside of Glasgow. 

Thanks once again to all our sponsors, and to Selective Personnel for making this fundraising possible.

The Mass Marketisation of the ‘Cool Girl’ Aesthetic

Words by Lily Perkins (she/her)

If you just can’t wait for the show this Saturday, pass some time by reading our brand ambassador manager, Lily’s, musings on the current state of ‘coolness’ under capitalism. It might upend any notions you had of you’re own coolness, but if you decide to support CHAS by buying a ticket to our show, we’ll still consider you very cool indeed…

‘Coolness’ is culturally and historically situated, gendered, and like everything else - a construct. A construct that, nowadays, seems too loosely defined and surface-level to truly hold any merit. For the first time since its inception, the internet offers a platform for the average consumer to access every corner of the world at any given moment, consequently, leaving their insecurities and desires (not to mention, wallets) exposed to marketers on an unprecedented scale. With the rise of visual platforms such as Instagram and TikTok, whose algorithms have only advanced in targeting vulnerable and impressionable groups, we are provided with a largely imagined online community from which we derive identity and self-worth. The derived identity I am particularly concerned with is that of the ‘Cool Girl’, and the broader implications of how she is constructed. If you are in any way familiar with the ‘Cool Girl’ monologue from Gillian Flynn’s ‘Gone Girl’, then you are likely already aware of what I’m getting at here. 

In recent years, a strange phenomenon has been observed across social media, where the drive for young women to be seen as ‘cool’ has almost eclipsed the emphasis on them appearing sexually desirable. Whilst prominent messaging surrounding how to flatter, conceal, or accentuate certain body parts remains a substantial portion of online fashion discourse (and is likely to persist as long as diet culture does), the recent marketisation of nuanced identities paves the way for an entirely new set of ideals to dominate. Peering beyond the surface, are the concepts of ‘coolness’ and ‘sexiness’ synonymous? Is desirability being refashioned into something more ambiguous to sell us yet another fantasy of becoming our most attractive selves? I would argue, yes. My reason being that, as the digital age advances, the lines between ‘coolness’ and ‘sexiness’ are increasingly blurred, with social media platforms fostering a culture where personal branding and expression take precedence over traditional ideals of beauty. Within this framework, ‘coolness’ is no longer tied solely to physical appearance, but to the image of authenticity and individuality that social media allows us to - sometimes falsely - project. 

Many of the essentials championed by the ‘cool girl’ aesthetic, then, are less about morphing the body into an idealised female form, and more about communicating subtle, often ambiguous, statements about the wearer’s position within social hierarchies. The Maison Margiela ‘Tabi’, for example, is revered for its distinct, hoof-like design; Rick Owens’ sculptural, raw pieces, which incorporate unisex elements and intentionally avoid ‘flattering’ silhouettes; and the MSCHF ‘Big Red Boots’ which, despite their divisive, cartoonish appearance gained significant popularity in early 2023. The subtlety of these communications, however, is often lost or diluted in the race for mass consumption, as demonstrated by brands like Shein, which churn out 'dupes' of these high-fashion items for a fraction of the price. These dupes, while accessible, tend to flatten the original designs and reduce them to short-lived trends rather than true expressions of identity. The concept of dressing not to communicate one’s true self, but to signal a desired social position or sense of belonging to a particular cultural movement is not new, but I would argue that, now, the scale at which it operates across social media threatens the fashion industry on a new level. Though few social media marketing giants are stupid enough to spell it out for you explicitly, what they are ultimately doing is repackaging sex appeal into esotericism. Nicheness, mass-manufactured or otherwise, is the new currency of the online sphere. 

‘Though few social media marketing giants are stupid enough to spell it out for you explicitly, what they are ultimately doing is repackaging sex appeal into esotericism. '

When observing trends in music and fashion, it is typically those who have communicated their position as nonconformists who ultimately cement themselves as ‘icons’ of their respective eras. These individuals are, arguably, the trailblazers of style, and are oftentimes also regarded as sex symbols (whether their sexiness lends itself to their coolness, or vice versa, I’ll leave up to you to decide). In years previous, a ‘trickle-down’ effect allowed time for trends to be passed on from these trailblazers to mainstream consumers at a manageable rate, with high-street manufacturers able to keep up with seasonal collections and consumers able to discern which styles resonated with them without risk of feeling overwhelmed. Today, however, social media’s emerging role as a diagnostic tool for our personalities, coupled with the relentless greed of the fast-fashion industry, has brought with it disastrous consequences for the consumer and the planet. 

As mentioned previously, you are likely already aware of the correlation between perceived coolness and desirability if you have ever read or watched ‘Gone Girl’ by Gillian Flynn. Of the many points its brilliant monologue raises (in which, the protagonist, Amy, explains coolness in patriarchal terms), the most impactful to me was, “they’re not even pretending to be the woman they want to be, they’re pretending to be the woman a man wants them to be.” I love how this insight can be applied to fashion, where the 'coolness' that women aspire to project visually is now being reframed, not just through the lens of patriarchal desire, but through the lens of an imagined audience that attributes a heightened symbolic significance to objects (clothing). Just as Amy critiques the performance of adhering to the male gaze, our evolving definitions of 'coolness' and 'sexiness' give way to a new performance - one that blends identity with the calculated allure of social media. 

I am by no means suggesting that every woman who dresses 'cool' is doing so to cater to the male gaze. Rather, I am highlighting a contradiction inherent in the way 'coolness' is marketed to us: packaged in a way that makes it attainable and offering consumers the opportunity to become desirable by virtue of coolness - creating a kind of conformity where the pursuit of individuality ends up looking the same for everyone who buys into it. It’s a paradox where the desire for self-expression is shaped by purely external, commercialised expectations. We are left trapped in a cycle where even the most subversive acts of self-expression are co-opted by capitalism, turning coolness into yet another purchasable, branded experience. Though ‘cool’ once signified a defiance against norms, it is now embedded within the very system it sought to challenge.

MEET OUR SPONSOR: SELECTIVE PERSONNEL

GCFS are delighted to be working with Selective Personnel again as our primary sponsor for this year’s show!

While our own GCFS  team plays a vital role in creating, planning, marketing and running the fashion show each year, our sponsors are invaluable in helping us organise such a large scale campaign which, of course, helps us raise as much money as we can for our charitable partner. Once again, our primary sponsor for this year is the wonderful Selective Personnel, Scotland’s premier agency for hospitality staffing and event management. We are so grateful for their support to GCFS over the past years, and truly believe there is no better sponsor to uplift both our charitable campaign and the team who make it all possible.

Selective Personnel service over 100 venues as Scotland’s, providing first class service at a wide range of events, and giving their staff invaluable experience in the hospitality industry. Working for Selective Personnel, you can expect to work anywhere from a league cup final to a Taylor Swift gig, while throughout the summer you can work shifts at a range of festivals across the UK. They offer flexible shifts whenever and wherever you like, and always in a variety of roles which allows staff to hone their skills, gain new strengths and build their confidence!

You can be assured of support from a wonderful team who understand the struggles of students trying to manage their time between university, part-time work, internships and societies while trying to maintain some modicum of a social life. Most of the team at Selective HQ also started their career with Selective Personnel as shift workers themselves, so you can be assured that you will always find an empathetic and understanding ear within management as you know they have been in your shoes; something that I’m sure all of us who have worked in hospitality know is invaluable when working within the industry. Their mindfulness towards the student experience is exactly what makes Selective Personnel such a perfect sponsor for GCFS!

Without the drive, creativity and boldness of students, there would be no GCFS. And Selective Personnel gives students the space to nourish that ambition while providing the security of a weekly wage. There’s no risk of having to choose between your job and your degree because you can’t find someone to cover your shift. A number of people on the GCFS team work for Selective Personnel (many discovered them through GCFS - a win for us both!) and can testify to the many benefits of working with the agency.

Without the support of Selective Personnel, GCFS simply would not be where we are as today Glasgow’s biggest student fundraiser, and we are truly privileged to have a sponsor who does not only invest in us through financial donation but also truly believes in and champions our growth, personally investing in and caring for our projects as they would their own, with in person support, collaboration and advice. Their support and belief in us is a true testament to their championing and investment in the students they employ. 

If you fancy working with Selective Personnel (you do), they are always taking applications on their website. No matter your experience, Selective wants to take on and nurture people of all backgrounds, and all you have to do is fill out their application form here!

Thank you again to Selective Personnel for sponsoring us for yet another year, we can’t wait to see how our relationship continues to grow.

SEMESTER 1 & JANUARY ROUNDUP

With just under a month until the show, our wonderful marketing director, Matthew, reflects on everything GCFS 2024/25 has achieved so far.

With only a month left to go until the show, we thought it would be good to take a look back and recognise all the hard work that has been put into the campaign so far. 

After just a few weeks of working together as a committee in late August we were excited to announce that the GCFS2025 campaign would be supporting the incredible charity, Children’s Hospices Across Scotland (CHAS). CHAS are central to our mission at GCFS with all money raised going towards the hard work they do to support children and their families with life-shortening illnesses.

To kick off our support for CHAS, a number of committee members and friends of GCFS hiked twenty miles across Edinburgh as part of the Kiltwalk. We managed to raise over one and a half thousand pounds which was an incredible start to our fundraising campaign! 

Freshers week came in hot with a huge campaign to push our name further out there and to talk to people interested in joining the team as models and brand ambassadors.  After over one hundred model castings, the creative team brought twenty six models onto the team who have put so much effort into the campaign this year. At the same time we brought on fifteen brand ambassadors who have helped us immensely by encouraging people to come along to our events and been invaluable to the events team. Thank you to everyone who applied or came along to castings - your enthusiasm was truly inspiring and we hope that many of you will apply again next year!

At the end of October the charity team put on our first ever Mission Impossible which saw teams race across the West End to complete different challenges with the chance of winning a number of incredible prizes donated by local businesses. Despite the rain it is safe to say a lot of fun was had and we can’t wait to see what the charity team do with Mission Impossible next year. 

Mission Impossible, Record Factory

Following on from the successful Pinot and Paint event in Freshers Week, the events team’s next big challenge was our Theme Reveal Party. Whilst being a yearly occurrence since our inception, the events team had massive plans to take the launch party to the next level. Held in BAaD in the Barrowlands the party was headlined by incredible DJ’s including Jamie Gunn, Charlie Preston, Deja, Patrice and SAnty and Nihasa from Glasgow University Electronic Music Society (GUEMS). We can’t say how proud we are of the events team and all the work they did for Theme Reveal which raised thousands of pounds and really did our theme, Essence, justice. 

ESSENCE Theme Reveal, Barras Art and Design

The charity team were back at fundraising in no time and launched another new endeavour known as Focus on Fundraising Week. The team worked hard to put on a bake sale, a bauble painting event at The Record Factory, and the social media campaigns ‘Chats With CHAS’ and ‘Fundraising with GCFS’. The week was finished in collaboration with the basketball team at Glasgow University who helped us host a tournament open to all. Thanks to everyone who took part - professional or beginner! 

Whilst all this was going on, the events team were hard at work collaborating with GUEMS to bring you House Party at Berkeley Suite. After a lot of effort across the entire committee we are proud to say that House Party sold out and raised over two thousand pounds for CHAS. We can’t thank GUEMS enough for how much time and effort they put into the night and the amazing DJs who played for us. 

Just earlier this month the events team worked hard alongside FemmeDM, a collective of female and non-binary DJs in and around Glasgow. Alongside FemmeDM, GCFS brought The Berkeley Suite alive with Transcend which was an exploration of the diverse musical history of the Glasgow club scene. Raising over a thousand pounds and selling out the venue, this was an incredible night filled with music, fun and joy. 

Alongside the events, social media campaigns, preparation for the show and the work of the sponsorship and charity teams, the creative team have been busy at work putting together a number of incredible editorial shoots that can be seen on our instagram.  These shoots explore the different aspects to our key theme of essence and we’d really recommend you check them out. 

Before we wrap up here, we’d also like to give a massive thanks to our sponsor Selective Personnel. Selective Personnel have been such a massive help and been involved in the campaign from the beginning. Without them, we wouldn’t have been able to do as much as we have and we can’t thank them enough. 

The GCFS2025 campaign has been incredible so far and, for being a voluntary society, so much time and effort has been put into the campaign to bring students an amazing outlet to have fun and be creative alongside supporting a much-needed charity. Thousands of people have influenced, experienced and supported the campaign so far and we can’t wait to see you all at our show on March the 1st at the Old Fruitmarket. Tickets are running low, so buy yourself one while you still can here. See you then!

Dilara Findikoglu's FEMME VORTEX FW24

 Words by Jess Ions (she/her)

Jess is one of our fabulous models for this year’s show. She studies fashion design at Glasgow School of Art. You can follow her work on Instagram at @artjessmakes_ .

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Since the rise in popularity of fashion shows, beginning in the early 1940s, there have been countless iconic moments; Issey Miyake’s APOC ABLE collection, McQueen’s SS 1991, and Mason Margiela’s ‘24 couture collection, to name a few. Amidst these household names, one of my favourite recent collections is by Turkish-British designer, Dilara Findikoglu, who’s FW24 ready to wear collection, titled Femme Votex, has had a powerful impact on the industry, challenging conventional gender roles in the workplace and exploring how to “destroy the corporate man” through fashion.

Findikoglu’s FW24 collection came about at the same time as the rise of the ‘office siren’ trend, and I see it as a catalyst for the popularisation of this trend. This saw women in the workplace redefining what is ‘appropriate’ to wear in a corporate setting, using fashion to improve motivation and hold a sense of power and air of importance. This is particularly impactful to me as I see it as a way of reclaiming and weaponizing female sexuality, but in a more positive light than it has been done before.

This was outlined in Findikoglu’s interview with Vogue behind the scenes at the show, where she says the collection is “about toxic masculinity – and being beyond it: [this collection is] a mass ritual to end it … to create a different reality, outside politics, borders, gender norms, any kind of systematic rules that have been created by hetero-patriarchal men.” Findikoglu also added she sees this collection is a representation of “divine feminine power somewhere beyond time, beyond reality, and beyond what is happening.”

‘As Findikolgu endeavours to end toxic masculinity though her creation of this alternate reality, she begins to slowly break down this societal construct in the modern world, transcending gender norms in the workplace as we know it.’

As Findikolgu endeavours to end toxic masculinity though her creation of this alternate reality, she begins to slowly break down this societal construct in the modern world, transcending gender norms in the workplace as we know it. This call for the end of toxic masculinity rose on social media as a counter to the popularisation of hetero-patriarchal misogynists such as Andrew Tate, and I feel this collection perfectly embodies this movement which is so current in our society today.

The whole collection goes against the ‘male gaze’ - what is seen as conventionally attractive and expected by society – notably through ‘unflattering’ silhouettes created by layering corsets on top of shirts. This can be a powerful tool for women as we realise we have the power to choose what we wear, despite what may be expected of us. Our choices of clothing can be used to instill confidence and power. I find it interesting how what you wear can improve self-esteem, which can be particularly useful in male dominated settings such as corporate workspaces. This links back to Findikoglu’s notion of “destroying the corporate man” and challenges the concept of gender roles in the workplace by recognising how the clothes we wear, such as wearing a suit as a woman, can have a much deeper impact, whether it is intended or not.

This “office siren” trend has seen a rise in use of the term ‘cunt’ in a more positive light, i.e. as a compliment. Feminism is a common theme seen across Dilara Findikoglu’s collections, and I really like how her collection leading to the rise of this trend has resulted in women reclaiming this word previously used in a far more derogatory way. The sexual undertone of the term ‘cunt’ reminds me of Findikoglu’s work, as aspects of this FW24 collection, corseted lingerie, leather accessories and dainty tops combined are inherently sexual, but also a powerful suggestion of dominance.

The location of this runway show, as well as the accessories, adds another layer of meaning to the collection. An eye-catching part of the show consisted of mock newspapers with the headline reading “Omg, Dilara is doing a Satanic orgy at a London church”. This further adds to her creation of the Femme Vortex, as this collection transcends systematic borders such as religion, while the church setting simultaneously strengthens the idea of divine femininity.

We have recently seen people analysing fashion collections in terms of how well one can tell if the designer ‘loves the women they are designing for’. Findikoglu’s work can be used to demonstrate a designer who carefully considers the wearer’s needs and requirements, as this is a ready to wear collection (as opposed to what we may see in couture). In this case, the clothes are designed to empower women, achieved through aspects such as the colour theory: predominantly black, white and red which are bold, powerful colours lending the wearer a sense of importance and sophistication. Additionally, we see a return of the cone-shaped breast silhouette, a well-known symbol of dominant feminine sexuality – developed by Gautier’s hyper sexualised version of the bullet bra seen in his 1983 runway collection.

Overall, Dilara’s Femme vortex creates a powerful alternate reality in which people dress according to their style, not their gender – thus eliminating typical gender roles as we know it. This collection is a tool to empower women and remove the gendered power imbalances we still see too often in the workplace.

Photos: Umberto Fratini/Gorunway.com

ESSENCE THEME REVEAL PARTY

Back in November, we all made our way to the Barras for the ESSENCE Theme Reveal Party. One of the biggest theme reveals we’ve ever held, and the first big event of the year, the pressure was on to really bring the party to the East End. In my humble opinion, the night couldn’t have gone better! Have a read at how the night went for Joy, our events director, and Matthew our marketing director.

JOY

How were you involved in the theme reveal?

I Coordinated the team in the search and booking of the venue, liaison with Djs, collation of prizes, planning of graphics, tiktok videos and promotion. On the night we organised everything from set-up to hosting!

How did the event differ from last year and what kind of vibe were you going for?

So this year we took a big risk in up-scaling the event from a low-key evening to the first big event of the year! I knew we could do it as my team are just the best. We were hoping to create one big party to celebrate the creative team’s beautiful concept whilst raising an ambitious target for CHAS. 

Vibe wise, we wanted the event to feel open and inviting and a place to dress up and enjoy some good food, drinks and music whilst getting to know everyone at GCFS! 

What was your reaction to the theme?

The theme is fabulous and what I love most is how everyone can take something different away from the stories we tell this year - it's exciting!

What was your highlight of the night?

My highlight of the night was actually our team debrief at the end funnily - I got quite emotional as I was so proud of the team and what we achieved in such a short space of time :) It was a special moment.

Did you spot any fab outfits?

Everyone was dressed so well I couldn't decide! I did love our DJ Darceys pink outfit though - so cute.

Any funny anecdotes?

As the digital screen was connected to my macbook when I tried to airdrop the banca di roma meal for two prize to a winner, my entire messages app decided to pop up on the screen 😂 Live events always have some random issue - It was funny anyway. Pretty sure it was texts from Nancy on our events team wishing us all good luck from Dublin as she had to miss the event 😂Not sure i've actually told her this lol - love ya! 

MATTHEW

What was your role for the night?

I helped to ensure that we had lots of content out on our social media for Theme Reveal especially on our TikTok! This was also my first time working with the amazing folk over at Lunar Print who supply us with all our print materials including all those amazing posters that were put up around Glasgow. On the night I put my amateur film photography skills to the test taking lots of pictures of the evening, many of which can be seen on our Instagram and Facebook.

What did you think of the theme?

Having already known the theme for quite some time I felt like I was in on some big secret and I enjoyed seeing the reactions and musings of my friends who had no clue what the theme was! 

What was the highlight of your night?

The highlight of my night had to be the amazing Patrice who was our first DJ on the decks. Find him on Soundcloud here !

Any favourite outfits?

There were so many amazing outfits of the evening that I couldn’t even begin to think of the best but the most important thing I think was that everyone felt comfortable in what they were wearing and were happy to be there having a fun time with friends old and new!

Summarise the night in three words!

Exciting, Diva, Proud.