In Conversation with Claire Cobban

Claire Cobban

Words: Claire Cobban (she/her) and Fleur Kas (she/her)

‘A cancer diagnosis is more than medical: don’t get me wrong, the NHS is great, but our focus is on the emotional, practical and financial,’ Claire Cobban, the fundraising engagement manager of Young Lives vs. Cancer, explains to me. Claire has survived breast cancer herself and has been part of Young Lives vs. Cancer since 2024, a UK-based charity that provides support to young people with cancer between 0-25, as well as their families and loved ones. I had the pleasure to sit down with Claire to chat about the charity’s work, ways to talk about cancer in a compassionate and accessible way, as well as her hopes for the GCFS collaboration. GCFS is honoured to work with Young Lives vs. Cancer this year, an enthusiasm we share with Claire!

Can you tell me a little bit about how Young Lives vs. Cancer started up? 

In terms of history, there were two original charities: CLIC (Cancer and Leukemia in Children) and the Malcolm Sargent Fund. These two started in 1977 and 1968, respectively, and amalgamated as CLIC Sargent in 2005. CLIC Sargent rebranded into Young Lives vs. Cancer in 2021 to highlight their statement of intent, considering there was a slight lack of clarity about what the charity did previously. Young Lives vs. Cancer clearly indicates a cancer charity, but the link to the demographic is also very important. 

Your work at Marion’s House in Glasgow is incredible. In what ways do you create a sense of belonging and community for the families that stay there while their loved ones are in treatment?

The Homes from Home staff are exceptional at what they do: if a family is referred to Marion’s House, they’ll have a briefing in which they’re told about all the services, accommodation and how everything works. There’s a shared kitchen, lounges, laundry room and even a garden: they try to have a range of facilities so that people can both have a bit of peace and socialise. For younger children and siblings, there’s toys as well. The community almost generates itself: everybody knows they’re there because they are a young person with cancer or because they are their families. It can be as simple as when a parent is making a cup of tea and another parent walks in, recognising there’s someone else going through the same thing. Although people are generally willing to support families with a young person with cancer, fundamentally, it’s difficult to understand this unique experience. If you’re in Marion’s House and you meet another parent or grandparent, there’s that shared understanding of waiting times and supporting a child when they have to rush to hospital: they get it and develop a shared bond. The community thus builds itself, but is also kept up by the managers and housekeepers who understand the environment they work in and get to know the guests.

Marion’s House, Glasgow

When reading about your work, it surprised me that there are only 19 specialist cancer treatment centres for young people in the UK. Why do you think there is a major lack of awareness and funding for young people with cancer? 

Thankfully, cancer in young people is rarer, but when it happens that doesn’t make it any easier for the person going through it. In our report ‘The Cost of Waiting’, we found that families in the UK spend an extra £750 a month when a young person is diagnosed on average, with £250 making up travel costs. In Scotland, this statistic is likely higher, considering there are greater travelling distances. On a macro-level, the lack of funding comes down to numbers and costs for the specialist treatments, but that doesn’t make it easier for anybody. For anyone who doesn’t live within a short drive of the treatment centres, it can be a real challenge, making time and cost the main barriers for young people with cancer and their families. Many people don’t think about this, but when you’re emotionally drained, even a daily forty minute drive is going to be exhausting. 



A lot of young people may not consider the likelihood of cancer while navigating life changes such as leaving school and applying to university, or working new jobs. How do you challenge the stigma surrounding cancer in young people?

There’s not so much a stigma about negative thoughts or reactions towards young people with cancer, but people don’t think about cancer in terms of it happening to them. We try to focus on diversity, whether that’s sexual orientation, gender identity or family circumstances, ensuring we have a person-centred approach. Everything’s tailored to the person and the support they need, as is reflected in our literature and visuals. 



One of your core principles is that you help young people with cancer ‘thrive, not just survive.’ In what ways do you help young survivors of cancer realise their ambitions, both during and after treatment?

One of our key messages is that a cancer diagnosis is more than medical: don’t get me wrong, the NHS is great, but our focus is on the emotional, practical and financial. Financially speaking, we have grants that we can offer and also signpost our social workers to help with benefit grants and collaborate with other charities: that’s their bread and butter. As for the practical, this includes taking time off college or university, returning back to these institutions and providing information to schools about how to talk about cancer. Finally, the emotional is mainly about offering a listening ear: we have several written resources including storybooks, all written in accessible language that a young person can understand. It’s about helping people understand cancer in a non-technical, non-medical way. 

I really like how Young Lives vs. Cancer has a ‘voice hub’ project in place. Why is it so important for young people with cancer, as well as their loved ones, to engage in dialogue? 

Anybody can sit and listen or read reports, but it’s the people with lived experience who really understand. For example, someone may be entitled to benefits in theory, but in reality they have to wait for months. In reality, they have to fill out a massive amount of paperwork when their head’s already all over the place. From an outsider perspective, people are seeing a person who is unwell and thinking purely about the medical, but the practical and financial aspects don't stop. Not only do people have to travel to and from hospital, but when they’re there, they may spend a fortune on food and need assistance. This space is dedicated to young people with cancer and their close families, who know the nitty gritty and the barriers they’re facing, and know what they need to create a better experience. 

For those who aren’t battling cancer or haven’t had any kin affected by it, what are some actions people can take to improve their awareness of cancer and the range of people it affects?

Reading resources is a helpful starting point, but we also have many opportunities to get involved and volunteer. This can be a good way to naturally have a conversation with people who work in the field or are directly affected. A lot of our volunteers are people who have been in the same circumstances, who will often talk about their experiences. It’s also important not to be scared: some people are so afraid of saying the wrong thing that they don’t engage much with people going through treatment, but speaking on a personal level can be really helpful. Even asking basic questions such as ‘what do you want to talk about?’ or ‘what can I do to help?’ are great. You don’t need to interrogate anyone, but allow a conversation to happen and make it clear you are there for them.

Do you find the general discourse around cancer victimising? How do you empower young people with cancer as individuals rather than patients?

We aim to frame all our communications through the eyes of the people whose stories we are sharing. So the stories are never all about cancer - because the people we support are more than their diagnosis. We use positive language in our communications, and we like to use direct quotes from children and young people so we are truly reflecting their story in their words. And when we’re speaking with children and their families, a lot is about good listening skills, and using language they are comfortable with. For example, some people are very direct when speaking about bereavement; and others prefer softer language. 

Among your long term ambitions, you aim to achieve the North Star vision, which would fundamentally change the cancer system in the UK. How do you plan to improve cancer care for young people in the next few years?

The North Star consists of us and three other cancer charities (Teenage Cancer Trust, The Children & Young People’s Cancer Association and Ellen MacArthur Cancer Trust) who are campaigning for systemic change. Although we all deal with a slightly different demographic, we fundamentally agree on the barriers young people with cancer face. It’s a case of trying to lobby at a government level for policy change in terms of benefits and cancer plans, so that the experience from diagnosis is as non-bumpy as it can be. However, there’s still quite a lot of issues that come up regularly: young people often go to the doctor several times but are told they’re still young, or are experiencing growing pains. It’s difficult because in the vast majority of cases it is, but when it’s not, time is incredibly important and they need to be taken seriously. There’s also the post-COVID challenges in the healthcare system that have created additional barriers. We’re trying to get the system better so that people are engaged with their doctors when getting referrals to hospitals, and then having to apply for benefits. We want the process to be more streamlined and less bureaucratic, so that it’s quicker and more efficient. 

GCFS endeavours to raise as much as they can for Young Lives vs. Cancer this year. What would this funding mean for the charity?
As much as our social workers are based in hospitals, we don’t receive any NHS or government funding: every penny that we need is raised by fundraisers. It can be difficult to raise money, so having a solid form of income is incredible. The fashion show would help give certainty to our funding in Glasgow, which is fantastic! 

To end on a positive note, what are you most excited about for the Young Lives vs. Cancer x GCFS partnership? 

What we’re particularly excited about is the demographic: of course there’s students beyond 25, but most students are in the 18-25 group that can struggle to get a bit of headway and knowledge around cancer: the opportunity for GCFS to wave the flag with that group is fantastic! It’s also great to be drawing attention to our work in Glasgow: Marion’s House is quite tucked away and most people don’t come across it until they have to. We’re really happy that students in Glasgow can learn about these resources and feel a sense of connection to our work. Not only will students know about our resources if they or a loved one is affected by cancer, but they will feel more confident speaking about it. I’m also very excited about the media coverage and to meet new people, as well as GCFS meeting our social workers and staff. Of course, cancer is incredibly difficult, but the positive energy I’m already feeling will help to break down many barriers!

Donate to Young Lives vs. Cancer today: https://www.younglivesvscancer.org.uk


Read the full report ‘The Cost of Waiting’: https://www.younglivesvscancer.org.uk/wp-content/uploads/2025/02/25012_YLvC_TC_Report_A4_DOWNLOAD_AW.pdf

Image credits: Young Lives vs. Cancer



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!