Fashion by David Bowie Lyrics Meaning – The Sartorial Symphony of Social Commentary
Lyrics
That people from bad homes do again and again
It’s big and it’s bland full of tension and fear
They do it over there but we don’t do it here
Fashion!
Turn to the left
Fashion!
Turn to the right
Oooh, fashion!
We are the goon squad and we’re coming to town
Beep-beep, beep-beep
Listen to me, don’t listen to me
Talk to me, don’t talk to me
Dance with me, don’t dance with me, no
Beep-beep
There’s a brand new talk, but it’s not very clear
Oh bop
That people from good homes are talking this year
Oh bop, fashion it’s loud and tasteless and I’ve heard it before
Oh bop
You shout it while you’re dancing on the ole dance floor
Oh bop, fashion
Fashion!
Turn to the left
Fashion!
Right
Fashion!
We are the goon squad and we’re coming to town
Beep-beep
Beep-beep
Listen to me, don’t listen to me
Talk to me, don’t talk to me
Dance with me, don’t dance with me, no
Beep-beep
Beep-beep
Oh, bop, do do do do do do do do
Fa-fa-fa-fa-fashion
Oh, bop, do do do do do do do do
Fa-fa-fa-fa-fashion
La-la la la la la la-la
Oh, bop, do do do do do do do do
Fa-fa-fa-fa-fashion
Oh, bop, do do do do do do do do
Fa-fa-fa-fa-fashion
La-la la la la la la-la
Oh, bop, do do do do do do do do
Fa-fa-fa-fa-fashion
Oh, bop, do do do do do do do do
Fa-fa-fa-fa-fashion
La-la la la la la la-la
Oh, bop, do do do do do do do do
Fa-fa-fa-fa-fashion
Oh, bop, do do do do do do do do
Fa-fa-fa-fa-fashion
La-la la la la la la-la
David Bowie—musical chameleon, cultural icon, and sartorial provocateur—has never been one to shy away from the intersection of sound and vision. With ‘Fashion,’ Bowie delivers a track as much about the literal sense of style as it is steeped in metaphorical layers, crafting a commentary on the ever-shifting landscape of society’s norms and the unspoken rules that govern our collective behavior.
Released in 1980 as part of his ‘Scary Monsters (And Super Creeps)’ album, ‘Fashion’ struts with confidence through the halls of post-punk and new wave. It’s an anthem etched in the groove of a generation waking to the pulse of disco’s last days and the dawn of something altogether grittier, darker, and more cerebral.
Strutting through Meaning: The Dance of Identity
Bowie’s opening lines introduce us to a ‘brand new dance,’ a ritual unrecognizable yet repeated, a movement symbolic of society’s penchant for both embracing and repelling change. The juxtaposition of people ‘from bad homes’ and those ‘over there’ against ourselves proposes a dichotomy in culture and class; this division is presented as a dance, a performance everyone partakes in, yet seemingly nobody truly comprehends.
The anonymity and universality of this dance suggest that Bowie is touching on how fashion’s cyclical nature affects us all, regardless of origin. It’s a commentary on both the exclusivity and conformity of fashion trends, and how they serve as a metaphor for the societal pressures to fit in while simultaneously standing out.
The Goon Squad: Fashion’s Foot Soldiers
‘We are the goon squad and we’re coming to town, Beep-beep’—this infectious, somewhat ominous chorus could easily be mistaken for a quirky catchphrase. But beneath the glossy pop sheen, Bowie’s ‘goon squad’ represents the arbiters of taste, the enforcers of the status quo, those who decide what is ‘in’ or ‘out’.
Their arrival, announced by the mimicking of a car horn, is both a satirical representation of fashion’s elite and a warning. It highlights the pervasive and sometimes unwelcome influence these figures have on culture. Bowie’s acknowledgement of this force in ‘Fashion’ is a nod to our collective submission to the trends they dictate, in a tone that’s rife with Bowie’s characteristic mischief and mockery.
The Contradiction of Communication in Couture
‘Listen to me, don’t listen to me. Talk to me, don’t talk to me. Dance with me, don’t dance with me, no.’ These conflicted directives play out as an elaborate dance of social cues and fashion faux pas. Bowie captures the complexity of communication—both verbal and non-verbal—in a world where appearance and perception often take precedence over substance.
There’s an irony in this repeated refrain as it mirrors the mixed signals sent by fashion trends and the industry at large. It satirizes the way people are often treated based on their ability to adhere to fashion norms: included or excluded, cool or uncool. Bowie’s delivery of these lines with a detached coolness underscores the ambivalence and arbitrariness of these social conventions.
The Song’s Hidden Meaning: A Commentary on Control
Deep within ‘Fashion’s’ throbbing basslines and catchy riffs is a hidden commentary on the control mechanisms inherent in social systems. Bowie, weaving in themes of social manipulation and cultural hegemony into what at first glance appears a song about the frivolity of fashion, invites us to look beyond the surface.
The lyrics ‘Turn to the left, Turn to the right’ may invoke the mechanics of a runway show, but they equally point to the idea of authoritarian commands, the rigid conformity expected from the masses. Bowie disrupts this with the song’s anthem-like structure, suggesting that while we may follow along, we are also in on the joke, a knowing participant in the pageant.
Breaking Down Bowie’s Most Memorable Lines
‘Fashion! Turn to the left. Fashion! Turn to the right.’ These lines encapsulate the essence of Bowie’s ‘Fashion,’ framing a perfect picture of society’s strict adherence to trend cycles. But why do these words echo so strongly across the generations? In their repetition and simplicity, they capture the essence of the song’s critique: society’s robotic compliance with impermanent shifts in style.
Yet, even in their simplicity, these words aren’t void of Bowie’s artistic flair. They are delivered with a mix of panache and sarcasm, a see-sawing melody that hooks the listener into the fashion-oriented whimsy while also leading them to question the nature of these very trends. In doing so, Bowie turns what could have been a commonplace statement into a stylish, enduring legacy.
