ENGLISH-GERMAN LANGUAGE STRATEGIES IN VOGUE GERMANY: A DIACHRONIC STUDY OF FASHION MEDIA DISCOURSE, MARKETING COMMUNICATION AND BRAND IDENTITY

ABSTRACT

The article examines the diachronic development of German and English language strategies in Vogue Germany and their role in fashion media discourse, marketing communication and brand identity construction. The study focuses on selected magazine covers from three periods: the 1980s–early 1990s, the 2000s, and the 2015–2020s. The research is based on a mixed-methods design combining quantitative content analysis, functional analysis, qualitative discourse analysis and the analysis of visual-linguistic strategies. The findings show a gradual shift from a predominantly German-language and text-centered model of communication toward a hybrid, multilingual and visually oriented discourse. English becomes increasingly prominent, especially in headlines, and functions as a marker of globality, prestige, modernity, luxury and symbolic abstraction. German, in turn, remains important as a means of emotional expression, cultural specificity and local interpretation. The article concludes that the interaction between English and German in Vogue Germany is not an accidental stylistic device but a strategic resource of global-local brand positioning.

Keywords: fashion media discourse; Vogue Germany; Anglicisms; code-switching; linguistic hybridity; brand identity; globalization; localization; diachronic analysis.

Fashion media discourse is a sphere in which language performs not only an informative but also a strategic function. Fashion magazines do not merely describe clothes, designers or trends; they construct symbolic value, create associations with luxury, modernity, individuality and lifestyle, and shape the way audiences interpret brands. [1, p. 265]. In this context, short textual units such as headlines, subheadings, captions, slogans and short editorial fragments acquire special importance. They concentrate marketing and cultural meanings, direct the reader’s attention and participate in the construction of brand perception.

The German edition of Vogue is a particularly relevant object of analysis because it simultaneously belongs to the global Vogue media network and addresses a German-speaking audience. This dual position turns Vogue Germany into a global-local media platform where international fashion codes are adapted to a specific linguistic and cultural context. Therefore, the interaction between English and German in the magazine is important not only for linguistics, but also for research in marketing, branding and intercultural communication.

The aim of this article is to identify the main diachronic tendencies in the use of English and German language elements in Vogue Germany and to determine their communicative and branding functions. The study addresses the following questions: how German and English elements are distributed across different periods of the magazine’s development; what functions they perform in fashion media discourse; how their interaction contributes to brand identity construction; and how linguistic strategies correlate with the visual organization of magazine covers.

The theoretical basis of the study includes research on advertising language, brand identity, Anglicisms, code-switching, linguistic hybridity, globalization and localization. In advertising and brand communication, language functions as a resource through which products acquire social, cultural and emotional meanings. This is especially significant in the fashion industry, where product value is determined not only by material characteristics but also by symbolic associations related to status, taste, lifestyle and identity.

English in non-English media appears through Anglicisms, code-switching and linguistic hybridity. Anglicisms are English-derived elements integrated into another language system. [2, p. 146] In German fashion discourse, examples include Look, Trend, Style, Fashion, Beauty and Accessoires. These words perform not only a terminological but also a symbolic function, since they mark modernity, trend awareness and belonging to the global fashion industry Code-switching involves the alternation of two languages within one communicative unit [3]. In fashion discourse, it often functions as a deliberate stylistic device, as in Backstage bei Dior, Best of Neu! and Die Stars des neuen Brit Chic. Linguistic hybridity refers to more integrated forms of language mixing [4], where English and German resources form new structures, for example Beauty-Heft, Outdoor-Abenteuer, Sommer-Looks and Alpen-Glam. Fashion language, as a specialized domain, is particularly receptive to such hybrid constructions due to its emphasis on creativity, novelty, and stylistic experimentation [5].

The interaction between English and German in Vogue Germany is also connected with globalization and localization. Globalization strengthens the symbolic status of English as the language of international fashion, luxury and media culture. Localization makes it possible to adapt global codes to the expectations of the German-speaking audience. As a result, the magazine does not simply translate international fashion discourse into German. Instead, it creates a hybrid communicative system in which English ensures global recognizability, while German provides cultural accessibility and emotional credibility.

The empirical material of the study consists of selected Vogue Germany covers from three periods: the 1980s–early 1990s, the 2000s and the 2015–2020s. This periodization makes it possible to trace the development of language strategies from a more localized and text-centered model of communication to a globalized, multilingual and visually oriented discourse. The main units of analysis are headlines, subheadings, captions, slogans and short textual fragments placed on the covers.

The methodology includes four stages. First, quantitative content analysis was conducted in order to determine the distribution of German baseline elements, Anglicisms, code-switching, hybrid constructions and full English segments. Second, functional analysis was used to classify linguistic elements according to their communicative functions: prestige, global identity, luxury, authenticity, emotional appeal, modernity, trend signaling and professional fashion discourse. Third, qualitative discourse analysis was applied to selected examples. Fourth, linguistic elements were examined in relation to the visual organization of the covers.

The quantitative analysis revealed a steady increase in English and English-related elements across the three periods. In the 1980s–early 1990s, German clearly dominated and accounted for approximately 65–70% of the analyzed textual units. English elements appear mainly in restricted forms: isolated Anglicisms, short insertions and occasional English expressions. Hybrid constructions account for about 15–20%, full English segments for about 5–8%, and code-switching for approximately 5%.

During this period, German performs the main informative, descriptive and emotional functions. Examples such as Mode: Neue Phantasie für den Abend, Die Familie: Clan oder Chaos, Die Wünsche des Jahrzehnts and Die Erotik der deutschen Frauen demonstrate an orientation toward extended explanation and culturally recognizable emotionality. English elements such as Top, Looks, Super, Sexy and Made in Germany mainly perform a marking function: they signal modernity, prestige or international orientation, but do not yet form the basis of communication.

In the 2000s, the linguistic structure changed considerably. The share of German baseline constructions decreases to approximately 45–50%, while hybrid constructions increase to 30–35%. Full English segments reach approximately 12–15%, and code-switching rises to 10–12%. This period can be described as transitional: English becomes more visible and functionally diverse, while German retains an important structural role.

Examples such as Black Glamour, Sexy Power!, Uptown-Chic & Downtown-Trends, Allure in der City, Showtime für Accessoires and Neuer Luxus-Chic show that English begins to occupy key positions in headlines and thematic fragments. It becomes associated with glamour, urban identity, luxury, dynamism and contemporary fashion culture. In contrast to the earlier period, English is no longer a decorative element. It becomes an important means of brand positioning.

In the 2015–2020s, the role of English becomes even stronger. The share of German baseline constructions decreases to 30–35%, while the share of full English segments rises to 25–30%. Hybrid constructions remain significant and account for about 30%, while code-switching stabilizes at 15–18%. English increasingly appears in the most visible positions, especially in headlines: New Visions, Fashion’s New World, Enjoy Fashion, Do It Your Way, Straight from My Heart and Claudia Forever.

The comparison of the three periods shows that the share of English and English-related elements rose from approximately 30–35% in the 1980s–early 1990s to 50–55% in the 2000s and 65–70% in the 2015–2020s. This indicates the normalization of English in fashion media discourse and the growing importance of global symbolic codes in brand communication.

Functional analysis shows that English and German are not used interchangeably. English is primarily associated with prestige, global identity, luxury, modernity and symbolic abstraction. Already in the early period, expressions such as Who is Who: Die Top 100 and Made in Germany demonstrate the ability of English to mark status and international significance. In the 2000s, English became especially visible in the sphere of glamour and luxury positioning: Black Glamour, Luxury Jeans, Haute-Couture-Report, Uptown-Chic & Downtown-Trends. In the 2015–2020s, it increasingly expresses abstract concepts: New Visions, Fashion’s New World, Do It Your Way.

German, by contrast, is more often connected with emotional expressiveness, cultural specificity, narrativity and interpretative clarity. Expressions such as Von der Sehnsucht nach Greifbarem, Ich liebe mein heutiges Leben, Eigene Werte leben & tragen, Tod einer Prinzessin and Die Wünsche des Jahrzehnts demonstrate the capacity of German to create emotional depth and culturally embedded meaning. German is especially important when the magazine needs to convey intimacy, seriousness, authenticity or explanatory context.

Qualitative analysis of selected examples confirms that bilingual and hybrid constructions create complex symbolic meanings. The expression Latin Spirit: Folklore trifft High Fashion combines English lexical elements with German syntactic structure. English carries the global and conceptual component, while the German verb trifft organizes the encounter between tradition and high fashion. As a result, local cultural tradition is presented as material that can be incorporated into elite global fashion discourse.

The construction Alpen-Glam: Dirndl goes Punk demonstrates a more explicit form of hybridity. The German cultural symbol Dirndl is combined with English stylistic markers Glam and goes Punk. This phrase reinterprets Alpine tradition through global subcultural codes. The German element anchors the phrase in local culture, while English creates an effect of experimentation, modernity and international fashion relevance.

The expression Die Stars des neuen Brit Chic represents a balanced hybrid structure. German grammar makes the phrase accessible to the local audience, while the English expression Brit Chic introduces a recognizable international fashion reference. As a result, a dual identity is created: the reader remains within a German-language framework but is simultaneously included in a global fashion context.

A different strategy is represented by the expression Tod einer Prinzessin. It is entirely German and relies not on global fashion terminology but on emotional and narrative force. The word Tod creates a dramatic effect, while Prinzessin evokes associations with beauty, fragility, nobility and loss. This example shows that German retains particular importance in cases where emotional depth and cultural recognizability are required.

The expression Made in Germany is of special interest. Formally, it is English, but semantically it is connected with German national identity. It functions as a country-of-origin marker and turns German quality into a globally readable sign. This example shows that English can be used not only to express globality but also to internationalize local identity.

The analysis of visual-linguistic strategies shows that linguistic evolution is closely connected with changes in the visual organization of covers. In the 1980s–early 1990s, the covers were more text-centered and informative. German-language headlines and subheadings often provide a detailed idea of the issue’s content. Visually, the covers tend toward centered portraits, direct gaze, neutral backgrounds and relatively stable composition. During this period, text largely structures meaning, while the image supports the verbal message.

In the 2000s, both linguistic and visual strategies became more dynamic. Covers use stronger color contrasts, expressive poses, elements of glamour and a more stylized visual aesthetic. Linguistically, this corresponds to the increase in hybrid constructions and English elements. Phrases such as Black Glamour, Sexy Power! and Action! work together with the image and create an effect of energy, sensuality, confidence and status.

In the 2015–2020s, there is a movement toward minimalism, conceptuality and visual intensity. English headlines become shorter and more slogan-like, while the visual image carries a significant part of the meaning. Expressions such as New Visions, Enjoy Fashion and Do It Your Way do not explain the content in detail but create an abstract interpretative frame that is completed by the image. This reflects broader changes in media consumption, where communication becomes faster, more visual and emotionally condensed.

The findings show that the development of language strategies in Vogue Germany reflects broader transformations in fashion media communication. The growth of English is connected with globalization and the internationalization of fashion branding. English functions as a symbolic resource that allows the magazine to associate itself with global fashion discourse, the luxury market and contemporary narratives of identity.

At the same time, the continued importance of German shows that globalization does not lead to the disappearance of local language resources. German remains necessary for emotional credibility, cultural specificity and audience connection. Thus, Vogue Germany demonstrates not the replacement of German by English, but the formation of a functionally differentiated multilingual system. English is responsible for global recognizability, prestige and abstract positioning, while German provides local interpretation, emotionality and cultural depth.

From the perspective of marketing communication, this division of functions strengthens the magazine’s brand identity. English provides access to the symbolic capital of international fashion, while German preserves local relevance and emotional persuasiveness. Their interaction allows Vogue Germany to remain part of the global Vogue brand and, at the same time, maintain a connection with the German-speaking audience.

Thus, the study has shown that language strategies in Vogue Germany are not accidental stylistic choices. They are an important element of global-local brand positioning. The diachronic analysis revealed a transition from a predominantly German-language model of communication to a hybrid and increasingly English-oriented discourse. However, this process does not mean the disappearance of German. On the contrary, German retains specialized functions connected with authenticity, emotional depth and cultural specificity.

Further research may expand the corpus by including full magazine issues, digital publications, social media content or other national editions of Vogue. This would make it possible to compare multilingual fashion communication strategies across different cultural and media-platform contexts.

References:

1. Amatulli C. Linguistic and symbolic elements in luxury fashion advertising: A qualitative analysis / C. Amatulli, G. Pino, M. Iodice, R. Cascio // International Journal of Business and Management. — 2016. — Vol. 11, № 9. — P. 265.
2. Sicherl E. The English Element in Contemporary Standard Slovene: Phonological, Morphological and Semantic Aspects. Ljubljana : Znanstveni inštitut Filozofske fakultete, 1999. 146 p.
3. Poplack S. African American English in the Diaspora / S. Poplack, S. Tagliamonte. — Blackwell, 2001.
4. Bakhtin M. The Dialogic Imagination: Four Essays / M. Bakhtin. — Austin: University of Texas Press, 1981.
5. . Fiasco V. The Language of Fashion as Language for Specific Purposes: Collecting and Analysing a Trilingual Comparable Corpus Drawn from the Fashion Magazines Elle and Vogue : PhD thesis. Roma : Università degli Studi Roma Tre, 2019.
6. Moeran B. Proposing fashion: The discourse of glossy magazines / B. Moeran // Comunicação e Sociedade. — 2014. — Vol. 24. — P. 120.
7. Alexandersson E. Cultural differences in fashion magazines: Targeting Vogue / E. Alexandersson, R. Matlak. — 2017.
8. Andriani D. The use of English in promoting fashion / D. Andriani // International Journal of English and Applied Linguistics. — 2021. — Vol. 1, № 3. — P. 197–202.
9. Azoulay A. Do brand personality scales really measure brand personality? / A. Azoulay, J.-N. Kapferer // Journal of Brand Management. — 2003. — Vol. 11, № 2. — P. 143–155.
10. Crawford Camiciottoli B. Hyphenated phrasal expressions in fashion journalism: A diachronic corpus-assisted study of Vogue magazine / B. Crawford Camiciottoli // Lingue Culture Mediazioni. — 2021. — Vol. 7, № 2.
11. Kohrs K. The language of luxury fashion advertising / K. Kohrs // Journal of Fashion Marketing and Management. — 2021.