The market for luxury is changing with new competitors to the market, more modest growth, and new types of customers (Kim and Ko 2012, Ko, Phau and Aiello 2016) as well as the ubiquity of digital marketing channels (Okonkwo 2009). Moreover, social media has transformed the logic of fashion marketing by providing new ways of engaging, interacting, and connecting with customers (Dhaoui 2014) as well as enabling consumers to participate in branding process (Burman 2010). As a consequence, also luxury brands need to develop experience-based marketing strategies that emphasise interactivity, connectivity and creativity (Atwal and Williams 2009). What is more, despite of growing importance of social media marketing in luxury industry, extant research on the topic still remains quite limited (Ko and Megehee 2012). While the previous studies have well documented the benefits of luxury marketing on social media (Kim and Ko 2012, Kim and Ko 2010, Brogi et al. 2013, Kontu and Vecchi 2014, Godey et al. 2016), and their implications on luxury brand management (Dhaoui 2014, Larraufie and Kourdoughli 2014), and even co-creative marketing practices (Choi, Ko and Kim 2016, Tynan, McKehnie, and Chuon 2010), no studies to this date have looked at co-creation from consumer-perspective. This article provides a novel perspective on luxury branding, by following the resource-based theory of consumer (Arnould, Price and Malshe 2006) to study the brand identity as co-created in social media. To do this, visual frame analysis (Goffman 1974, Luhtakallio 2013) is applied on consumer generated images downloaded from Instagram feed of brand exhibition staged by luxury brand Louis Vuitton. Based on the analysis, a typology of co-created brand identities is proposed. The findings indicate that in the branded exhibitions, consumers co-create brand identity by utilising resources available in the experiential brandscape by taking and posting these objectifications of brand on social media (Presi et al. 2016) and in so doing create symbolic/expressive, and experiential/hedonic value (Tynan et al. 2010). Theoretically, this article provides a novel perspective on luxury brand as co-created and in so doing, demonstrates the dynamics of firm-consumer co-creation. What is more, to extend the emerging stream of visual analysis of luxury (Kim et al. 2016, Freire 2014, Megehee and Spake 2012), an application of novel is demonstrated in the article. Managerially, this explorative study provides new insights on luxury marketing in social media by suggesting that branded experiences should be designed in a manner that engages the consumer to actively use the resources available to them. The financial implications of this shift are also significant as according to McKinsey study, three out of four luxury purchases are influenced by social media (Hope 2016)

미술관 교육은 대부분 전시와 연계하여 전시 기획의 방향과 의도에 맞추어 개발된다. 수원시립 미술관은 “예술로서의 삶”의 실천이라는 뚜렷한 교육철학을 바탕으로 2021년 기획전 “< >이 살아가는 새로운 방식”전시와 연계한 비대면 온라인 교육 “미술관 산책”을 개발하였다. 미술관 산책은 COVID-19로 인해 미술관 방문이 어려워진 시기의 비대면 맞춤형 교육 프로그램이다. 비대면 교육이기 때문에 교육용 키트를 사전 제작하여 참여자들에게 배송해주고 교육 활동에 활용할 수 있도록 안내한다. 진행 과정은 온라인 화상회의 프로그램(ZOOM)을 활용해 전시 이해를 위한 1부의 도슨트 전시 해설, 2부 예술 강사와 함께 키트를 활용한 작품 활동 과정으로 계획되었다. 이 프로그램의 목적은 아름다운 작품을 완성하는 것이 아니라 교육 경험을 통해 스스로를 되돌아보고 ‘나’와 연결된 주변을 살펴보자는 의미를 담고 있다. 포스트 코로나 시대를 준비하는 과정에서 수원시립미술관 전시연계 온라인 교육 프로그램 개발과 적용을 통해 참여자들과 의미 있는 예술 경험을 공유하고 삶을 위한 미술관 교육의 가치를 재조명하고자 한다.