{"id":3725,"date":"2026-03-19T10:50:32","date_gmt":"2026-03-19T09:50:32","guid":{"rendered":"https:\/\/blog.uantwerpen.be\/bladspiegel\/?p=3725"},"modified":"2026-03-26T12:08:01","modified_gmt":"2026-03-26T11:08:01","slug":"van-veiling-tot-vinted","status":"publish","type":"post","link":"https:\/\/blog.uantwerpen.be\/bladspiegel\/van-veiling-tot-vinted\/","title":{"rendered":"Van veiling tot Vinted: wat achttiende-eeuwse kopers ons leren over slim tweedehands shoppen"},"content":{"rendered":"\n

Afbeelding: The Dutton Family in the Drawing Room of Sherborne Park, Gloucestershire, c. 1772. Johann Zoffany (German, 1733\u20131810). The Cleveland Museum of Art, Leonard C. Hanna Jr. Fund, 2023.122<\/p>\n\n\n\n

Miljoenen mensen gebruiken vandaag apps als Vinted om tweedehands kleding en meubels te kopen. Maar slim tweedehands shoppen is allesbehalve nieuw. Historici beschrijven de achttiende eeuw als de geboorte van onze (over)consumptiemaatschappij, gedreven door mode, luxe en comfort. Maar klopt dat wel? Alessandra De Mulder (Centrum voor Stadsgeschiedenis) dook in meer dan 5.000 pagina\u2019s veilingadvertenties uit Londense kranten en ontdekte dat achttiende-eeuwse consumenten al precies wisten waarop ze moesten letten. \u201cWat hen dreef was niet mode of nieuwigheid, die woorden komen amper voor in de advertenties\u201d, zegt Alessandra. \u201cZe zochten vakmanschap, kwaliteit en een gedeelde taal van goede smaak. Daar kunnen we vandaag nog iets van leren.\u201d<\/strong> (Tekst: Alessandra De Mulder)<\/p>\n\n\n\n

De taal van de veilingmeester<\/h2>\n\n\n\n

Vandaag scrollen we door Vinted of 2dehands.be op zoek naar een koopje. Driehonderd jaar geleden deden Londenaren iets soortgelijks: ze lazen de krant om te weten welke huisraad er werd geveild. Van mahoniehouten eettafels tot zilveren kandelaars, van katoenen bedgordijnen tot porselein: alles werd tweedehands verkocht via advertenties in kranten zoals de Daily Advertiser. Alessandra De Mulder onderzocht hoe handelaars die goederen beschreven en wat dat vertelt over de waarden van een samenleving in volle verandering.<\/p>\n\n\n\n

Geen mode, maar mahonie<\/h2>\n\n\n\n

Terwijl geschiedkundigen de achttiende-eeuwse consumptiecultuur graag als ‘modern’ typeren, was dat niet hoe de handelaars in die tijd er zelf over spraken. \u201c\u2018Mode\u2019 en \u2018modern\u2019 maakten elk amper \u00e9\u00e9n procent uit van alle beschrijvingen\u201d, vertelt Alessandra. \u201c\u2018Oud\u2019 kwam zelfs vaker voor dan \u2018nieuw\u2019, \u2018modern\u2019 en \u2018modieus\u2019 tezamen \u2014 maar dan in een vleiende combinatie zoals \u2018verfijnd oud\u2019.” Dat \u2018verfijnd oud\u2019 doet denken aan wat we vandaag \u2018vintage\u2019 noemen: een label dat ouderdom niet als gebrek maar als kwaliteitskenmerk presenteert.<\/p>\n\n\n\n

Als vernieuwing niet de toon zette in de markttaal, welke kenmerken dan wel? Vakmanschap, materiaalkennis en een gedeelde esthetische woordenschat. Een tafel werd niet simpelweg als \u2018modieus\u2019 verkocht, maar als een \u2018handsome set of mahogany dining tables with circular ends\u2019. \u201cMahonie was m\u00e9\u00e9r dan hout\u201d, legt Alessandra uit. \u201cHet communiceerde tegelijkertijd duurzaamheid \u00e9n goede smaak. Veilingmeesters zoals James Christie waren de influencers van hun tijd, ze leerden consumenten wat ze moesten waarderen. Al waren ze eerder deinfluencers<\/em>: ze overtuigden je niet om iets nieuws te kopen, maar om de waarde te zien in wat al bestond.\u201d<\/p>\n\n\n\n

Lessen voor vandaag<\/h2>\n\n\n\n

Die achttiende-eeuwse esthetiek van materiaal en vakmanschap is vandaag verrassend herkenbaar. Scroll door Instagram en interieurreportages in weekendbijlages en je ziet overal dezelfde \u2018vintage midcentury\u2019 meubelen. Tegelijkertijd wacht de donkere, massief eiken buffetkast van je grootouders tevergeefs op een tweede leven. En wat niet vintage hoeft te zijn, komt van IKEA \u2014 dat ondertussen zelf midcentury-looks verkoopt, maar dan zonder het vakmanschap dat het origineel zijn waarde gaf.<\/p>\n\n\n\n

Alexandra: \u201cDie tegenstelling is precies wat mijn onderzoek blootlegt. Ook in de achttiende eeuw bepaalden gedeelde smaakcodes welke tweedehandsgoederen begeerd waren en welke niet. Wat we \u2018vintage\u2019 noemen is geen neutrale categorie: het is een selectief label dat, net als \u2018verfijnd oud\u2019 destijds, sommige objecten opwaardeert terwijl andere onzichtbaar blijven. Consumptie hoeft niet synoniem te zijn met verspilling, maar elegantie vereist blijkbaar wel de juiste mode.\u201d<\/p>\n\n\n\n

Contact<\/h2>\n\n\n\n

Alessandra De Mulder | alessandra.demulder@uantwerpen.be<\/a><\/p>\n\n\n\n

\n
Doctoraatsverdediging 27 maart 2026<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
From auction to Vinted: what eighteenth-century buyers teach us about smart second-hand shopping<\/strong>

Millions of people today use apps such as Vinted to buy second-hand clothing and furniture. But smart second-hand shopping is anything but new. Historians describe the eighteenth century as the birth of our (over)consumer society, driven by fashion, luxury and comfort. But is that really true? Alessandra De Mulder (Centre for Urban History) delved into more than 5,000 pages of auction advertisements from London newspapers and discovered that eighteenth-century consumers already knew exactly what to look for.

\"What drove them was not fashion or novelty; those words hardly appear in the advertisements,\" says Alessandra. \"They were looking for craftsmanship, quality and a shared language of good taste. Auctioneers such as James Christie were the influencers of their time; they taught consumers what to value. Although they were more like deinfluencers<\/em>: they didn't convince you to buy something new, but to see the value in what already existed.\u201d

Even though Alessandra's research focuses on the eighteenth century, in times of fast fashion and overconsumption, her research is surprisingly relevant today. Alessandra: \"If eighteenth-century consumers could recognise and appreciate well-made second-hand goods, perhaps we can learn to do so again. Consumption does not have to be synonymous with waste, and elegance does not require novelty. Our ancestors knew this, but sometimes we seem to have forgotten it.\"<\/pre>\n","protected":false},"excerpt":{"rendered":"
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