WELL TALK: Hella Jongerius: "We must be responsible for what we put into the world"

Hella Jongerius - designer asceticism in the era of the overabundance of forms

Hella Jongerius was born in the Netherlands in 1963. She studied at the Design Academy Eindhoven —an internationally renowned institution that is roughly as important to European design as Bauhaus is to modernism . From the outset, she was drawn to the unexpected: the space between craft and industry, control and chance, tradition and technology.

At a time when the design world was accelerating, Hella Jongerius chose to slow down. Her thinking about design became a kind of ethical practice, an attempt to regain meaning in a world where things are becoming increasingly disposable. It's undeniable that we live in an era of an overabundance of forms. With it, the love of beauty and objects becomes so complex that, faced with this ubiquitous excess , asceticism seems the only appropriate approach.

Durability - the highest form of sustainability in art and design

For years, Jongerius has been proposing his own answer – conscious, durable, and compassionate design. Durability here doesn't mean simplicity, but rather the wisdom of choice; it's a way to ensure that objects resist seasonality and age gracefully.

In her work, from ceramics and textiles to furniture and interiors, she constantly searches for the "human touch": in texture, color, and the imperfections that make an object unique. Her ideas also prove to be permeable to large-scale industry. Collaborating with brands such as Vitra, IKEA, Maharam, and KLM, the designer has already proven that even in a mechanized world, innovation is possible without losing the soul of craftsmanship.

"It's not just one product, but the idea of ​​combining craft and industry – and trying to push industry from within towards new innovations. Craft is our culture. A handmade product reflects the human touch. And today, the materials we use often pollute the earth. As designers, we must be responsible for what we put into the world. It's obvious to me – I couldn't live any other way," she said during our conversation.

Hella Jongerius: "It was always about craftsmanship"

Maria Jasek, Well.pl: You received the Lifetime Achievement Award for your entire body of work, which encompasses both small everyday objects and large-scale industrial projects. It's difficult to single out one dominant project, as each contributes something valuable and significant to the contemporary design language. But if you were to look back and choose those ideas or projects that you personally consider milestones—those that in some way defined your path as a designer—which ones would they be?

Hella Jongerius: I think it's more about ideas than a single product. It's more about combining craftsmanship with industry and trying to push industry from within to create new innovations. It's impossible to single out one work—it's always about searching for a new language of production and design. I always try to observe how materials and forms can combine in new contexts and what stories they can tell.

Sustainability is a key theme in your work – from the beginning of your career, you've consistently addressed the issue of responsibility for materials and the production process. Where did this perspective come from, and how do you view your own projects in the context of sustainable design today, after years of experience?

It's always been about craftsmanship, our European culture. A handmade product carries the human footprint, and these days, the materials we use often pollute the earth. As designers, we must be responsible for what we bring into the world. It's obvious to me—I couldn't live any other way. Environmental responsibility and material awareness aren't an afterthought, but the foundation of design; every choice, from the type of fiber to the processing method, influences how the design will coexist with nature and people's daily lives. Therefore, with each new design, I consider both its function and aesthetics, as well as the long-term impact it will leave on the world.

Working with large companies like IKEA and KLM, the Dutch airline, what strategies have proven effective in promoting sustainable design and changing the industry's approach?

You have to find compromises. Small steps can push boundaries and bring real change to an entire industry, even if the impact isn't immediately visible. For example, when designing a recycled chair for KLM, it wasn't a formal company mandate, but I decided to innovate from within – and I actually managed to change the approach to production and materials. This shows that ethical design in large-scale structures is possible if we act with determination and perseverance.

Is ethical design possible within the confines of large-scale industry? Or does real change require action outside its structures?

I think so, provided you act with a clear rationale and full awareness of your goal. You need to skillfully adapt to the realities of industry, analyze materials, consider recycling and upcycling, and consider both the function, aesthetics, and ethical aspects of the project. Companies can benefit greatly from collaborating with designers, because design introduces a perspective that goes beyond a purely economic approach. It's crucial for young creators to combine creativity with responsibility, rather than creating solely based on trends or for effect. Patience also plays a crucial role here – in industrial structures, changes occur gradually, and consistent and systematic actions bring real, long-term impact.

How do you think new technologies and digital tools, including artificial intelligence, influence contemporary design and the development of new design languages?

I observe how technology is transforming the landscape of contemporary design, even though I don't work in this area directly. My attention focuses on materials, handcrafting, and the physical shaping of objects, because these elements allow a design to retain its "human touch," giving it character, texture, color, and the subtle imperfections that make each object unique. At the same time, I'm fascinated by the younger generation of designers who, thanks to digital tools and new technologies, are able to combine precision and innovation with sensitivity to materials and form. As long as we're talking about conscious creators, new technological possibilities don't strip a design of its "humanity"; in fact, they enrich it and introduce a fresh perspective to traditional practices.