Claudy Jongstra: “Natural dyes are the gold of the future”

As an artist, you weave together art, nature, and agriculture. Why?

“I believe that the necessary transitions aren’t happening because with our reductionist thinking, we’ve fragmented the world around us. As a consequence, we’re no longer able to see the connections. We do something in location A, and it affects location Z, but how exactly? When you understand that society is an interconnected whole – like a loom that exists of countless threads and junctions – you begin to see how you are connected to all other life forms and thereby how you can engage with them respectfully. 

In order to get here, we need to change our education system, which is too one-sidedly focused on intellect. Imagine if high school students would spend three or four weeks per year working on a farm. It’s one thing to discuss climate change or biodiversity loss, but how do these issues manifest themselves in our immediate environment? And what can we do about them? Right now, it remains too theoretical.” 

Is this why you started a biodynamic farm in Friesland, the Netherlands, where you produce the raw materials for your artworks?

“It all began with my curiosity: where do the materials I work with actually come from? I discovered that the pigments I was using in the early ‘90s were artificial chemicals. That didn’t sit well with me. But at that time, I was only able to find natural pigments on the global market, which means you’re still not sure where they come from or how they’re produced. So, we started cultivating the plants we use to dye the wool ourselves, and ever since, the farm has continued to evolve.

Beyond that, it simply makes sense to work with locally grown and natural materials, like wool and linen, which is made from flax – a crop traditionally grown in Europe. We need to refocus on this locality. Not only because it benefits biodiversity, but it also deepens our connection to our immediate environment. As a result, we’re more inclined to take care of that environment and live in a way that isn’t harmful, but restorative.” 

This restorative aspect is central to your entire creative process, from fiber to finished product.

“Exactly. The wool I use for my artworks comes from a native Dutch sheep breed and the flock is managed in a holistic way: the sheep don’t get any preventative antibiotics or iodine, they graze on herb-rich grass full of minerals from the healthy, pesticide-free soil, and they’re never transported, to avoid stress. As a result, their wool is incredibly resilient, allowing my artworks to remain beautiful for much longer. 

We recently visited the flock again, and it’s wonderful to see the work that’s being done there. The young man who sheared the sheep was truly a hero. His inner calm and the confidence he radiated meant there was no need for force – the sheep willingly submitted to him. This natural respect between humans and animals is incredible to witness. 

After the shearing, the wool is washed, carded, and dyed in our studio. For the dyes, we use natural pigments from our biodynamic garden, such as indigo, a blue dye derived from woad. This plant was historically used as the base for the deep blue color the Dutch Masters worked with, including Vermeer and Van Gogh. Once the dying process is completed, I literally sketch with the fibers until I’m satisfied with the composition, after which the piece is finished and installed. 

What we’ve also recently started to do, is use the artworks to create impact in the communities where they are displayed. For example, we’re currently working on a project in Brussels, where we’ve asked several local organic and biodynamic farmers to grow the dyes for that piece. In this way, we also make a difference in the broader community, instead of just reaching the people who come to see the final result.”

Yet all of this didn’t feel substantial enough, which is why you launched LOADS Collection. Can you explain? 

“We’re not a factory; I only create ten large works per year, which limits our impact, whilst much more is needed. That’s why I started LOADS Collection, together with my son Jesk. It’s a label that embodies the same philosophy as my artworks but focuses on reproducible interior design items and clothing, which we create for companies. For instance, vegan hotels that purchase our cushions for their entire chain, enabling us to scale up significantly. 

Over the years, we’ve managed to create an entire supply chain for this label, in which we know everybody personally, and we make sure everyone is treated fairly. For example, we agree on prices with farmers up front, and we pay those prices regardless, even if something goes wrong due to circumstances like extreme weather conditions. This commitment is often the reason why farmers are willing to take the risk in the first place and start investing in organic or biodynamic dye pigments. 

We also collaborate with shepherds in Spain who take their flocks out daily to maintain biodiversity in the landscape by preventing overgrazing. These are invaluable professions that we must support. For our cotton, we work together with Sekem, a renowned cooperative in Egypt that has been dedicated to biodynamic agriculture since the 1970s, but also includes schools and universities. It’s that holistic approach we aim for, deeply embedded in the local community.”

What challenges do you encounter within all of this? 

“One of the first issues you come across whilst working with local textile production in Europe is the near absence of infrastructure. We have beautiful merino wool from Spain, but there’s only one wool-washing facility left in all of Europe that can handle it, and in Spain, just one small factory remains that can spin that wool into thread. So the local supply chains that once thrived are now almost extinct. This means you end up spending a lot of time attempting to locate old family businesses and trying to breathe new life into traditional networks together.

Another issue when it comes down to natural dyes, is the loss of ancient knowledge. But we’re working with universities to reclaim that expertise too. For instance, we’ve conducted a project in Belgium that was focused on Burgundian black, a famous natural dye that produces a warm black hue and dates back to the 15th century, but has nearly vanished. In our studio, we recreated the entire production process, using historical recipes uncovered by scientists. We even recreated the wood-fired oven and used the same materials as they did back then, like charred sourdough bread remnants. Because in those days, nothing was wasted, and various local crafts supported one another.”

Is this also what we need nowadays: to literally roll up our sleeves together for a world in balance with nature? 

“I believe so. We live in an increasingly solitary society, but where do the most meaningful conversations take place? In the garden or while cooking, when you’re working with your hands alongside others. I’m not perse against the way we work now, but I think we’ve lost the balance. In the society of the future, our heads, hearts, and hands should all play an equally important role.”

You also make an active effort to pass on your knowledge to future generations.

“Yes, and I do this intentionally, because today’s twentie-somethings are deeply concerned about the future of our communities. That’s why we welcome hundreds of students every year, often from fashion academies, and we teach them how to work with natural pigments and other local materials. Ultimately, it’s about fostering awareness – ecological awareness, but also social awareness. Because when you work together, you don’t just restore the soil; you also restore the community. It changes mindsets and, over time, transforms the larger system.”

Speaking of system change, what is the deeper transition we need to make as a society?

“On average, we wear a garment seven times before discarding it. That entire mindset needs to change. We need to shift toward creating valuable, long-lasting products that we can grow fond of. But that’s only possible if we stop alienating ourselves from the production processes. Because how can you truly appreciate biodynamic wool, linen, or cotton, for example, if you’ve never seen what it takes to produce it? That’s why it’s such a complex issue.” 

Where can we start?

“I keep emphasizing education because I believe that’s where we can rediscover an appreciation for craftsmanship. But our ability to slow down also plays a crucial role. In today’s society, you’re considered slow if you take the time to absorb things. Yet that slower, more natural pace is essential if you want to create something that’s truly worthwhile. So I’m a strong advocate for slowing down and embracing stillness. It allows you to work with accuracy and precision and to respond attentively to what’s happening around you.

That’s why experiencing these production processes firsthand is so important. For example, when you’re working with clay on a potter’s wheel, you have to respond to what’s happening in the moment. I always find this a valuable exercise – it enhances the flexibility of your thinking. It’s not just nostalgic and fun to make things, it works on multiple levels.”

At the same time, you long for faster and bigger change.

“Yes, we need both. For the next generations, change must be bigger and faster. That’s why I’m incredibly pleased that in the Netherlands, Urgenda won the climate case, and that everywhere around the world, forests and rivers are being granted rights. These are huge steps. Simultaneously, we mustn’t lose sight of our immediate environment. Simply look around, and ask yourself: what can I achieve within my community? That’s how you meet other changemakers, and once united, something new emerges. Perhaps that’s the essence of regeneration.” 

Keen for more? Fashion designer Joline Jolink shows us how fashion can be local and regenerative.