In 1977, the renowned cookery writer Elizabeth David penned an article describing her perfect kitchen. In this “fantasy” kitchen, she envisioned a fusion of beauty and utility, with an overhead drying rack, ladles and whisks hanging by the cooker, and wooden spoons displayed in a jar. David compared her ideal kitchen to a painter’s studio equipped with cooking tools. Her concept was a direct response to the predictability of fitted kitchens.
Nearly half a century later, the fashion world has seen a shift back to more intimate and tactile kitchen designs. Glossy modular kitchens and large islands that were popular in the 2000s have given way to cosier interiors adorned with a mix of unfitted elements such as old-fashioned armoires, butcher’s blocks, trestle tables, and pottery-festooned dressers. This trend is not just about nostalgia; it also aligns with eco-friendly principles. A freestanding kitchen made from natural materials can be easily moved and is more sustainable. Maria Speake, co-founder of the London-based architectural salvage and design company Retrouvius, explains that this move towards flexibility in design is a backlash against the “rip-it-out-and-start-again” approach that has dominated the industry for too long.
Speake’s own kitchen features splashbacks made of old brass kick plates that can be easily removed. She also utilizes reclaimed haberdasher’s units with deep drawers, museum cabinets, and small cupboards made from old picture frames inset with glass for a unique and adaptable design. Speake observes that there was a time when kitchens became rigid with everything made from the same materials and at matching heights, which she attributes to the influence of Modernism. However, there are numerous alternatives that don’t have to break the bank. She notes that the current desire for warmer finishes and pieces that evoke comfort is a departure from the trend of displaying high-end equipment like trophies. The answers to creating inviting kitchens can be found by looking back at history.
Jodey Collorick, owner of Kelmscott Studio in Gloucestershire, has developed a technique to design built-in kitchens that give the impression of settling gently over time. His studio, named after William Morris’s publishing house, follows a design philosophy that prioritizes knowing how things are made. Their pieces are designed at different heights to avoid a uniform look and draw inspiration from traditional furniture proportions. This approach is especially effective in smaller spaces. Collorick also incorporates reclaimed surfaces such as school lab worktops and old brass taps for butler sinks, instilling a slightly weathered look. He notes that even though these elements may have marks, they contribute to the layered look he aims to create. The floor-to-ceiling cupboards resemble freestanding furniture and feature classical feet, although Collorick admits they can be hard to keep clean due to their height.
For interior designer Kate Cox of HÀM Interiors, the unfitted kitchen serves as a canvas for creativity. Cox believes that rows of wall-mounted cupboards can be restrictive in terms of design and atmosphere. For her own kitchen in a Bristol apartment, she aimed to create a country-house feel, mixing and matching elements for a slightly disordered look that she finds pleasing. Her solution was painted corner cupboards that reach from floor to ceiling and act as blue sentinels. She also uses an old tile-clad dairy table as an island, linen curtains to hide items under the sink, and shelves made from reclaimed cheese boards to enhance the rural aesthetic.
Gavin Houghton, an interior designer and ceramicist, brings a similar desire for a rustic feel to his south London home. He avoids high-up cabinets and prefers open shelves for easy access while cooking. The back of an old dresser in his kitchen showcases his colorful pottery against a backdrop of foliage-clad wallpaper. Houghton utilizes an eBay-purchased cupboard for food storage and reclaimed wonky floors for an eclectic, unfitted look. Apart from the sink, which he found on the street, nothing is permanently fitted in his kitchen. His design philosophy echoes Elizabeth David’s vision, aligning functionality, shared spaces, and warmth with the idea of a kitchen.
The fitted kitchen, since its invention by Margarete Schütte-Lihotsky a century ago, has been associated with modernity. Danielle Patten, director of creative programs and collections at the Museum of the Home in London, explains that the fitted kitchen emerged as a symbol of functionality and early feminism, especially in Europe. However, in the 2000s, the rise of open-plan living made the island a central feature of kitchens, emphasizing a clutter-free and streamlined aesthetic. Anthony Earle, a designer at Artichoke, a specialist in traditional craftsmanship for kitchens, acknowledges that clients now appreciate the atmosphere that traditional furniture can bring to a kitchen, particularly during uncertain economic times. Marcus Jacka, a furniture maker at Non-Standard Studio, also notes that there is a limit to how much Modernism people can bear and emphasizes that kitchens are about food, sharing, companionship, and warmth.
In conclusion, the shift towards unfitted kitchens represents a move away from rigid design and uniformity. By incorporating adaptable elements, vintage finds, and reclaimed materials, homeowners can create kitchens that reflect their personal style, evoke warmth, and provide a more sustainable option. The unfitted kitchen is an opportunity for creativity, offering a canvas for design expression while prioritizing functionality and a sense of connection to the past.
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