Schiffini’s Lepic is the first industrially-produced kitchen designed by Jasper Morrison after having designed many timeless products for pretty much every part of the home.
Lepic is a unique project which aims to distinguish itself from the mainstream and for this reason completely fits in with Morrison’s design philosophy. It comes following a typically long creative gestation period, having taken two years to design and, above all, refine and curate the smallest detail of a kitchen that looks, on the face of it, astonishingly simple.
Lepic is indeed an apparently easy and intuitive system but rich in detail, particularly in terms of its combinations of different materials, and numerous composition variations. These characteristics are typical of Morrison, often using the images of common and familiar objects and reinterpreting them by enhancing through the details and finishes.
His ideas and concepts for this collaboration were first revealed at the Schiffini showroom in Milan where, in addition to the presentation of the three different versions of the kitchen, there are also a range of other objects designed by him.
The versatility of Lepic can be seen in its ability to be customised to suit different environments inspired by various cultures which are very different from each other but united through the project’s ambiance. The places recalled in the Milan showroom staging – represented symbolically by Milan, Tokyo and Stockholm – are tied to Morrison’s own professional experiences. These became the inspiration for the three kitchen compositions that combine materials such as the Fenix laminate and stainless steel, alongside warm Nordic woods such as Douglas Fir and Natural Oak.
Jasper Morrison / jaspermorrison.com
Schiffini / schiffini.com
JASPER MORRISON ON ‘SUPER NORMAL’
“I started to measure my own designs against simple, unassuming objects like some old hand-blown wine glasses that I saw in a junk shop, and not to care if the designs become less noticeable. In fact a certain lack of noticeability has become a requirement.
“Things which are designed to attract attention are usually unsatisfactory. There are better ways to design than putting a big effort into making something look special. Special is generally less useful than normal, and less rewarding in the long term.
“Special things often demand attention for the wrong reasons, interrupting potentially good atmosphere with their awkward presence.”
“The super normal object is the result of a long tradition of evolutionary advancement in the shape of everyday things, not attempting to break with the history of form but rather trying to summarise it, knowing its place in the society of things. Super normal is the artificial replacement for normal, which, with time and understanding, may become grafted to everyday life.”