Guest blog by Orla Latham , University of Leeds
In this blogpost I show how The Electrical Age magazine published by the Electrical Association for Women (EAW) provides insights into domestic innovation in the latter stages of the Second World War. Specifically, I look at volume 4 (1944-46) to examine how the EAW promoted the Bradford and Poplar model kitchens to show how electricity could transform kitchens into spaces of modernity and efficiency. I also offer guidance on how researchers can delve into the fully digitised Electrical Age – a key resource for understanding the technological and cultural shifts in post-war Britain – to uncover more about the intersection of technology, culture and everyday wartime life.
As World War 2 approached its final phase and plans for D-Day developed in early 1944, many anticipated a need to rebuild British homes that had been bomb-damaged in the devastating Blitz of 1940-41. For the EAW this would be an opportunity to rebuild by redefining domestic spaces as electrically powered, blending new functionality with a modern aesthetic. Kitchens, as the heart of the home, became a main point of focus for the EAW’s campaigns for showing how electricity could play a pivotal role in Britain’s future post-war recovery. Symbolising progress in modernity from homes to industries, numerous articles in The Electrical Age in 1944 illustrated how electric innovations offered the prospect of daily living reshaped by deploying domestic technology to bring greater efficiency to the home.
Food, Work and Homes
Looking ahead to Britain’s war-time recovery in years to come, Churchill’s speech above provided a rallying cry to rebuild the nation. Published by the EAW in the January 1944 issue of The Electrical Age this gave the context for an article on ‘Practical Planning’ for new kitchen designs. These were the ‘Bradford’ and ‘Poplar’ kitchens, each named geographically after the location of the male engineer who had designed them. These designs not only addressed practical challenges of cookery but also embodied the image of a new kind of electric living – practical planning for a future post-war Britain.
The Bradford Kitchen:
The Bradford kitchen was designed by the Bradford-based electrical engineer T.H Carr. It offered a blueprint for innovation, suggesting a new framework for designing modern kitchens in British homes. His introduction of fluorescent lighting was revolutionary, as it made the kitchen not just a workspace but a welcoming bright environment – in contrast to the dimly gas-lit kitchens of the past. Beyond its practicality, fluorescent lighting also became a time stamp of post war modernity, signalling the shift towards sleek, functional aesthetic.
Carr’s design re-located and integrated the functionally distinct parts of the kitchen. He separated the oven and hotplate, creating working heights that catered to the user’s comfort. This arrangement was not only more efficient but also radically forward-thinking. For example, a dedicated laundry room within the kitchen layout showcased an emerging emphasis on multifunctional spaces, blending tasks and optimising available space in a way that would reflect the post war ethos of efficiency. So the Bradford kitchen wasn’t just a design but a cultural statement that reflected growing collaborations between engineers like Carr and the Electrical Association for Women which agreed to publish his model in The Electrical Age. Such partnerships ensured that designs could meet the practical needs for women who would soon be working in the post-war kitchen.
The Poplar Kitchen
Source for image: The Electrical Review, 1943
The Poplar kitchen was designed by R. Illingworth, Borough Electrical Engineer in Poplar East London. Whereas the Bradford kitchen leaned towards elegance, Illingworth focused insteadon accessibility and affordability. The Poplar kitchen thus introduced a modular design, allowing sections to be installed independently. This feature was especially significant in post-war Britain in which it was expected that cost and space limitations would be critical concerns. Although The Electrical Age does not supply extensive detail, a more informative article in the technical journal The Electrical Review (July 16th 1943) tells us that Illingworth imagined that the cost savings of his ‘Compactom’ model (as the Poplar model was also known) over conventional designs would be so great that householders would even be able to afford a small electrical refrigerator – quite a luxury for many less affluent wartime home owners.
By enabling even households with modest budgets to adopt modern electric kitchens, Illingworth’s design democratised access to innovation. Illingworth worked closely with the EAW to ensure the Poplar kitchen aligned with the needs of homemakers. This collaboration ensured that the design was not only functional in operation but also intuitive to operate, enhancing its appeal to everyday users. The modularity of the Poplar kitchen reflected the need for adaptability anticipated for post-war Britain. It addressed the constraints of housing shortages while embracing the promise of modernisation, making it a powerful symbol of rebuilding and renewal.
Exhibitions
The significance of these kitchens extended beyond their designs; they were celebrated as symbols of progress and possibility in prominent exhibitions. Both the Bradford and Poplar kitchens were featured at Heal’s, a renowned London furnishing house, where their innovative designs captivated audiences. Heal’s was already renowned for showcasing cutting-edge interior designs, and its exhibitions were pivotal in setting post-war trends. At Heal’s, these kitchens were not just static displays; they were presented as aspirational models for post-war living. The exhibitions highlighted how engineering ingenuity could address domestic challenges and improve the efficiency of daily life. Visitors could envision these designs in their own homes, which was crucial at a time when Britain was rebuilding its infrastructure.
Cultural and Global influences on Post-War Design
These new electrical kitchen and oven designs, as shown in the image above, did not exist in isolation but were part of a larger cultural and political narrative of planning for the era of post-war recovery that would eventually begin in 1945. As mentioned above, The Electrical Age’s ‘Practical Planning’ article contextualises the kitchens within future plans for national reconstruction efforts, referencing Winston Churchill’s call to prioritise. Nevertheless, Churchill’s Prime Ministerial presence in a women’s journal reveals an interesting tension. It raises questions about the way women’s roles in the reconstruction were framed, and whether they were acknowledged for their efforts or men took their gain. These gender dynamics were also evident in these kitchen designs, as although the EAW’s mission was to elevate women’s expertise in electrical design, the designs published in the journal were created by male engineers. However, Caroline Haslett encouraged and wrote about the role of women in these positions due to the growing war efforts, demonstrating women’s influence in engineering.
Initiatives like the Ministry of Reconstruction and exhibitions such as “When We Build Again” at Heal’s, showcased these models as aspirational models. The article also situates these innovations within a broader transatlantic exchange of ideas. Insights from A.C. Bossom, a member of the Government Building Mission to America, suggests that British designers were influenced by American practices in home building and equipment. This connection illustrates how global influences shaped domestic solutions in post-war Britain, blending international ideas with local needs. This is expanded on in previous IET Archives blogs, for example, ‘Marketing the mundane- how the Electrical Age used the allure of America to sell electricity to women in Britain.’
Legacy
While these kitchens themselves do not appear to have been widely adopted as full-scale models, their features influenced later design principles. Modular components and integrated electrical systems became staples of post-war kitchen design. The modular layout and integrated utility ideas embodied in the Bradford and Poplar kitchens illustrated new standards for both functionality and aesthetic. Beyond their technical impact, the kitchens symbolised a cultural shift towards user-focused design enabled by electrical technology, showcasing how collaboration between engineers, architects and homemakers could shape the future of domestic life.
For those interested in delving deeper into the intersection of design, technology and culture both during and after World War 2, the online digitised volumes of the Electrical Age hosted by the IET Archives provide a treasure trove of information.
Biography
I’m Orla Latham, and I have a deep passion for the world of culture and anthropology. As a Liberal Arts Student majoring in Cultural Studies, I’m constantly fascinated by the ways in which human societies evolve, their traditions, and the diverse cultural dynamics that shape our world. Studying liberal arts has allowed me to approach these subjects with a broad, well-rounded perspective, blending analytical thinking with a genuine curiosity about human behavior. I’m driven by the desire to understand how different identities, social systems, and cultural practices intersect, and I love exploring the rich complexities that make up our global community.