Upper Cabinets
Wall units from 300–1000 mm, handleless or with profile pulls, LED plinth options.
Kitchen Cabinet OEM/ODM · Since 2009
Kitchen Cabinets Built for Volume Retail & OEM Programs
FAME manufactures handleless, two-tone and matte-finish kitchen cabinets in MDF, PVC, plywood and solid wood — from a 20,000 m² factory that top-10 global brands have trusted for 17 years.
18Years of manufacturing
20,000 m²Dedicated workshop
20 pcsLow MOQ per model
50+Countries served
Flagship Program
Two-Tone Handleless Kitchen — Europe's Volume Seller
Warm gray upper cabinets paired with walnut-grain base cabinets, white quartz waterfall island and under-cabinet LED lighting. This is the configuration European and Australian retailers order in container volume — and it's fully repeatable at our factory.
- Handleless aluminum-profile & J-pull systems
- Two-tone and full-matte color programs (white, greige, sage, navy)
- Quartz countertop coordination & island fabrication
- KD flat-pack or fully assembled, export-grade packaging
Complete Programs
One Coordinated Kitchen, Four Cabinet Types
We engineer and produce the full program so every door, panel and hinge matches.
Base Cabinets
Drawer and door bases with soft-close hardware, cut-outs for sinks and appliances.
Tall Cabinets
Full-height larder and oven housings, 2100–2400 mm, with integrated appliance panels.
Islands
Waterfall and straight islands with quartz coordination, breakfast-bar overhangs.
Finish Options
Finishes Your Market Already Buys
Flat-panel handleless is the volume leader, but we run the full finish menu: matte lacquer, high-gloss, melamine, PVC foil and real-wood veneer — in single-tone, two-tone and wood-grain programs.
- Matte white, greige, sage green, navy blue and black
- Oak and walnut wood-grain foils (European decors)
- Soft-close hinges & drawers standard on every program
- E1/E0 board options for EU & AU compliance
Signature Models 2026
Nine Kitchen Styles Your Market Buys — Click for Full Specs
Every model is OEM/ODM customizable: door style, colour, hardware and countertop to fit your program.
Shaker Style Kitchen Set
Classic white shaker doors, matte black hardware, quartz top — the US retail volume seller.
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Flat-Panel Kitchen Set
Handleless matte-grey Scandinavian format — the EU and AU program standard.
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Lacquer Modular Kitchen
High-gloss cream + gold lacquer modular units — the hotel-apartment signature.
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Two-Tone Handleless Kitchen
Warm grey uppers, walnut-grain bases, quartz island — the Europe volume seller.
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Oak Wood-Grain Kitchen
Light oak Scandinavian flat-panel — the Nordic and AU retail standard.
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High-Gloss White Kitchen
Piano-gloss white modular units — the hotel and serviced-apartment signature.
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Matte Sage Green Kitchen
Soft-touch matte sage with white quartz — the rising colour of 2026.
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Navy Blue Modern Kitchen
Deep navy matte with brass hardware — the 2026 designer statement.
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Walnut Solid-Wood Kitchen
Real walnut veneer with soft-matte lacquer — the premium villa specification.
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New Arrivals 2026 — Kitchen
New Kitchen Cabinets Launched This Year (33)
Every kitchen program added to famechina.com in 2026 — by cabinet category, one new format at a time. All OEM/ODM customizable, MOQ 20 pcs per model, produced in our 20,000 m² factory.
Glass-Door Display Cabinet
The display format that turns a kitchen run into a feature: slim anthracite aluminium frames, clear tempered glass and four adjustable shelves lit by warm-white LED strips recessed under each front edge. Built as a tall or wall-hung unit on the same carcass programme as the rest of your kitchen, so doors, panels and hinges match in a single order.
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Kitchen Island with Breakfast Bar
The unit that turns an open-plan kitchen into a room: an 1800 mm handleless island in matte warm-grey lacquer, wrapped in a white veined-quartz worktop that folds down the end as a waterfall panel and reaches out 300 mm on the seating side as a breakfast bar. Produced on the same carcass and hinge programme as the rest of your kitchen, so doors, panels and hardware match in one order.
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Wall and Lift-Up Kitchen Cabinets
The upper run is where a kitchen suddenly looks cheap or looks considered. This program rebuilds the wall units around lift-up flaps: no swinging doors into your face, no handles to line up, and one clean horizontal line right across the run. Flaps ride on soft-close lift gear with the option of gas struts or a motorised drop-down lift, the fronts are handleless by design, and a slim aluminium-frame glass cabinet plus a warm-white LED strip sit on the same carcass and hinge programme as the rest of the kitchen.
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Tall Pull-Out Larder Unit
The narrow gap beside the fridge is the most wasted space in a kitchen, and a shelf-only pantry is the reason. This larder unit fills it with a full-height frame of baskets that comes out to meet you: the whole frame rides on the door, so opening the door brings the baskets forward and every level is reachable without emptying the front to find the back. Soft-close full-extension runners, height-adjustable baskets rated for 40–50 kg each, and a 300 mm-wide carcass that turns a dead 300 mm into a full pantry. Built on the same carcass and door programme as the rest of our kitchen cabinets, so the larder matches the run it sits in.
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Magic Corner Carousel Unit
The corner base cabinet is the most expensive dead space in a kitchen: deep enough to hold the pots you use every day, and laid out so you can never reach the back of it. This carousel fixes that. An L-shape pull-out frame rides out of the blind corner on full-extension ball-bearing slides, carrying two tiers of chrome-wire or aluminium baskets, so the whole corner comes to you instead of you reaching in. Soft-close dampers, zinc-coated steel arms, and a 900 mm corner carcass that bolts into the same run as the rest of the kitchen — and matches the doors on either side.
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Sink Base Cabinet with Pull-Out Waste Sorting
The sink base is the one base cabinet every kitchen has and almost every kitchen wastes. A standard drawer base cannot go there — the trap and the supply lines own the middle of the box — so it ships as a door and a shelf, and everything a household actually keeps under the sink ends up in a damp pile on the bottom panel. This unit is built around the plumbing instead of in spite of it: a stainless two-bin waste module pulls out on full-extension runners at the bottom, two chrome-wire organiser drawers stack beside the pipe void at heights that clear the trap, and the back of the cabinet stays open so a P-trap can be serviced without emptying the unit. Same 18 mm handleless door and same carcass programme as the rest of the run, so it disappears into the kitchen line.
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Tall Appliance Tower — Built-In Oven & Microwave Housing
Every kitchen has one wall that has to carry the equipment, and most kitchens waste it. An oven under the counter means bending to lift a hot tray over a door; a microwave on the worktop eats the only clear prep space in the room; and the two appliances end up in different corners because nobody planned the elevation. This tower is that wall, resolved vertically: a 600 mm module, 2200 mm high, with the oven niche centred at 1200 mm so the door opens at forearm height, a compact microwave stacked directly above it, a stainless pull-out landing shelf below the oven that takes a hot tray at the moment the door opens, and a full-height larder beside the appliance stack for the trays, tins and the things that have no other home. The front is one continuous handleless plane, the plinth is vented, and the back carries a 50 mm service gap so the appliance can breathe and the fitter can reach the connection without pulling the unit out of the run. It aligns with a standard 600 base and wall run, so it reads as part of the kitchen rather than a bolt-on.
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Kitchen Sideboard & Buffet — Reeded Oak Doors
A sideboard is the piece that decides whether an open-plan kitchen reads as one room or two. Run it in the same greige as the base cabinets and the dining end of the space disappears into the kitchen; run it in a contrast oak and the two zones fight. This 1800 mm unit takes the first route and puts the interest in the door face instead of the colour: a matte greige lacquer body with four solid white oak doors, each milled with a fine vertical reeded profile that throws a shadow line down the length of the cabinet and picks up whatever light the room has. The centre section drops out into an open niche — a six-bottle oak cradle above, an open shelf below — so the piece works as a serving station without a door to open in the middle of a dinner, and the 20 mm black marble top gives it a surface that can take a hot dish. It is built on the same carcass, hinge drilling and packaging programme as our kitchen runs, so a sideboard can be added to a container without a separate tooling cost.
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Kitchen Open Shelving with LED — Oak Wall Shelf Programme
Open shelving either finishes a kitchen run or ruins it, and the difference is almost never the styling — it is whether the shelf carries its own light. A shelf mounted under a cabinet with no integrated source turns into a dark slot that shows every shadow of the crockery on it; a shelf with a 30 mm aluminium profile recessed into its front underside reads as a lit display and disappears into the wall plane. This programme takes the second route, on a concealed cleat that leaves no visible bracket on the face.
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Glass-Door Kitchen Wall Cabinet with LED — Black Aluminium Frame
The upper run is where a kitchen either looks considered or looks like storage. A solid door at eye level is a 720 mm blank panel in the most visible band of the room; a glass door in the same opening turns the same cabinetry into display and makes a small kitchen read wider. The catch is that a glass door with no light behind it becomes a dark recess that shows every fingerprint and every shadow of the crockery inside, so this unit carries its own light: a 2700K strip recessed under the top panel and under each shelf, on a 12V circuit that plugs into a driver in the adjacent cabinet.
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Matte Black Slim-Shaker Kitchen Cabinets — Brushed Brass Hardware
Black cabinetry fails for one of two reasons: the door profile is too wide, so a full run reads as heavy panelling, or the finish is a gloss that turns every fingerprint and every reflection into noise. The slim shaker answers the first — a 20 mm frame instead of the 70 mm of a classic shaker keeps the shadow line fine and lets the door read as a plane with an edge rather than a picture frame. The matte lacquer answers the second: a 3 to 5 gloss unit surface scatters light instead of mirroring it, which is why a black kitchen in this finish stays calm under a window. Brass is the part that stops it going cold, and it is fitted as slim 12 mm bar pulls rather than cup handles so the horizontal rhythm of the run is not broken.
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Warm Greige Matte Kitchen with Fluted Tall Units — Brass Detail
Greige is the colour buyers ask for when neither white nor grey will do, and it fails for a specific reason: get the pigment wrong and it turns pink under a warm LED, or turns green under a north-facing window. The reference here is a grey-beige at roughly 4 gloss units where the beige is carried by a touch of yellow oxide rather than red, so it holds its neutrality under both 3000K and 4000K light. What keeps the run from reading as a flat beige wall is the tall unit: 20 mm pitch V-groove fluting the full 2100 mm height, cut into the door rather than applied as battens, which gives a vertical rhythm and a shadow line that a plain slab cannot produce. Brass is deliberately restrained — 12 mm slim bars, satin not polished — because a greige run with heavy brass goes from current to dated in one step. The whole programme sits on an 18 mm plywood carcass with a 20 mm quartz top, so the surface language is soft and the construction is not.
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1200 mm White Oak Reeded-Glass Display Cabinet — Kitchen Hutch
Glass display cabinets came back into kitchen specification for a reason that has nothing to do with display: they are the only cabinet type that lets a run of closed doors stop being a wall. The problem with the clear-glass version is that it turns the kitchen into a shop window — every mismatched mug and half-empty packet is on show, and the client blames the cabinet. Reeded glass solves exactly that. The 4 mm tempered pane is rolled with vertical ribs, so the contents read as colour and shape and nothing else, while the warm LED behind it turns the cabinet into the light source for the end of the run. This is the second-generation version of the display cabinet in our kitchen programme: the first used an anthracite aluminium frame and clear glass; this one is a solid white oak frame with reeded glass, a 22 mm face frame, brass knobs, and a base cupboard below that carries the weight and hides the things that should not be seen. The frame is what makes it work in a painted or oak kitchen rather than only in a modern one, and the base is what stops a 2000 mm tall glass box from looking like a vitrine.
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Forest Green Matt Lacquer Kitchen — Handleless J-Groove
Green kitchens stopped being a risk in the German market about two years ago, but most of what is on offer is either a pale sage that disappears in a north-facing room or a glossy bottle green that reads as a bar. Forest green sits between them: a dark, desaturated pine that holds its colour under 2700K light, keeps a white worktop from looking cold, and — the part that matters commercially — hides finger marks on a matt lacquer far better than any grey. What makes this run different is not the colour, it is the way the fronts are built. The doors are 19 mm slab in a 5 to 8 gloss unit matt lacquer, handleless through a continuous recessed J-groove machined into the door itself rather than an aluminium profile screwed on afterwards, on an 18 mm plywood carcass with a 60 mm recessed plinth. The result is one uninterrupted plane of green from plinth to wall unit, with a single 12 mm shadow line doing the work a handle would do. It is a 20-piece OEM programme for German, Austrian and Benelux importers and project specifiers.
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Terracotta Clay Face-Frame Shaker Kitchen — Full-Overlay
Terracotta arrived in US kitchens the way warm oak did three years ago: first in a photograph, then in a showroom, then in a dealer's opening order. What most of the imported versions get wrong is the construction underneath the colour. A terracotta door on a frameless European box is a coloured slab in a room that was designed around framed cabinetry — the reveal lines are wrong, the doors sit proud of the openings instead of inside a frame, and the whole run reads as a flat-pack kitchen that has been painted. This run is built the other way round. It starts with a 1.5 in solid hardwood face frame, the structure a US cabinet installer expects to find, and hangs 2.25 in shaker doors on it full-overlay with a 3 mm shadow gap. The colour is a muted clay terracotta at 5 to 8 gloss units — a warm red-brown that shifts toward rust under 2700K light and toward pink under daylight, which is exactly why the sample has to be approved in the room rather than on a screen. Boxes are 18 mm plywood, the worktop is 30 mm quartz on a 40 mm square edge, and the whole programme ships flat-packed for US dealers or assembled for project work, from 20 pieces per model.
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Cream In-Frame Beaded Shaker Kitchen — 57mm Frame, Exposed Brass
The word shaker gets used for two different kitchens, and the difference is where the door goes. A standard shaker is a 19 or 20mm door hung on the outside of a frameless box, with a 5mm panel routed into its face. An in-frame kitchen has a real hardwood frame built around every opening, and the door sits inside that frame on exposed butt hinges, so what the eye reads is a run of furniture with a bead moulding running continuously around each opening rather than a grid of panels stuck to a carcass. This is the second kind. The frame is 57mm wide in solid tulipwood with a fine bead worked into its inner edge; the doors are 20mm, painted bone cream in an eggshell that sits around 10 to 15 gloss units, and hung on antique-brass butt hinges that stay visible when the door is shut. Handles are antique-brass cup pulls, sized 64mm on drawers and 96mm on doors. Underneath it is an 18mm plywood carcass on 32mm system drilling, Blum soft-close throughout, a 30mm white quartz worktop and a 100mm painted plinth. The whole point of the format is that it can be repainted in twenty years without being replaced — which is why UK buyers pay for it — and it is why the frame, not the colour, is the thing to specify carefully. This is a 20-piece OEM/ODM programme for UK and Irish importers, joinery merchants and showroom groups.
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Burgundy Matt Lacquer Slab Kitchen — 19mm Seamless Fronts, Brushed Brass
Dark kitchens fail in one of two ways: the colour goes muddy under a low-sheen finish, or the door edges give the game away. This run is built to avoid both. The colour is an oxblood burgundy matched to RAL 3007 or NCS S 6030-R10B — deep enough to read almost black in a north-facing room and clearly wine-red under a window — applied as a two-coat polyurethane lacquer at 3 to 5 gloss units, which is the band where a dark colour keeps its depth instead of turning chalky. The fronts are 19mm slab doors, not shaker and not a foil: the MDF is filled and sanded flat, the lacquer wraps the edges, and the edge is finished to the same sheen as the face, so there is no ABS line, no melamine tape and no pale seam running around every door. Gaps are a uniform 3mm, held by drilling rather than by adjustment, and the only hardware is a slim brushed brass bar pull — 128mm on drawers, 160mm on doors. Behind the face it is an 18mm plywood carcass on 32mm system drilling with Blum soft-close throughout, 720mm base boxes on a 100mm plinth for a 900mm finished worktop height, 330mm deep wall units, and a 20mm white quartz top with a fine light speckle that keeps the room from going flat. It is a 20-piece OEM/ODM programme for importers, kitchen studios and project specifiers who need a colour story rather than another grey.
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Dusty Blue Slim Shaker Kitchen — 45mm Frame, Brushed Brass, 19mm Fronts
Most blue kitchens are specified either too dark or too sweet. Navy goes almost black in a north-facing room and swallows the detail of a door profile; a pale sky blue reads as a nursery and shows every fingerprint. This run sits between the two: a dusty blue at mid value, roughly RAL 5024 or NCS S 6010-R90B, mixed with enough grey that it stays calm under both warm and cool light, and applied as a two-coat polyurethane lacquer at 5 gloss units — chalky to the eye, but sealed, so it does not absorb cooking grease the way an untreated matt paint does. The door is a slim shaker, not a full shaker: a 45mm flat frame with a 6mm recessed centre panel, which keeps the profile visible at 3 metres where a 70mm frame turns into a heavy grid in a small kitchen. Fronts are 19mm MDF, grain-filled and sanded flat before spraying, with all four edges lacquered to the same sheen so no ABS line runs around the door. Gaps are a uniform 3mm, held by the hinge and runner drilling rather than by site adjustment. Hardware is a slim brushed brass bar pull — 128mm on drawers, 160mm on doors — in a PVD finish, and the brass is the only warm element in the scheme. Behind the face it is an 18mm plywood carcass on 32mm system drilling with Blum soft-close throughout, 720mm base boxes on a 100mm plinth for a 900mm finished worktop height, 330mm deep wall units, and a 20mm white quartz top with a fine light speckle. It is a 20-piece OEM/ODM programme for importers, kitchen studios and project specifiers who want a colour with some life in it that still photographs as a neutral.
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Deep Teal Matt Lacquer Kitchen — Routed J-Pull, 19mm Fronts
Teal is the colour that separates the two blues in this range from the two greens, and it is the one most often specified wrongly. Buyers ask for teal and receive either a navy with a green cast or a forest green that photographs as mid-century. This run is petrol teal — blue-dominant, roughly RAL 5020 or NCS S 7020-B90G, at mid-dark value — so it stays recognisably blue-green under both 3000K and 4000K light instead of collapsing into green at dusk. The finish is a two-coat polyurethane lacquer at 5 gloss units: chalky in the hand, sealed against cooking grease, and flat enough that no highlight runs along a door edge. What makes it a different product from the teal shakers on the market is the front: there is no handle at all. A 12mm J-profile is routed into the top edge of every door and drawer front, sprayed in the same teal on the inside of the channel, so the only hardware you see is a shadow line that follows the run. That removes the single decision most kitchens stall on — which pull, which finish, which centre — and it removes the thing that dates a kitchen fastest. Behind the face it is an 18mm plywood carcass on 32mm system drilling with Blum soft-close throughout, 720mm base boxes on a 100mm plinth for a 900mm finished worktop height, and a 20mm white quartz top. A 20-piece OEM/ODM programme for importers, kitchen studios and apartment developers.
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Charcoal Grey Matt Lacquer Kitchen — 22mm Chamfered Slab, Brushed Brass
Grey kitchens fail in one of two ways: the grey is so light it turns beige under warm light, or it is so dark it turns black and swallows the room. Charcoal sits in the narrow band between those failures — mid-dark, neutral, with a faint warm cast rather than a blue one, close to RAL 7021 but pulled back from true black-grey so it still reads as a colour at dusk. This run is that value in a two-coat polyurethane lacquer at 5 gloss units: chalky under the hand, sealed against cooking grease, and flat enough that no highlight runs along a door edge. The front is what separates it from the matt shakers already in the range. It is a 22mm slab, not a framed door — every one of the four edges is machined with a 3mm 45-degree chamfer before spraying, and the chamfer is lacquered in the same charcoal. From a metre away the chamfer catches a fine line of light and the run of fronts separates itself without a visible frame; from across the room the face reads as one continuous plane. The hardware is deliberately warm: slim brushed-brass bar pulls, 160mm on doors and 320mm on drawer banks, PVD-coated so they do not tarnish into brown the way untreated brass does near a hob. Behind the face it is an 18mm plywood carcass on 32mm system drilling with Blum soft-close throughout, 720mm base boxes on a 100mm recessed plinth for a 900mm finished height, and a 20mm warm-white quartz top with a fine grey vein. A 20-piece OEM/ODM programme for importers, kitchen studios and apartment developers.
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Cognac Micro-Frame Kitchen — 12mm Frame, Matt Lacquer
Cognac is the warmest colour a kitchen can carry without reading as wood, and it is the one brown that survives a north-facing room: a dark amber-brown at mid value with a red-brown undertone, close to RAL 8029 but pulled back from copper so it does not turn orange under a warm bulb. The risk with a brown kitchen is that it looks like a veneer that has been painted over, which is why the front here does the work. It is a 12mm micro-frame: a slim flat frame machined from the same 19mm board as the centre panel, with the panel recessed 4mm behind it — not an applied moulding, not a routed groove, one piece of MDF sprayed as one piece. From a metre it gives the run a fine inner line that catches a soft shadow; from across the room it reads as a flat front, because 12mm is narrow enough not to become a shaker. The comparison that matters is against the other browns and the other frames in the range: the walnut solid-wood kitchen is real grain and darker, the terracotta face-frame is orange and framed at 70mm, the burgundy is red-purple, and the slim shakers are 20mm on a different cabinet. Cognac in a 12mm frame sits between all of them, and it is the only one that is a warm mid-brown lacquer with no grain at all. Behind the front it is an 18mm plywood carcass on 32mm system drilling, Blum soft-close throughout, 720mm base boxes on a 100mm recessed plinth, and a 20mm warm-grey quartz top with a fine speckle. A 20-piece OEM/ODM programme for importers, kitchen studios and apartment developers.
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Champagne Pearl Metallic Kitchen — 22mm Slab, Bronze Edge Pull
Champagne is the one metallic a kitchen can carry at full run length without turning into a hotel lobby, and the reason is that it is a warm pale gold rather than a yellow: pearl mica in the lacquer scatters light instead of reflecting it, so the colour moves between a soft gold and a cool pale sand as you walk past, and never reads as brass. The risk with a metallic finish is that it needs a plain face to work — a shaker frame or a routed groove breaks the flop into strips and the whole run starts to look like a car panel. So the front here is a 22mm flat slab, sharp square edge, no frame and no groove, with the pull integrated as a 6mm brushed bronze aluminium profile let into the top edge of every base door and the bottom edge of every wall door. That single line is the only metal in the room and it does the work a handle would do, without a knob to catch a sleeve. Behind it sits an 18mm plywood carcass on 32mm system drilling, 720mm base boxes on a 100mm recessed plinth, Blum soft-close throughout, and a 20mm white quartz top with a fine grey speckle. Champagne is deliberately not another cream: the cream and high-gloss white kitchens in the range are neutral fills, this one is a finish that has to be seen moving before a buyer commits to it — which is what the three-panel approval set is for. A 20-piece OEM/ODM programme for importers, kitchen studios and multi-family developers.
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Smoked Oak Veneer Kitchen — Wire-Brushed Slab
Smoked oak is the answer to a question dark wood kitchens keep failing: walnut and stained oak look expensive for two years and then look flat, because a stain sits on the surface and a print repeats. Smoking is not a stain. The oak is fumed so the tannin in the timber darkens through the top 1 to 2mm of the veneer, which means the colour is in the wood and the grain stays visible under it, and a scratch reveals smoked timber rather than pale timber under a brown film. This kitchen uses a real 0.6mm smoked oak veneer, wire-brushed across the grain before lacquering so the early wood is cut back and the late wood stands proud — that is where the texture comes from, not from a printed emboss. Then a matt lacquer at 6 to 8 gloss units, thin enough that the open grain still reads at arm's length. The front is a 19mm flat slab with a milled finger groove along the top edge and 3mm shadow gaps held by the drilling, because a veneered face has no frame or beading to hide a racked box. Behind it, 18mm plywood carcasses on 32mm system drilling, 720mm base boxes on a 100mm recessed plinth, Blum TandemBox soft-close, and a 20mm white quartz top with a fine grey speckle. Deliberately the darkest wood in the range that is still a wood and not a paint — the walnut kitchen is browner and warmer, this one is grey-brown and cooler, and the difference is obvious the moment two doors are held side by side. A 20-piece OEM/ODM programme for importers, kitchen studios and residential developers.
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Compact Apartment Kitchen — 2.4m Galley Run
Most kitchen catalogues are photographed in rooms that do not exist in the buildings being built. A one-bed apartment kitchen is 2.4 metres of wall, one tall unit, a sink that has to sit under a window that is already in the drawings, and a benchtop that has to survive a tenant who never opens the rangehood. This run is designed to that drawing rather than to a showroom: four 600mm base units, three 600mm wall units at 700mm above the bench, one 600mm tall unit carrying the oven, and a 20mm compact laminate top with a 100mm upstand — the specification that passes a project audit without a stone mason on site. The module grid is the important part. Every unit is a 600mm multiple with a 3mm front gap held across the range, so a run can be shortened or extended on site by the joiner without ordering a custom carcass, and so the same door front fits the kitchen in apartment 204 and apartment 811. Bases are pale natural oak veneer with a horizontal grain; wall cabinets and the tall unit are matt warm-white lacquer, because in a small room the eye needs the dark weight below and the light mass above. Carcasses are 18mm plywood rather than MDF for the same reason they are in our project vanities: a sealed apartment kitchen with a recirculating rangehood holds moisture and heat against the carcass. Flat-packed in unit-numbered packs for goods-lift delivery, or assembled and corner-protected where the contractor wants finished boxes on the floor. A 20-kitchen-per-model OEM/ODM programme for developers, joiners and fit-out contractors.
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Mushroom Matt Lacquer Kitchen — Wide Slab Handleless
Mushroom is the colour the market reached for once cool grey stopped selling and white stopped being a decision. It is a warm grey-brown with a red-yellow undertone, and that undertone is exactly why it is hard to make: spray it on a warm basecoat and it goes brown, spray it on a cool one and it goes green, and under a 3000K downlight both faults show at once. This kitchen is built around that problem. The face is a 19mm wide slab, flat, with a 20mm milled finger groove along the top edge and no frame, so there is nothing to break up the colour and nowhere to hide a mismatch. The lacquer is a two-coat polyurethane at 4 to 6 gloss units over a neutral sealed primer, and the batch is colour matched to a supplied panel under both 3000K and 4000K light before it is released — because a mushroom that looks right in the spray booth and green in a customer's kitchen is a recall, not a shade variation. Behind the face, 18mm plywood carcasses on 32mm system drilling, 720mm base boxes on a 100mm plinth recessed 60mm, Blum TandemBox soft-close, and a 20mm white quartz top with a fine grey speckle. Wide slab rather than shaker on purpose: at this tone, a beaded frame reads traditional and heavy, and the flat face lets the worktop and the wall do the detailing. A 20-piece OEM/ODM programme for kitchen studios, importers and residential developers.
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Olive Green Matt Lacquer Kitchen — Brass J-Profile
Olive is the warm green the market moved to once sage went pale and forest green stayed a statement. It is also the hardest green to spray, because olive is a yellow-green with a black component: on a cool basecoat it reads grey, on a warm one it reads khaki, and under a 3000K downlight a batch that looked right in the booth turns brown. This kitchen is built around that problem. The face is a 19mm slab with no frame, so there is no shadow line to hide a colour drift, and the lacquer is a two-coat polyurethane at 4 to 6 gloss units over a neutral sealed primer, approved against a 200 x 300mm sprayed sample under both 3000K and 4000K before the batch is released. Handleless without a milled groove: a 20 x 12mm anodised aluminium J-profile in brushed brass runs along the top edge of every base door and the bottom edge of every wall door, mitred at the corners and clipped into a 4mm kerf, so the pull load goes into an aluminium extrusion instead of into a 9mm MDF web. The result is a 12mm shadow line that reads as a metal detail rather than as a finger recess. Behind it, 18mm plywood carcasses on 32mm system drilling, 720mm base boxes at 570mm deep on a 100mm plinth recessed 60mm, Blum TandemBox soft-close, and a 20mm white quartz top with a fine grey speckle. A 20-piece OEM/ODM programme for kitchen studios, importers and residential developers.
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Stone Grey Concrete-Effect Kitchen
Concrete has been the most requested kitchen look of 2026 and the least practical to deliver: real poured concrete means 40mm slabs, structural floors and a price no retail programme can carry. This programme reproduces the surface instead — a stone grey PET laminate with a fine mineral mottle and a genuinely matt, non-reflective face, wrapped on 18mm flat slab doors that keep the 3mm shadow gaps and the flush front the concrete look depends on. The texture is in the laminate, not printed onto it, so the mottle does not repeat across a run and does not polish where hands touch it. Under the surface it is a conventional 18mm MDF or plywood carcass on 32mm system drilling, so it quotes and ships like any other FAME programme. A second-cycle finish available across base, wall, tall and drawer units.
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Sable Linen Textured Kitchen
Every sand-beige kitchen looks the same in a photograph and completely different in a room, and the difference is almost never the colour — it is the surface. A flat matt panel at this tone reads as plastic under a window; the same tone with a fine woven emboss reads as cloth, holds a soft shadow along every 3mm gap, and stops showing finger marks after the second week. This programme is a sand super-matt PET with a woven-linen emboss rolled into the foil, not printed on it, laminated to a 19mm slab door with a laser edge. The texture is 0.3mm deep and directional, so it catches raking light from a window the way fabric does, and it does not repeat across a 6m run the way a digital print does. Underneath it is the standard FAME carcass: 18mm E1 board, 32mm system drilling, soft-close throughout. A second-cycle finish available across base, wall, tall and drawer units — aimed at French importers and cuisinistes selling into the beige-neutral market without wanting the fifth glossy cream kitchen on the street.
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Pistachio Matte Handleless Kitchen
Most green kitchens fail in one of two ways: the tone is dark enough that a small room closes in, or it is grey enough that the green disappears under a north-facing window. A pale pistachio sits between the two — light enough to keep a 3-metre kitchen bright, warm enough that the yellow in the pigment still reads as green at 400mm, and quiet enough to sit under a white quartz top without competing with it. This programme is that tone in a super-matt finish on 19mm slab doors, handleless on a 3mm shadow gap with a dark bronze J-profile. Underneath it is the standard FAME carcass: 18mm E1 board, 32mm system drilling, soft-close throughout, widths from 300 to 1000mm on a 50mm grid. A second-cycle finish available across base, wall, tall and drawer units, aimed at importers and kitchen studios that already carry sage and olive and need a lighter green for smaller rooms.
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Aubergine Matt Lacquer Kitchen
Aubergine is the most misjudged colour in a kitchen showroom, and the reason is almost always the light it was sampled under. A plum pigment carries red and blue in roughly equal measure, so under a warm 2700K showroom spot it leans brown and reads easy, and under a north-facing window at 10am it turns violet and the customer asks what happened. Both readings are correct; what decides whether the kitchen works is the amount of black in the mix and the sheen on top of it. This programme is a deep aubergine with the black pulled back and the red held, sprayed at 4 to 6 gloss units so no specular highlight lifts the purple, on 19mm handleless slabs with a 3mm shadow gap and a dark bronze J-profile. Underneath it is the standard FAME carcass — 18mm E1 board, 32mm system drilling, soft-close throughout, widths from 300 to 1000mm on a 50mm grid. A second-cycle colour for importers and kitchen studios that already carry navy, forest green and charcoal and need a dark that is warmer than all three.
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Clay Pink Matt Lacquer Kitchen
Pink cabinetry fails for one of two reasons, and neither is the colour itself. It fails when the pink is a pastel, because a pastel in a kitchen turns sweet the moment a worktop goes on it. And it fails when the pink is clean, because a clean pink catches every variation in daylight and starts to read peach by four in the afternoon. Clay pink is the answer to both: red and yellow held back, a measured amount of grey and umber pushed into the mix, so the surface reads as a dusty blush at noon and as a warm neutral by lamplight. It is the one colour in our second finish cycle that no other programme in the range covers, and it is the colour UK buyers have been sampling since blush kitchens moved out of the design press and into retail. This programme is that clay pink sprayed at 4 to 6 gloss units on 19mm handleless slabs with a 3mm shadow gap and a brushed brass J-profile, on the standard FAME carcass — 18mm E1 board, 32mm system drilling, soft-close throughout, widths from 300 to 1000mm on a 50mm grid.
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Butter Yellow Matt Lacquer Kitchen
Yellow fails in a kitchen for one reason, and it is not the hue: it fails when the yellow has been cleaned up. A pastel becomes sweet the moment a worktop lands on it, and a saturated yellow starts shouting at 3pm when the sun comes round. The version that is working in 2026 is a butter yellow with the brightness taken out — golden rather than lemon, a measured amount of grey and a trace of umber pushed into the pigment so the face reads as a warm neutral by lamplight and as a soft yellow in daylight. It is the colour that replaced the all-white kitchen in a lot of 2026 specification, and it is the one gap left in our second finish cycle. This programme is that butter yellow sprayed at 4 to 6 gloss units on 19mm handleless slabs with a consistent 3mm shadow gap and a recessed brushed brass J-profile, built on the standard FAME carcass: 18mm E1 board, 32mm system drilling, soft-close throughout, modular widths from 300 to 1000mm on a 50mm grid.
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Bronze Metallic Shaker Kitchen
Shaker geometry with a finish that reads warmer than paint and calmer than brass: a multi-coat bronze metallic lacquer on slim 18 mm shaker doors, matched across wall, base and tall units in one coordinated run.
View product →Need a different category or layout? Request a custom quote →
Lacquer Painting — 油漆工艺
Lacquer Painting: The Premium Finish Your Market Buys
Full in-house painting line for kitchen doors and panels — from piano-gloss to soft-matte, on MDF for clean edges and true color depth. E0/E1 boards, ΔE<1 color control, and RAL / custom color matching for retail and project programs.
High-Gloss Lacquer
Piano-grade gloss with deep color saturation — white, cream, grey and black. Preferred for hotel & serviced-apartment kitchens.
View lacquer model →Matte Lacquer
Soft-touch matte surface, fingerprint-resistant — the Scandinavian / Italian minimal look that drives current European demand.
View matte model →PU & UV Coating
Two-component polyurethane and UV-cured systems for scratch resistance and color stability — full RAL and custom color matching, sample approval before mass production.
View painted model →Painted doors are available on any cabinet program — ask for a color-card sample set.
Materials
Choose the Board That Fits Your Price Point
MDF
Best for lacquer and matte finishes — clean edges, paintable, stable. Our volume workhorse.
Plywood
Water-resistant structure for humid kitchens and bathrooms; strong screw-holding for hardware.
Melamine / Particle
Cost-effective melamine-faced boards for retail price points, with edge banding color-matched.
FAQ
Kitchen Cabinet Sourcing Questions
What materials do you use for kitchen cabinets?
We manufacture kitchen cabinets in MDF, PVC, plywood and solid wood with melamine, lacquer and wood-foil finishes — including moisture-resistant options for kitchens and bathrooms.
Can you produce handleless and two-tone kitchen designs?
Yes. Handleless flat-panel, two-tone combinations, matte and high-gloss finishes, plus oak and walnut wood-grain foils are all standard production lines at our factory.
What is your MOQ for kitchen cabinets?
Our MOQ is 20 pieces per model — low enough for pilot programs — and fully customized OEM/ODM projects are quoted per design. Sample orders are welcome.
Do you produce complete kitchen programs?
Yes — upper cabinets, base cabinets, tall cabinets and islands as one coordinated program, with KD flat-pack or fully assembled options and export-ready packaging.
Supplying a Brisbane 2032-linked project? See the project range →
Planning a Kitchen Cabinet Program?
Send your cut-list, target price or reference photos — our engineers reply within 24 hours with a program quotation.
Start Your Kitchen Program