Wallpaper Tiger: The Florence Broadhurst Collection and Questions of Appropriation in Design
- Publisher:
- Instituto de Artes Visuais, Design e Marketing,
- Publication Type:
- Conference Proceeding
- Citation:
- Design Research Society (UK) International Conference - Wonderground, 2007, pp. 1 - 11
- Issue Date:
- 2007-01
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| Filename | Description | Size | |||
|---|---|---|---|---|---|
 | 2006009417.pdf | 1.19 MB |
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In 1959, Sydney-based textile designer Florence Broadhurst, also known as Madame Pellier, emerged on the design scene with a collection of prints inspired by Japanese motifs. Amongst these motifs were Art Nouveau and Art Deco swirls; abstract weaves and traditional tapestry designs, which the Sydney scene then considered revolutionary. With a team of young designers and screen printers at her side, Broadhurst set up a studio in the heart of avant-garde Paddington and began producing her lavish, bold coloured creations. These eclectic prints were featured heavily in wallpaper and interior furnishings and introduced the Australian post-war consumer to her vibrant geometric patterns and valiant colour plans. Eighteen years later, it seemed mysterious then, that Florence Broadhurst would be murdered where no motive was suggested and no perpetrator discovered. In the 90s, David Lennie, salvaged the Broadhurst prints under copyright of his screen-printing company Signature Prints. Since then, though the murder remains unsolved, the revival of Broadhurst s designs as part of Sydney s burgeoning interiors scene has prompted much speculation into the methods she originally adopted in her artistic process.
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