01 | Florence | A life papered over

She’s one of Australia’s most prolific and popular designers, and yet not many people know her name, let alone her audacious life story. Florence Broadhurst was from regional Queensland but people who met her later in life, thought she was English aristocrat. She reinvented herself many times throughout her life. Today she’s known for her wallpaper designs that cemented her in Australian design history. But a shadow lingers over her legacy; her unsolved murder in 1977. Guests: Helen O’Neill – Journalist and author, Florence Broadhurst: Her secret and extraordinary lives Dr Andrew Field – Associate Professor of Chinese History, Duke Kunshan University Babette Hayes OAM – Interior designer David Lennie – Screen printer, Signature Prints Sheridan Black – Owner, Signature Handprints Tony Russell – Former NSW Police officer David Lloyd-Lewis – Grandson of Florence Broadhurst Laura Doble – Interior design graduateCredits: Producer – Zoe Ferguson Engineer – Simon Branthwaite Executive Producer – Michelle Rayner

• 0:02Speaker 00

  She's one of Australia's most prolific and popular designers, and yet not many people know her name, let alone the story of her audacious life. Florence Broadhurst grew up in regional Queensland. But those who met her later in life thought she was British and an aristocrat. She reinvented herself many times throughout her life.

• 0:26Speaker 01

  Just how fabulous was her past? There were times when she made up some interesting stories.

• 0:31Speaker 02

  But who was the real Florence Broadhurst?

• 0:34Speaker 03

  Florence's story is a story of knowing you're different to everybody else.

• 0:38Speaker 00

  Today, she's known for her wallpaper designs that cemented her place in Australian design history. But a shadow lingers over her legacy: her unsolved murder in 1977.

• 0:52Speaker 04

  It was a shock.

• 0:54Speaker 01

  I don't feel that the investigation was very thorough.

• 0:58Speaker 04

  All the evidence disappeared.

• 1:00Speaker 00

  I'm Zoe Ferguson, and for ABC Rewind, as a longtime admirer of her extraordinary designs, I decided to try and unravel the many intriguing lives of Florence Broadhurst and the circumstances behind her brutal end.

• 1:18Speaker 00

  For one of the most influential and famous Australian designers of her time, I'm always surprised how few people seem to recognise the name Florence Broadhurst. I first heard about Florence through my sister Laura, who learned about her work while she was studying interior design in Sydney.

• 1:36Speaker 05

  Initially, I was drawn to Florence Broadhurst with the really strong, dynamic, bold prints. And then, you know, you look into the cockatoos and all of a sudden you've got this playfulness and really soft feeling. And then it all of a sudden goes to the geometric turnabout, where you have interlocking shapes that seem to move in front of you.

• 1:59Speaker 00

  And we didn't just see them as wallpapers. We saw them as artworks.

• 2:03Speaker 05

  So you've got to have that emotive response to her, and I really did. And I felt the energy and life from those artworks really coming out and speaking to me.

• 2:16Speaker 00

  After falling in love with Florence the designer, we then read about Florence the woman and discovered she had an incredible life.

• 2:25Speaker 06

  Florence Broadhurst presents a very colourful, not to say flamboyant, picture.

• 2:29Speaker 00

  She was what I think most people would think of as a typical artist, very colourful woman.

• 2:33Speaker 06

  Orange-red hair, multi-stripe black-and-white dress, and at least six rings, two bracelets, a jewelled watch, and earrings.

• 2:41Speaker 07

  But there were mysteries about her too.

• 2:43Speaker 00

  Florence lived many lives in her 78 years. She was a Queensland farm girl, a society lady. She was a performer, a teacher, a dressmaker, and even ran a car and truck garage.

• 2:55Speaker 07

  Oh no, you shouldn't have brought that up, not truck driver, oh dear.

• 3:00Speaker 00

  But it was her final chapter that really defined her and made a mark on Australian culture and design history.

• 3:06Speaker 07

  I'm really a designer. I've been born a designer and I've really been a designer all my life of one sort or another.

• 3:15Speaker 00

  That's Florence, talking on the ABC's Ellis Blaine Show in 1969. Blaine asked her about her childhood, and she paints quite a picture.

• 3:24Speaker 07

  My father was out here for some time and then back again in England, a cattle breeder. And he's breeding cattle and there's a place in London called Broadhurst Gardens. I don't find cattle very interesting. I go to the country here and you'll talk to the cows and they don't take any notice. Perhaps I was one of the branch of the family who strayed away from it.

• 3:41Speaker 08

  Was your father a wealthy man?

• 3:43Speaker 07

  Yes.

• 3:44Speaker 08

  Did this give you necessarily a happy childhood?

• 3:47Speaker 07

  Yes. He was able to buy me a piano because I wanted a piano at seven and a musician, to become a musician, so he bought me a piano.

• 3:54Speaker 08

  Did you have servants?

• 3:55Speaker 07

  Oh yes, always.

• 3:57Speaker 03

  Lies, lies, lies, lies. It's a fantasy, and an interesting one.

• 4:04Speaker 00

  That's Helen O'Neill, journalist and author of the biography Florence Broadhurst: Her Secret and Extraordinary Lives.

• 4:12Speaker 03

  The truth of the background she was born into bears very little resemblance to what she's describing in really vivid terms here. And quite apart from anything else, she's pretending to be British because she... Had realised in Australia that if you want to get ahead, perhaps you need to press certain buttons. And the English aristocracy was absolutely one of them.

• 4:40Speaker 00

  So where was Florence born?

• 4:41Speaker 03

  Florence Maude Broadhurst was born on the 28th of July, 1899, in a little place called Mungy Station, which is near Mount Perry in Queensland. Tiny little place in a cattle station where her father was managing the property. This was sort of hard knocks living. But it wasn't too long before you see Florence, who always had the straightest of backs and wonderful deportment, looking sort of regal compared to her school chums.

• 5:14Speaker 00

  And the way she held and presented herself was her secret weapon to get out of Mount Perry, out of Queensland and out of Australia.

• 5:22Speaker 03

  She's clearly not terribly interested in staying in that dusty cattle station. She manages to sing her way out of the bush in her late teen years, onto the stage.

• 5:34Speaker 00

  Florence gets a gig as a singer in an ensemble and with it, a ticket out of Australia.

• 5:40Speaker 09

  Introducing the Smart Set Diggers.

• 5:44Speaker 03

  So she joined a troupe called the Smart Set Diggers, which was one of a number of performing troupes that she joined, and was getting great reviews. She knew that she was, as she later put it, destined for more.

• 5:59Speaker 00

  As Florence steps on board a ship for an overseas tour, she undergoes her first transformation. She becomes Miss Bobby Broadhurst.

• 6:08Speaker 03

  The milieu that she was stepping into was an interesting one too, because these performers, they were a lot of oddballs, but amazingly talented oddballs. So you had people who would not have been accepted in society back at that time, cross dressers, gay men, gay women. So when she stepped on board that first vessel to take her to those other countries to perform, she started to become something that was really very unusual for a woman of her age. She was travelling alone, she had no husband. She was just there to be herself.

• 6:44Speaker 00

  Then in 1926, after years of touring and performing in Kuala Lumpur, Bangkok, Delhi and Hong Kong, Florence goes to Shanghai.

• 6:54Speaker 09

  Why was Shanghai called Paris of the East? It's quite an amazing place.

• 6:57Speaker 00

  That's Andrew Field, Associate Professor of Chinese History at Duke Quinhshan University.

• 7:05Speaker 09

  Well, Shanghai in the 1920s and 30s was characterized by three words: light, heat and electricity. By the 1920s, it had become quite a decadent city. So it was associated with Paris in terms of the number of its brothels, as well as other nighttime spaces, such as cabarets.

• 7:29Speaker 09

  There were dazzling neon lights going down the main roads of the city, like Nanjing Road. You would just see a parade of neon signs advertising the ballrooms and the cabarets and the hotels and the nightclubs, the cinemas and all the other fun entertainment zones of the city.

• 7:51Speaker 00

  And when jazz came to Shanghai in the 1920s, this city was full of Westerners.

• 7:56Speaker 09

  Several thousand Americans, British and French, and a scattering of other nationalities. And it was those people who kicked off the jazz age in the city, dancing to jazz tunes and started learning the foxtrot and the Charleston.

• 8:16Speaker 00

  It was in this heady time that Florence sang and danced onstage, and then reinvented herself again, this time as an entrepreneur.

• 8:27Speaker 03

  In 1926, launched what she called the Broadhurst Academy, which is a finishing school. She offers to teach everything from violin to pianoforte, as they called it, musical culture, Banjaleli playing and the Charleston. So she's bringing her performing background into teaching a smorgasbord of things, targeting the wealthy British and American expats in the area. She wouldn't have told anyone where she came from at that point. I wonder if it's the first time Florence really began to develop that British accent. Because why would you employ someone from Nowheresville in Queensland

• 9:12Speaker 03

  to teach darling Daphne how to behave at the Royal Court? You wouldn't.

• 9:19Speaker 09

  Well, I think there are lots of stories of people from the Western world or the outside world coming to Shanghai, coming with a dollar in their pocket and reinventing themselves and becoming tiepans of industry. It was a boom town. So I'm sure that Florence Broadhurst's story was very typical of that time.

• 9:42Speaker 00

  But revolution was brewing in China.

• 9:45Speaker 09

  Between 1926 and 1927, foreigners in Shanghai were very nervous and many, in fact, left the country fearing the worst.

• 9:57Speaker 00

  In April 1927, hundreds of communists were arrested and tortured or killed. It was dubbed the Shanghai Massacre, and it was a pivotal moment in the Chinese Revolution.

• 10:09Speaker 03

  Florence wisely dipped out, came back to Queensland to see the family and stay with them for a while in Mount Perry.

• 10:15Speaker 00

  During this trip back home, Florence did shows at her father's pub. But one night, an after-party went terribly wrong. She borrowed her dad's car with some friends and took a corner too fast. The car rolled and they survived. But Florence suffered a fractured skull. And we don't know why, but this incident marked the end of her career as a performer.

• 10:38Speaker 03

  You would think, perhaps, that that might be the end of it and she might have found a nice husband nearby and married into, you know, the cattle breeding royalty. No, no, she then went to London to start again.

• 10:57Speaker 00

  London, 1929. Florence falls in love and marries her first husband, Percy Khan.

• 11:03Speaker 03

  It's a Catholic wedding. He's a stockbroker. The stock market was having big ups and downs at that time. And it's possible that the man, the family into which Florence thought she was marrying wasn't quite as she'd hoped it would be. Florence, at some point, begins to work with a dressmaker in London called Madame Courro.

• 11:30Speaker 00

  In the early 1930s, she opened her own dressmaking salon.

• 11:34Speaker 03

  Florence and her husband had become co-directors for something called Pelier Limited, robes and modes, which was in New Bond Street in London. And to do this, Florence had created a new persona.

• 11:49Speaker 00

  Florence becomes a French dressmaker and calls herself Madame Pelier.

• 11:55Speaker 03

  When I was looking at the images of Madame Pelier, I could see Florence's face, but everything else is different. Her hairstyle is slicked down onto her head. She looked almost like one of those wonderful Hollywood movie stars from the black and white era, very much a chic, flapper style. She took out adverts that were beautifully illustrated and very cleverly written, telling the hoi polloi of London that if they needed something super special, she was the woman to go to because she was a French couturier who could make anything, darling, anything.

• 12:33Speaker 00

  It's around this time that Florence and Percy separate. And then, in the mid to late 1930s, Florence falls pregnant with her first and only child, Robert.

• 12:42Speaker 03

  But not to her previous husband, Percy Khan. Florence had taken up with someone who's described on her son's birth certificate as a fruit merchant of 124 Kensington Park Road, Kensington.

• 13:00Speaker 00

  But World War II was looming, so Florence shuts up shop and Madame Pelier is no longer. We don't know much about Florence during the war years because there's a bit of a gap in the archives. We know she's living in Surrey and joins the Australian Women's Voluntary Services, but little else. After the war, in 1949, Florence, her new husband, Leonard Lloyd Lewis, and their baby boy, Robert, travel to Sydney and settle in Manly.

• 13:32Speaker 03

  With Leonard, she began a series of businesses that really related around trucking and cars and transport, that kind of thing.

• 13:44Speaker 00

  And in her spare time, Florence tries her hand at being an artist, painting Australian landscapes.

• 13:50Speaker 03

  And sold them to the press as the visions of someone who'd never seen this before because they came from the UK and they were in Sydney to recover from the ravages of World War II. She wanted to be a great artist and she did have some success. It was a very proud moment when the David Jones Art Gallery gave her a solo show.

• 14:11Speaker 00

  But despite a couple of exhibitions in the mid 1950s, her painting career doesn't take off. So she puts aside those ambitions and focuses on running the family business. But only a few years later, Leonard moves to Queensland, leaving Florence and their son Robert to run the car yard in St. Leonard's.

• 14:30Speaker 03

  So Florence, at this point, is knocking on 60. So for many people, this is when you start winding down. She has discovered that her husband is leaving her for a woman younger than their son. Her entire world is collapsing. He's her business partner as well as the father of their only child. Many people, at that point, I think, would retreat from the limelight and lick their wounds. Florence did something really different.

• 15:01Speaker 08

  Florence, if you could live your life over, would you change anything?

• 15:04Speaker 07

  Yes, I'd change it all.

• 15:05Speaker 08

  To what?

• 15:06Speaker 07

  The whole lot.

• 15:07Speaker 08

  You can't be serious.

• 15:09Speaker 07

  I quite seriously, I wouldn't have married the men I did and I wouldn't have stayed with them if I did. I should have got confidence to leave them and live my own life and express myself. I feel I'm, it's too late in the day. I'm trying to make up all the time for the years I wasted. So I'd change everything.

• 15:25Speaker 00

  As the 50s draw to a close, Florence opens a new chapter. Her life as a designer begins, all thanks to a moment of serendipity. One story goes that she went out to the shed behind the car yard to nag her young tenant to pay his rent. And when she went in, she saw he had wallpaper designs and colours he was experimenting with. She instinctively guided him, saying, "No, these wouldn't sell, but this would."

• 15:52Speaker 03

  And taught the tenant into creating for her the first of a series of designs that would later turn her into what she'd always wanted to be, which is an artistic figurehead in a city that needed, she felt, art, colour, vibrancy, culture.

• 16:13Speaker 00

  And so in 1959, she started her wallpaper business in the shed behind the car yard.

• 16:27Speaker 03

  Florence didn't just open up a wallpaper factory. What she opened up was a design studio where she employed artists to create artworks, which she then reproduced as high-level hand-printed wallpapers. Going from crazy psychedelics to amazing, almost anti-art geometrics that sometimes cross over into Art Deco swirls.

• 16:53Speaker 07

  Yes, well, you have to, because to balance a collection. You see, if I had all period designs, then what about the other people who want mod colour? You couldn't go on doing period designs, you'd get bored too. And you know that there's a call for now, bright psychedelic colours and flowers, which I like. Well, then I do that in advance of people. I lead them into it. I've led them into colour now tremendously, because I know that I have the feeling of a colour.

• 17:16Speaker 08

  Literally, though, the only person doing this in Australia.

• 17:18Speaker 07

  Yes, I am the only person in Australia doing it.

• 17:23Speaker 03

  I think her studio was unique in Australian design history. She was pushing the boundaries of what wallpaper could actually do at that point, developing foil wallpapers, all sorts of things that were not common and not easy to make.

• 17:45Speaker 07

  I was sitting at my manicure waiting for her to come along and looked at my thumbnail, which just looks so beautiful and so highly pearlised. And I thought, now that's what I should do. And by the time she came, I decided then to coat paper with this nail polish. And so I rang up France and they told me where to get it. And I rang up Japan and we got this nail polish, which I now coat the paper with, and it's coated in Mother of Pearl.

• 18:09Speaker 00

  This kaleidoscope of inspiration culminates in the vast and vibrant range of wallpaper designs Florence creates in the 60s and 70s, making an indelible mark on Australian design history.

• 18:25Speaker 00

  Some of her hallmark designs include one called peacocks. Two peacocks sit on a branch, looking in opposite directions, their tails draping down. Another popular design is called Japanese floral. That's one of my favourites. The flowers stand on stalks, reaching upwards, unfurling their petals. It's simple, elegant and active all at once. Florence used metallic papers for these designs, which really made them pop. They were completely different to what was on the walls of Australian homes at the time. Can you tell me about what was deemed risky in terms of interior design in the 1960s in Australia when you came here?

• 19:09Speaker 01

  Oh my god, a lot of things.

• 19:12Speaker 00

  That's Babette Hayes.

• 19:13Speaker 01

  I'm a journalist, interior designer. I've been at it for years and years. I came to Australia in 1965.

• 19:22Speaker 00

  And she noticed that Australians were very safe in their choices of interior design and wallpaper, and mostly importing it from overseas.

• 19:31Speaker 01

  Because it wasn't produced in huge quantities locally. But the thing about someone like Florence was that she produced unique designs. Some of them were incredibly large geometrics. There was one paper that was a whole row of Persian fans, big, big fans. Then there was another paper that had lots of beautiful peacocks. So you had to have the courage and the guts to use these in your home or in the office or wherever you were going to use them.

• 20:03Speaker 07

  People have been waiting for someone to do that. They've been waiting to be led into it. They had no choice. If they haven't got the choice, how can they express themselves?

• 20:11Speaker 00

  Florence's designs are elegant and timeless. And at a studio tucked away in St Peter's in Sydney, there are stacks of her original silkscreen prints.

• 20:22Speaker 00

  It's kind of tucked behind the Princess Highway and it's off a really famous laneway called May Lane. Its walls and corrugated iron backs of gardens and sheds just covered in street art. Decades ago, David Lennie became the custodian of Florence's silkscreen prints when he bought Signature Prints, the company that owned the Florence Broadhurst Library. Hi, nice to meet you. How are you?

• 20:53Speaker 10

  I'm good.

• 20:53Speaker 00

  Good. He and his small team spent years identifying and restoring the design archive. And right now, we're standing in front of them, hundreds of original Florence Broadhurst wallpaper silkscreens. They've got wooden frames with a silkscreen pattern insert and they're about a metre high and wide. Her wallpaper was a bit wider than normal, wasn't it?

• 21:17Speaker 10

  She went straight to American standard, which is 70 wide. So all the English and European, which was all that had come to Australia before, was all 50, 52.

• 21:27Speaker 00

  Why do you think she made it wider?

• 21:29Speaker 10

  Because you could have a bigger design. It gave you much more design freedom. It was really clever.

• 21:35Speaker 11

  And all the buckets are all the raw ingredients. You can see the metallics shimmering.

• 21:40Speaker 00

  Oh, they're beautiful.

• 21:41Speaker 11

  Yeah, all here.

• 21:42Speaker 00

  Yeah. To show me how it works, Sheridan Black, the owner of Signature Hand Prints, jumps into action and picks up a silkscreen of curly swirls. It's a timeless and psychedelic design. She lays paper on the long table and then places the silkscreen over the paper, pours black paint on top and with a squeegee-looking tool, runs the paint all the way down the screen.

• 22:10Speaker 11

  So it's the concept of open and closed.

• 22:14Speaker 00

  Mm-hmm.

• 22:15Speaker 11

  So certain sections of the screen are open. And so if I hold it up and show it to you, if you look through certain sections, you can see me. So they're called open. And that's where the ink passes through.

• 22:26Speaker 00

  Okay. How many designs did she make?

• 22:31Speaker 10

  She said she had over a thousand designs. Whether that was true or not, whether some had been disposed of, who knows? But we finished up with 530.

• 22:41Speaker 00

  That's an extraordinary number, isn't it?

• 22:44Speaker 10

  It's ridiculous. It's a huge library, much, much too big to have come out of one person's hand. It's come out of a design studio.

• 22:53Speaker 00

  There's some debate over whether Florence physically drew every wallpaper design herself, as she claimed. Florence's son, Robert, insists she did. But others, like David Lanny, think that's a little hard to believe.

• 23:07Speaker 10

  Her design students and her designers worked under her level of excellence. That's what you're doing. You're not holding the pen every day. But you can look over a shoulder and say, no, put that branch there. Or no, put that bird there. That's what your job is. And when you go through the library, they are really good designs because they are balanced and they work.

• 23:31Speaker 03

  Some people felt that hers wasn't the pen, that the pen belonged to the girls that she employed. There's also the fact that in the 70s, her eyesight was becoming so compromised. But the artistic vision was Florence, the hands were someone else's.

• 23:51Speaker 00

  How do we know that the hand wasn't hers?

• 23:53Speaker 03

  I didn't really talk to anybody who could tell me that it was.

• 23:57Speaker 00

  Florence and her designers worked really closely together, but that didn't mean they always got on.

• 24:03Speaker 01

  There were times when she was really quite harsh when she talked to her staff. Because she was very clear-cut about the way she wanted things to be, there was no nonsense about what she had to say. But in the end, it didn't seem to stop a lot of people because she was adding more and more printing tables. They were working incredible hours on producing a huge amount of wallpaper.

• 24:31Speaker 00

  But even though Florence may not have physically drawn each design, she was the designer. And in her designs, you can see glimpses of her life. Places she'd been, cultures she'd experienced, and fabrics she loved.

• 24:45Speaker 03

  Everything Florence had seen in her remarkable life, everywhere she'd been, has voice in the images in one place or another. You can see shadows, and sometimes it's right in your face. The Orient, but specific things about the Orient. Garments that she has photographed wearing. She had this innate understanding of what people wanted to buy. She really knew people. Her product was expensive, so it had to be people who had money.

• 25:22Speaker 12

  To meet her list of clients, you'd have to start at the very top of the social register and then very gradually make your way down.

• 25:30Speaker 00

  For a decade, Florence and her small team worked together in the workshop out the back of the truckyard on Sydney's North Shore. Then, in 1969, she moved to the inner eastern suburb of Paddington, closer to her clientele.

• 25:49Speaker 00

  I'm in Paddington in Sydney, standing outside of a pretty nondescript row of units. And it's where Florence's wallpaper studio used to be. She wanted to be among high society's movers and shakers, those with style, flair, and money. The new premises had a big factory downstairs that buzzed with designers, while upstairs, there was a showroom and Florence's office. And Florence showed no signs of slowing down, despite her age.

• 26:19Speaker 07

  You must be able to go on talking to people and go on designing. You don't sit down and chew the end of your pencil, wonder what's going on next. Your ideas must flow all the time. There's never a time when you haven't got dozens and you mustn't stop. It's no effort.

• 26:33Speaker 00

  But it's here, at her Paddington studio, that her incredible story is cut short.

• 26:39Speaker 03

  Because she was like a flame. It was as though nothing could extinguish her. But something did.

• 26:48Speaker 12

  Police today said they were carrying out routine investigations.

• 26:51Speaker 07

  On October 15, 1977, Florence Broadhurst was murdered.

• 26:56Speaker 12

  Apparently, the assailant walked into the building through the open door.

• 26:59Speaker 01

  It was a shocking murder, a shocking attack on a woman. The way she was beaten up and attacked was a horrific story.

• 27:09Speaker 04

  The neighbour had expressed concern for Florence Broadhurst in her factory as the front door was left open all night and the lights were on. He asked us to attend to check on her welfare.

• 27:20Speaker 00

  Tony Russell says he was one of the two police officers first on the scene who discovered Florence's body.

• 27:26Speaker 04

  I basically walked out. I was in shock. I needed fresh air because I was going on the faint.

• 27:31Speaker 00

  Next time in Part Two, the circumstances around Florence's untimely end and the police investigation into her murder.

• 27:40Speaker 01

  I don't feel that the investigation was very thorough.

• 27:45Speaker 03

  Detectives couldn't find the physical evidence collected at the time.

• 27:49Speaker 01

  Obviously, it was someone who felt a lot of hate and anger.

• 27:53Speaker 03

  It appeared that Florence had known her killer.

• 27:56Speaker 13

  As I've grown to understand my grandmother's story, from different perspectives, our story has been surrounded by trauma and grief.

• 28:07Speaker 00

  That's next time on ABC Rewind. Today's episode was written and produced by me, Zoe Ferguson. The sound engineer was Simon Branthwaite.