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By the turn in the 20th century, amateur advisors and publications were increasingly challenging the monopoly how the large retail companies had on decor.

English feminist author Mary Haweis wrote a few widely read essays from the 1880s by which she derided the eagerness in which aspiring middle-class people furnished their houses based on the rigid models accessible to them through the retailers.[10] She advocated anyone adoption of the particular style, tailor-made to the consumer needs and preferences on the customer:

"One of my strongest convictions, and one in the first canons of excellent taste, is our houses, such as fish’s shell along with the bird’s nest, will need to represent our individual taste and habits.
The move toward decoration like a separate artistic profession, unrelated for the manufacturers and retailers, received an impetus while using 1899 formation on the Institute of British Decorators; with John Dibblee Crace as the president, it represented almost 200 decorators throughout the country.[11] By 1915, the London Directory listed 127 individuals trading as interior decorators, which often 10 were women. Rhoda and Agnes Garrett were the primary women to learn professionally as decorators in 1874. The importance of their work towards design was regarded at that time as on the par with this of William Morris. In 1876, their work – Suggestions for House Decoration in Painting, Woodwork and Furniture – spread their applying for grants artistic design to a wide middle-class audience.[12]

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