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By the turn from 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 several widely read essays within the 1880s by which she derided the eagerness in which aspiring middle-class people furnished their houses in accordance with the rigid models accessible to them through the retailers.[10] She advocated anyone adoption of an particular style, tailor-made to the average person needs and preferences from the customer:

"One of my strongest convictions, and one on the first canons of a good taste, is the fact that our houses, such as the fish’s shell plus the bird’s nest, really should represent our individual taste and habits.
The move toward decoration like a separate artistic profession, unrelated for the manufacturers and retailers, received an impetus using the 1899 formation on the Institute of British Decorators; with John Dibblee Crace since its president, it represented almost 200 decorators round 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 right at that moment as with a 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 decor to a wide middle-class audience.[12]

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