Martin Battersby looks in his book on 'The Decorative Thirties' at interior decorators,
If anything Paul Nash understated using the word 'formidable' to describe the women interior decorators. The generation of women who in the postwar years had been desperately and hopefully trying to earn a living from the decorative arts were mostly inexperienced in business and totally unprofessional, gentlewomen to the last with their sad leather bookmarks, pixie ornaments made out of pine cones, powder bowls decked with barbola flowers, rolled-paper bead necklaces and photograph frames decorated with swirls of sealing wax. There were a few skilled craftswomen whose talents were considerable enough to enable them to survive into the thirties: Stella Crofts who modelled vigorous and unsentimental animals in pottery; the textile printers Dorothy Larcher, Enid Marx an Phyllis Barron; Sybil Dunlop whose silver jewellery set with multicoloured semiprecious stones had - and still has - echoes of the Italian Renaissance and Ashbee's School of Handicrafts, and Dorrie Nossiter whose jewels are described as 'Poetry made precious'. But these were exceptional and the majority of the pathetic courageous figures had faded in the twenties. (Battersby 1971 p68, also 1975 edition)
Nash, Paul. (1932) Room and Book. New York: Charles Scribner's Sons.