In 1899, The Studio, an art and design magazine, wrote that Dresser was "not the least, but perhaps the greatest of commercial designers imposing his fantasy and invention upon the ordinary output of British industry." Up until his death in 1904, Dresser designed for several manufacturers, creating distinctive wallpaper, unique ceramics, and startlingly modern art glass. Drawing on his knowledge of design history together with his appreciation of Japanese aesthetics and techniques, Dresser continued to break new ground in his treatment of materials, form, and functionality. Simultaneously, he responded to contemporary influences, such as the aesthetic sensibilities of Aubrey Beardsley and Charles F. A. Voysey. Dresser's influence waned in the decades following his death. However, interest in Dresser was revived by a 1937 article, "Christopher Dresser, Industrial Designer," written by noted British architectural historian Nicholas Pevsner based on conversations with Dresseršs daughters. While exhibitions in the 1950s and 1960s confirmed Dresser's impact on modern design, only now is he receiving proper recognition for his stylistic innovation and the formative role he played in defining the modern-day profession of industrial design.