Research Point - Flat surface designs

Charles Rennie Mackintosh used stylised flowers and simple patterns that, even though they were designed more than 100 years ago, still look fresh and modern. Most of the designs lean towards abstraction and there is no attempt to include shading or any devices to suggest 3 dimensions. I can't be objective about his work because I like it too much.
The V&A has an interesting short piece on the history of wallpaper here. Although we associate William Morris with wallpaper design they say that his influence was less than we generally believe. His ability to translate natural motifs into flat designs that were printed using blocks tessellating the design is impressive. Here is a Pathe film of hand printing wallpaper.   Owen Jones who predated Morris has much bolder busier designs,which can be seen in this postcard from the V&A. Also from the V&A I have postcards of flat designs by CF A Voysey (1857-1941) here, and Lindsay P Butterfield (1869-1948) which are very similar. Liberty department store was set up in 1874 in competition with William Morris and continues to sell flat patterned fabric designs. I found a Tate interview with Liberty designer Emma Mawson.
It's difficult to find much about Cath Kidson  but, whether you love or hate their nostalgia, her designs are very influential .
Similarly Orla Kiely whose designs I really don't like. I think it's her choice of colours, drab orange, brown and gold, and the motifs which look so 1970's, a decade that I'm not a massive fan of.
For completeness the article here claims to list the 50 most beautiful wrapping papers ever. I don't think that I agree but it does serve to show a range of designs. Whilst researching this I found lovely chocolate bar wrapping designs for Mast which are slightly outside the scope of this assignment but I include them here as I think that they are so beautiful.
Alternatively Kelly Hoppen attempts the illusion of 3 dimensions with her Tromp l'oeil wallpapers.
Many of the designers use an element of abstraction. Each part of the motif is the same size and shading is kept to a minimum.. For commercial applications almost all of the designs use repetition to create the effect which may require subtle tessellation  to link the elements of the design.