Sonia Delauney’s work with textiles and embroidery encouraged her to break down forms and emphasize surface structure. She quickly began designing book covers, posters, lampshades, curtains, and cushion covers. Delaunay produced objects throughout which the theory was submitted to the play of actual light. Her painting of 1912, Simultaneous Contrasts, reveals an interest in the dynamics of the surface design which then became her primary concern. Delaunay learned to use color freely through textiles. During the Summer of 1913 Delaunay began to make simultaneous dresses, in reaction against the drabness of current fashions. The patterns of abstract forms were arranged both to enhance the natural movement of the body to establish a shimmering movement of color. In the twentieth century, fashion which translated the principles of abstraction to, and defined modernity for, a broad public. At the same time, the production of art as commodified object is linked to the commodification of the female body after the First World War.