If you’re looking for fabric companies accepting art submissions, I would start with companies that clearly explain how they review artist portfolios, designer programs, or marketplace applications. Some are traditional fabric manufacturers that license collections, while others are print-on-demand fabric platforms where you can upload and sell your own designs. Either way, the strongest submissions usually show a cohesive point of view, clean repeats, useful coordinates, and artwork that feels ready for real fabric.
Fabric companies accepting art submissions I would check first
The fast answer: yes, there are fabric companies that accept artwork from surface pattern artists, but they do not all work the same way. Some want a full collection. Some want 5–10 strong images. Some want a portfolio link before they ask for files. Some are marketplaces where you apply, upload, and sell directly.
Here are actual companies with submission or artist application pages worth checking:
- Robert Kaufman Fabrics artwork submission guidelines – They say they consider artwork even if it is not already in textile repeat, and they ask for 5–10 images that show the range of your work.
- FreeSpirit Fabrics designer submission information – Their FAQ says they are looking for artists interested in designing fabric lines and asks for a portfolio, bio, resume, licensing information, agent information if applicable, and a short statement.
- Dandelion Fabric & Co art submissions – They specifically ask for detailed, colorful designs and say they work in collections of 8–12 designs with main, secondary, and blender prints.
- Lumin Fabrics designer submissions – They look for textile designers with a cohesive body of work, strong color sense, and artwork that translates well to quilting and sewing.
- The Textile District designer program – This is a designer program for artists who want to sell custom printed fabric by the yard through their platform.
- Spoonflower artist application and selling guide – This is more of a marketplace model than a traditional licensing deal, but it is one of the most accessible ways to start selling repeat patterns on fabric.
- Contrado sell your art program – Contrado lets artists create an online store and sell designs across products, including textile-based products.
- The Colour Collab artist submissions – They have an artist submission form asking for artwork, portfolio, social links, location, and licensing history.
I would not treat all of these as equal opportunities. Robert Kaufman, FreeSpirit, Dandelion, and Lumin are closer to the traditional fabric licensing path. Spoonflower, Contrado, and The Textile District are better if you want to test designs, build proof of interest, or sell without waiting for a licensing deal.
What I would submit to a fabric company
I would not send a random folder of pattern files and hope the art director figures it out. Fabric companies usually need to see how your work functions as a collection.
For quilting cotton or sewing fabric, I would prepare a tight PDF with:
- 1 strong hero print
- 2–3 secondary prints
- 3–6 smaller coordinates or blender prints
- A limited color palette
- A collection name
- Your name, website, email, and Instagram if relevant
- A short artist bio
- Simple fabric mockups if they help show scale
This is where a lot of artists get stuck. A beautiful single pattern is not always enough. A fabric buyer or creative director is usually thinking about how a maker will use the whole group together. If the main print is bold, the supporting prints need to give it room to breathe.
I would also make sure the presentation feels clean and easy to review. Art directors are busy. A simple PDF with clear pages usually works better than a giant file, a messy Dropbox folder, or a long email with too much explanation.
Think in collections, not just patterns
The biggest shift for surface pattern artists is learning to think like a fabric designer instead of only an illustrator. A fabric collection needs rhythm. It needs scale changes, quiet areas, contrast, and enough variety to make quilts, bags, garments, and home sewing projects feel possible.
When I look at my own artwork through that lens, I ask:
Does this collection have one obvious lead print?
Are the coordinates actually useful, or are they just weaker versions of the main idea?
Would someone be able to mix these designs without the whole thing feeling too loud?
Does the palette feel intentional?
That kind of thinking matters more than trying to make every pattern the star.
If you are still learning how licensing works in general, I would read my guide to art licensing before pitching. Fabric licensing is its own lane, but the basic ideas around usage, rights, payment, and presentation still apply.
Traditional fabric licensing versus marketplace selling
There are two different routes here, and I would keep them separate in your head.
A traditional fabric company may license your collection, manufacture the fabric, sell it wholesale, promote it to shops, and pay you through royalties or another agreement. This path can be harder to get into, but it can also put your work in front of established retailers.
A marketplace or print-on-demand fabric platform lets you upload designs, sell them directly, and build your own audience. This is usually easier to start, but you may be responsible for more of the marketing yourself.
Neither option is automatically better. I like the idea of using marketplaces to test artwork while also pitching selected collections to companies. If a pattern gets attention on Spoonflower or through your own audience, that can become useful information when you pitch later.
For a deeper look at the bigger licensing path, I would connect this topic with art licensing for surface pattern designers and how to pitch art licensing.
What to check before sending your artwork
Before I submit to any fabric company, I look for a few basic things.
First, I check whether the company’s existing collections fit my work. If they mostly sell soft florals and I send aggressive graphic skulls, that is probably not a good fit unless they are clearly expanding.
Second, I read the submission page carefully. Some companies want a PDF. Some want a form. Some want a portfolio link. Some do not want large attachments. Ignoring those instructions is an easy way to look inexperienced.
Third, I do not send high-resolution production files upfront unless the company specifically asks for them. A portfolio PDF, lower-resolution samples, or a password-protected portfolio is usually enough for the first contact.
Fourth, I keep track of where I submitted. I would use a simple spreadsheet with the company name, link, contact date, artwork sent, response, and follow-up date. It is boring, but it keeps you from accidentally pitching the same company the same work three times.
This is also where it helps to understand art licensing submissions and what usage rights mean in art licensing before you get interest from a company.
A simple pitch structure I would use
I would keep the first email short. The goal is not to tell your life story. The goal is to make it easy for the right person to review the work.
Here is the basic structure I would use:
Hi [name],
I’m a surface pattern artist interested in submitting artwork for your fabric line. I’ve attached a small portfolio PDF / included a portfolio link with a few collections I think could fit your customers.
My work focuses on [brief description: nature-inspired collections, playful novelty prints, painterly florals, modern quilting coordinates, etc.]. I’m especially interested in fabric because [short, specific reason].
You can view the portfolio here: [link]
Thank you for taking a look,
[Your name]
That is enough. If the work is right, they will look. If they need more information, they will ask.
Build the portfolio before you chase the company list
A company list is useful, but the portfolio is what actually carries the submission. I would rather send three polished collections to five well-matched companies than send twenty half-finished patterns to every fabric company I can find.
Before sending anything, I would make sure the portfolio shows:
- Cohesive collections, not isolated experiments
- Repeats that look clean and usable
- A range of scale
- Color palettes that feel intentional
- A personal style that does not look copied from current fabric trends
If you need a practical next step, build one strong collection first. Make it clear, compact, and easy to review. Then choose three companies from the list above that genuinely fit the work and submit according to their instructions.
For a useful education-based reference near the end of your prep process, I’d also look at FIT’s Textile/Surface Design portfolio requirements. It is for school admissions, not licensing, but it is a helpful reminder that textile work needs to show original artwork, process, and a clear visual point of view.
My next step for pitching fabric companies
I would start with one finished collection and one small backup collection. Then I would submit slowly, track every contact, and refine the portfolio based on the kind of responses I get.
For me, the practical order would be: finish the collection, make the PDF, research fit, submit to the most relevant companies first, then follow up only when the company’s submission page makes that acceptable.
The goal is not to blast your artwork everywhere. The goal is to make it easy for the right fabric company to see how your art could become fabric people actually want to sew with.