Alex Foxton

Alex Foxton was born in 1980 in the east of England. He studied fashion at Central Saint Martins College of Art and Design in London, earning a BA in Womenswear in 2002 and an MA in Menswear in 2006. He went on to work as a designer for Louis Vuitton, Bottega Veneta, and Maison Margiela before going freelance, and later worked alongside Kim Jones at Dior.

Foxton began painting seriously around 2017 and has lived and worked in Paris for more than a decade. His paintings depict archetypal male figures, warriors, saints, and mythic heroes, frequently reworking Old Master compositions and queer photographic archives (including, in one series, the work of photographer Stanley Stellar) to examine masculinity and desire. His first solo exhibition with Galerie Derouillon in Paris, Ultra-Marine, opened in 2019, and he has shown there in solo exhibitions nearly every year since, including Saint George (2021), Hex (2022), and Swoon (2023). His work has also been shown in solo exhibitions at Various Small Fires in Los Angeles and Seoul and at Kapp Kapp in New York, and in a 2025 to 2026 exhibition at Salon 94's New York space presented in partnership with Galerie Derouillon.

Foxton's crossover from fashion to painting has drawn attention chiefly through the design world he came from. Kim Jones, the Dior creative director who has collaborated with and collected Foxton's work, discussed the painter's practice in a 2025 Cultured profile tied to a Salon 94 exhibition. W Magazine's 2023 profile framed his practice around openly gay subject matter and mythic male archetypes, noting his rapid pivot from a fashion career at Louis Vuitton, Bottega Veneta, and Dior into painting. Coverage to date has centered on this fashion-to-art narrative and on his treatment of masculinity and queer desire, rather than on an established critical consensus of the kind built up over a longer career.

Foxton's market is still forming. Galerie Derouillon in Paris is his consistent representing gallery, with an unbroken run of solo exhibitions there since 2019, while Various Small Fires, Kapp Kapp, and Salon 94 have hosted solo shows as exhibition partners rather than as long-term representation. His work has entered the public collections of the Institute of Contemporary Art, Miami, and the Santa Barbara Museum of Art. On the secondary market, documented auction results are modest and infrequent: a Phillips, New York sale realized USD 4,064, and a Tate Ward, London sale realized GBP 875 in a lot cataloguing a 2020 work; exact sale dates for these results could not be confirmed. Given the small number of public sales, no single result should be read as a definitive auction record.

Foxton is a living, actively exhibiting painter with a clear gallery home in Galerie Derouillon and growing museum interest, but his auction history is thin: only a handful of documented sales exist, at prices in the low thousands of dollars, and no catalogue raisonne or certificate-of-authenticity program exists to anchor attribution. Provenance should be checked directly against Galerie Derouillon's exhibition and sales records. Given the small number of public sales, any single auction result should be read as a data point rather than as an established market trend.