In conversation with Ines Alpha on merging art and tech to empower digital self-expression and redefine beauty
Ines Alpha is a pioneering digital artist whose work seamlessly merges the worlds of beauty, technology, and 3D design. With a background as an art director in the luxury and fashion industries, she began exploring 3D software as a personal creative outlet, ultimately leading to the development of her signature aesthetic: 3D makeup. Her visionary approach transforms the human face into a canvas for surreal, ethereal creations, offering a bold reimagining of identity and self-expression in the digital age.
During her participation as a speaker at the OFFF Festival in Barcelona, Visual Atelier 8 had the opportunity to engage in an insightful conversation with Ines. In this exclusive interview, she shares her journey from the traditional beauty industry to the forefront of augmented reality, discussing how experimentation, digital tools, and artistic intuition converge to shape a new narrative in contemporary beauty culture.
Initially, you began your journey in the beauty industry as an art director. Tell us what inspired the leap into 3D artistry and digital experimentation? The turning point
My transition into 3D artistry wasn’t a linear or obvious path. I started out as an art director in an advertising agency, specializing in beauty, luxury, and fashion. While the job had its creative aspects, I found myself becoming creatively stifled. To keep my curiosity alive, I started experimenting with 3D on the side, it felt fun, exploratory, and fresh.
Eventually, I reached a point where I knew I couldn’t continue in the rigid structure of advertising anymore. Fortunately, in France, we have a support system that allowed me to receive unemployment benefits, giving me the financial flexibility to take time off and explore a new direction.
One of my early experiments was placing 3D elements directly on the face. This wasn’t a calculated career move, it was one of many experiments, but it felt special. I had never seen anything like it before, and it truly excited me. That became the seed for what would eventually become my artistic signature.
At that time, augmented reality was not widely accessible, you needed to code, and I didn’t have that skill. So I used the tools I could access, focusing on CGI and post-production. Everything I learned was self-taught through countless YouTube tutorials, from face tracking to compositing, everything. Later, when platforms like Snapchat and Instagram began offering AR filters, it allowed me to democratize my work and make it accessible to others.
Can you describe the moment you realized you could merge technology with beauty in such a revolutionary way?
It happened gradually but became clearer as I started applying 3D art to human faces. Initially, people referred to my work as “filters,” but I resisted that term because what I was doing felt more cinematic, more beautiful than gimmicky effects like unicorns puking rainbows.
When AR technology became more accessible, I was finally able to share my vision more widely. That moment, when I could place my digital makeup directly onto people’s faces through a screen, was a revelation. It was the point where beauty, technology, and storytelling collided, and it felt powerful.
However, that journey hasn’t been without setbacks. For example, when Meta shut down Spark AR, one of the primary tools for AR filter creation, it was incredibly disappointing. Not only did it make the software inaccessible, but they also deleted all previously created filters within three months. Instagram had been the ideal platform for showcasing visual AR work, and losing that visibility was a major blow for many artists, including myself.
Your work often feels ethereal and otherworldly. What are your biggest creative inspirations when designing your digital looks?
One of my greatest sources of inspiration is the ocean, especially sea creatures. The underwater world already feels like an alien planet. I don’t dive, and I don’t live by the sea, so it’s inherently mysterious and magical to me. Creatures like jellyfish, with their translucency, color, and fluid movement, deeply influence my designs. Their elegance and softness defy the rules of gravity in a way that’s impossible on land.
I’m also inspired by drag artists. Their incredible ability to transform themselves into different characters and beings resonates with me artistically. Like them, I aim to stretch identity and self-expression through digital tools.
Your pieces often appear to extend or enhance the body in fantastical ways. How do you approach the relationship between the digital and physical self?
The physical and digital selves are closely intertwined in my work. I like to think of my 3D makeup as a second skin, not a mask. That distinction is important. It should feel like it grows from the skin, not like something placed on top of it. I also try not to distort or beautify the face to fit mainstream standards. I’m much more interested in adding layers of fantasy, almost like accessories or visual poetry, so that users focus more on the magic than on their perceived imperfections.
This philosophy extends into empowerment. For example, someone who might feel self-conscious one day could try on a digital creation and momentarily escape that feeling, not by masking their identity, but by celebrating it in a new light.
I’ve also had the chance to explore this digitally-physical boundary further through collaborations, like working with a jewelry studio that brought one of my digital designs into the physical world. Soon, I’ll also be launching a 3D-printed sunglasses line in partnership with a French platform that scans users’ faces to create custom-fitted eyewear. It’s exciting to see how the digital realm can evolve into wearable, tangible beauty.
How has your aesthetic evolved over the years?
Finding my style was not immediate, it was a journey. I used to feel lost because I could draw or design in so many ways but never in a consistently recognizable style. That frustrated me as a student.
But over time, through experimentation, I started gravitating toward certain materials, textures, and techniques. Iridescent colors, glossy finishes, skin-adherent designs, those became the visual language I now refine.
To help myself stay original and avoid unintentionally copying others, I imposed constraints. For example, my 3D makeup must be nearly impossible to replicate physically, and it should enhance the skin rather than mask it. These boundaries helped define my aesthetic and differentiate my work.
At the same time, I remain very aware of audience feedback. I don’t let it drive my creative direction, but I value the interaction. It’s better to spark strong opinions, even criticism, than to go unnoticed. Still, I believe the first person who should approve of your work is yourself. That remains my guiding principle.
Do you view 3D makeup as a tool for empowerment, and if so, how?
Absolutely. Like physical makeup, 3D makeup can be empowering, but with a broader reach and different implications. While physical makeup requires skill, tools, and confidence, digital makeup offers instant transformation through accessible tech like smartphones.
However, it can also be misused. Beautifying filters that conform to harmful beauty standards can erode self-esteem over time. That’s why my work strives to offer a different kind of beauty, fantastical, and emotionally resonant. If someone tries one of my face filters and feels even a momentary spark of joy or self-acceptance, then the work has served its purpose.
I see it as a tool that can uplift, distract from insecurities, and help people view themselves through a different, often more magical lens. And because augmented reality is so accessible, it allows anyone to participate in this transformation, even if they lack the time, money, or confidence to experiment with physical makeup.
Can you walk us through your creative process? From concept to finished piece?
My creative process varies depending on whether I’m working on a personal or commissioned project. For personal work, I usually follow my curiosity. Sometimes I start with a sketch, but often I jump straight into the software if there’s a technique I want to learn, like simulating liquids or floating particles.
For commissioned projects, my workflow is much more structured. I begin with mood boards and sketches, get those approved, and then move through each phase, 3D modeling, animation, and final rendering, with clear milestones to ensure everyone’s aligned. I hate wasting time, so I’m meticulous about communication and timelines.
We congratulate you on your role as speaker at the OFFF Barcelona art event! What do you hope to accomplish by speaking at this prolific event? What personal significance does this role hold for you?
Thank you. Being a speaker at OFFF Barcelona was a huge honor. I’ve admired the festival for years, and being part of it meant a lot to me personally and professionally. The stage was big, the energy was electric, and I was humbled by the warm response from the audience.
My main message was about embracing individuality, being weird, being different, and being proud of it. I wanted to remind people that they don’t need to conform to societal standards, especially in a world that often punishes uniqueness. That’s something I’ve personally struggled with and grown into over the years.
We live in a world where being different isn’t always appreciated, and in some places, it’s even penalized. But self-expression and self-acceptance are powerful tools. The talk touched on how beauty standards often oppress more than they empower, especially for women and marginalized communities. If my art can help someone feel seen or uplifted, then I’ve succeeded.
All images courtesy of Ines Alpha, shared with permission
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