If Tuesday opened with childlike wonder at Chanel, the fairy tale of couture took a darker turn with the final show of the day, Ashi Studio.

Picking up where last season left off, the mononymous Saudi couture designer had his Victorian heroine wandering off into the woods, only to find it the domain of the Fae, who are not genteel fairy godmother types but rather otherworldly beings as beautiful as they are perilous.

Before the show, Ashi said he leaned further into the “Wuthering Heights” feeling of his spring effort and thought back to the Surrealist Ball given by Baroness Marie-Hélène de Rothschild in 1972, a soirée with the likes of Salvador Dalí, Princess Grace of Monaco and Audrey Hepburn in attendance.

Plus, as his brand marks its 20th anniversary this season, “it felt right to throw a ball — in my way,” he added.

His characters came clad in a sculptural minidress edged with leather worked to look like a broken antique porcelain doll; a silk faille jacket dress decorated with wine flagons made of 3D-printed metal elements and opaline glass, or a sequined sheath gown in a fawn’s delicate mottled motif with minute antlers extending behind the shoulders.

One model felt like an evocation of a young Miss Havisham, wearing a filmy gown with an Elizabethan collar cinched with a corset and carrying a parasol covered with a shroud of chiffon that trailed to the ground.

Even simpler fare came touched with fantasy, from exaggerated hips on trousers, to a sculpted face and small bell on the back of a little black corset dress.

Unusual materials included real lobster shells and mussels that were handpainted and bejeweled; a feather effect created by wrapping pampa grass plumes in shredded chiffon, and washed 19th-century handwoven Italian textiles that the designer sourced in Florence. They contributed to what he saw as his way to address sustainability in couture.

But that still takes a backseat to his belief that “sometimes with new materials, sometimes with old materials, it’s all about emotions,” he said.