New York plastic surgeon Nicolas Tabbal was visiting his wife, designer Reem Acra, when he spotted an unlikely catwalker in her office.

“My God, this girl needs a rhinoplasty!” he exclaimed when the model was out of earshot.

“No,” his better half replied. “That makes her look more interesting, more attractive.”

Models aren’t the even-featured creatures they used to be. After decades of promoting perfectly-proportioned faces, the fashion industry is embracing snouts with clout.

Europe’s hottest designers — including Gucci’s Alessandro Michele and Vetements and Balenciaga’s Demna Gvasalia — sent more than a dozen girls with strong profiles down their fall runways.

Lanvin, Proenza Schouler and Céline, meanwhile, all feature onking beauties in their spring ad campaigns, from Aussie Julia Nobis to Denmark’s Regitze Christensen. Models like Anna Cleveland and Charlotte Lindvig have also made waves with their notable looks.

Clearly, we’ve come a long way from the days when Gisele was told she had too big of a nose to be a model.

The shift dovetails with a growing acceptance of bumpy bridges and broad tips. The American Society of Plastic Surgeons reports the number of nose jobs has dropped 44 percent since 2000.

Tabbal says his patients are asking for subtle, balanced work. “We try to deliver noses that are structured, that age well,” he tells The Post. “If they look untouched, mission accomplished.”

Why are big beaks on fleek? For one, they help designers express an idiosyncratic brand identity, but the trend also ties into the millennial celebration of uniqueness and self-expression. In fact, companies like Gucci aren’t just showcasing prominent noses — they’re also using models with freckles, crooked teeth and other distinctive traits.

“Millennials are the most diverse generation that we’ve had to date,” says Christine Barton, a senior partner and managing director at Boston Consulting Group who leads BCG’s global millennials research. “They are a generation that celebrates difference. They value standing apart from what has been historically conventional.”

Social media, displaying a multiplicity of “real” looks, also plays a role. These days, casting directors and fashion brands are more likely to scout “fresh faces” on Instagram rather than on the street. Diesel and Marc Jacobs started selfie-casting for campaigns a few years ago — the latter using the #castmemarc hashtag.

Casting director James Scully traces the beginnings of “strange girls” back to the early aughts, when Miuccia Prada spearheaded “ugly chic” clothes and castings. Former Saint Laurent creative director Hedi Slimane followed with his skinny misfits, and Gucci is now championing poetic versions of those waifs.

“Ten years ago, I would have laughed at any of these girls if they had walked into an agency,” says Scully, who puts together the lineups for Tom Ford and Stella McCartney’s shows, among others.

But the industry hasn’t entirely welcomed the jolie laide crew with open arms. “Those girls never break,” Scully adds. “They don’t ever become Vogue girls.” Fashion is still enamored by glamazons such as Karlie Kloss and Kendall Jenner, who continue to own the lion’s share of contracts and prestigious editorial work.

There are a few exceptions, such as Nobis, who launched her career in 2009. The aquiline-nosed blonde walked in 33 shows last season, and also landed five spring ad campaigns.

Her stellar career can’t help but give hope to those women who aren’t afraid of standing out.