Chopard Asymetrique

Chopard in the 60s and 70s was far more adventurous than most people give it credit for.

This was a period where the brand explored unusual case shapes, unexpected proportions, and a willingness to let design take the lead. At times, they were operating in the same creative territory as Piaget, and occasionally pushing even further.

This asymmetrical example sits comfortably in that world.

Rendered in solid 18k yellow gold and stretching to 37mm, it immediately feels larger than what the era typically allowed. But size isn’t the main story here. The case itself refuses to settle into symmetry. One side lifts, the other drops, creating a natural lean that shifts depending on how it sits on the wrist. It doesn’t feel forced or exaggerated. More like the form found its own balance somewhere slightly off-center.

There’s also a strong echo of the design language that Gilbert Albert became known for. While this piece isn’t confirmed to be his work, the influence is difficult to ignore. The asymmetry, the sculptural approach, the sense that the case was shaped rather than simply designed.

What makes this watch especially compelling is that the thinking continues beyond the dial.

Turn it over and the flared section of the case reveals a hand-hammered finish. It’s a detail that sits against the wrist, largely out of sight, yet it’s been given texture and attention. That choice adds another layer to the watch. It wasn’t just about how it looked across a table, but how it felt as an object in its entirety.

On the wrist, the proportions and shape come together in a way that feels surprisingly fluid. The tilt gives it presence without weight, and the uneven surfaces catch light differently throughout the day, giving it a constant sense of movement.

This is Chopard leaning into its more experimental side.

And it’s exactly where things get interesting.