Oddly Shaped Watch Cases: Breaking The Round Watch Mold

Wristwatches have been around for over centuries, and through all the complications, materials, and innovations, one thing has remained largely unchanged- the shape. The circular case has dominated watch design for decades, becoming the default in most people’s minds. But every now and then, a watch comes along that throws convention out the window. Whether it’s a dramatic asymmetry, an unexpected curve, or a case that looks more like a sculpture than a timepiece, these watches aren’t just about telling time; they’re about making a statement. Some of these designs trace their roots back decades, while others are contemporary masterpieces, yet all of them remain conversation starters today.

When speaking of unique shapes, one cannot ignore the futuristic designs of Gerald Genta, a visionary who redefined the aesthetics of luxury watchmaking by breaking traditional norms with bold, unconventional case shapes. In an era dominated by round watches, he introduced the octagonal Royal Oak for Audemars Piguet in 1972—its exposed screws, integrated bracelet, and industrial elegance challenged the very notion of what a high-end timepiece should be. Just a few years later, in 1976, he disrupted the industry again with the porthole-inspired Patek Philippe Nautilus, proving that sportier steel watches could command the same prestige as gold dress pieces. Genta’s designs weren’t just about shape; they embodied an entirely new philosophy—where luxury met modernity, where form followed function yet remained artistic. His fearless approach laid the foundation for some of the most iconic watches in history, shaping the industry for generations to come. 

That being said, the choice of these unconventional shapes is rarely accidental. Each case design is the result of a deep understanding of aesthetics, ergonomics, and technical ingenuity. Some stem from artistic movements and cultural shifts, embracing surrealism and breaking traditional norms. Others, like the Vacheron Constantin Historiques American 1921, were born out of practical necessity, making time easier to read in specific situations, such as driving. Watchmakers have long understood that shape influences wearability and identity, making each of these designs uniquely suited to both their original intent and modern appeal.

Audemars Piguet
Audemars Piguet, known for its bold designs, took a turn toward the past with the [RE]Master02 Selfwinding that pays tribute to a Brutalist-inspired watch created in 1960 (Model 5159BA). Following in the footsteps of [RE]Master01, launched in 2020 to reinterpret a rare chronograph from 1943, this new limited edition of 250 pieces features an asymmetrical 41 mm rectangular case in the new 18-carat sand gold alloy. 

Audemars Piguet had recently studied its golden age of asymmetric watches, from 1959 through 1964, and found that it produced more than 30 different shapes just in this five-year period, most of them in less than 10 examples. The brand has experimented with rectangular, cushion-shaped, asymmetrical, and other shapes that defy the traditional geometry that tormented your high school years. The Brutalist, sharp lines of the '50s and '60s gave way to soft edges with the hope of the Space Age in the '70s. 

Cartier
Another example of oddly shaped cases is the Cartier Crash. Born in the rebellious era of the 1960s, its surreal, melted shape is rumored to have been inspired by a watch damaged in a car crash. Whether the legend is true or not, the Cartier Crash remains one of the most recognizable and avant-garde designs in watchmaking, effortlessly blending artistic boldness with horological prowess. Then there's the Cartier Tonneau, an elegant take on the barrel-shaped case that exudes vintage charm while offering a sleek, wrist-hugging profile. Cartier has mastered the art of shapes, proving that a watch can be both a work of art and a precision instrument.

MB&F
On the other end of the spectrum, MB&F constantly reinvents the watch case with sculptural, almost futuristic designs. Their Horological Machines look like they belong in a science fiction film, pushing the boundaries of what a watch can be. The brand is known for destructing traditional watchmaking of the highest craftsmanship into futuristic, fiercely unconventional Horological Machines. These sculptured, three-dimensional cases have explored themes as diverse as space and science fiction, aviation, supercars, the animal kingdom and architecture. Be it the hypnotic Horological Machine No.3. which features a bejewelled owl or the Horological Machine N°11 with its fluid representation of a house and watch into one machine, MB&F takes the cake when it comes to unconventional shapes.  

In a spectacular flight of fancy, the House’s peerless artisans have conceived the watch as a splendid three-dimensional jewelled owl, presented either in 18k white gold, with amethyst, diamonds and blue and violet sapphires, or in 18k red gold, with pink tourmaline, rose quartz, diamonds and pink sapphires. 

The Horological Machine N°11 blurs the lines between a house and a watch. Believing in the concept of a watch is meant to be lived, not worn it showcases a central flying tourbillon forms the heart of the house, pushing skyward under a double-domed sapphire roof. Fittingly, for a mechanism that is spatially and functionally at the origin point of the watch, its quatrefoil-shaped upper bridge recalls the shape of clerestory windows in some of humanity’s greatest temples to its Creator, or perhaps the shape of a zygote undergoing cell division at the moment of conception. From this spinning core, four symmetrical volumes reach outwards, creating the four parabolic rooms of the house that is HM11 Architect.

URWERK
URWERK follows a similar path, creating spaceship-inspired timepieces that challenge traditional notions of display and case construction, proving that modern horology has no limits when it comes to creativity. Founded in 1997, URWERK has one goal: to design and craft haute horlogerie timepieces blending tradition with futuristic vision. Founder, Martin Frei comments, “We began essentially as a core group of artists who wanted to interpret time differently”. And so they did.

It is this drive for progress that fuels technology and inspired the Renaissance. In design, we work within fundamental shapes round and square. The same applies to my design for URWERK. It is, after all, Cubism. But this game must be played with innovation at its core. Copying the existing without understanding its purpose is mere laziness. The shape of a watch case must support and express the geometry and layout of its functions and indications. Our time indication therefore demands an asymmetrical design one that follows the principle of form follows function, an other highly regarded rule. To create a truly contemporary expression, we must engage with traditions and rules not simply by adhering to them but by quoting, reinterpreting, and bending them. Only then can we craft a design that is both a commentary and a celebration of the fleeting moment,” comments Martin. 

Models like the UR-100V ‘Hunter Green,’ creates a mini game of discovery like a treasure hunt, but for your wrist. The UR-230 Polaris is a sight to behold. crafted from a proprietary fiberglass-enhanced ceramic material that’s as tough as it is gorgeous. Imagine layers of ceramic and shimmering silver fiberglass woven together and sealed in a white polymer resin. The result? A case that’s not only durable but practically alive, shifting between matte and glowing depending on how the light hits it. It’s like the watch equivalent of a polar sunrise- bright, radiant, and impossible to ignore. 

Vacheron Constantin
Vacheron Constantin’s Historiques American 1921 is another standout. Its tilted dial was originally designed for ease of reading while driving, and today, it continues to be an emblem of refined quirkiness. The offbeat orientation of the dial makes it feel like a hidden delight for the wearer, a subtle rebellion against symmetry that still feels remarkably elegant. 

In 1919, a time of great experimentation at Vacheron Constantin, the Maison designed the reference 11032 wristwatch, which sported a cushion-shaped case. Remember, pocket watches were still prevalent for men during this era but then-novel men’s wristwatches were becoming increasingly popular. Aside from the novelty of being worn on the wrist, the reference 11032 wristwatch offered a few other quirks. For instance, the crown was positioned at the top right corner of the case and the dial was rotated slightly to the right whereby the 12 o’clock marker sat under the crown. Therefore, the dial is slanted in position, with the small seconds subdial placed at where we would traditionally think of as 8 o’clock but wedged in between 5 and 7 o’clock on the askew dial. 

Two years later, a similar but updated piece, the reference 11677, was made specifically for the U.S. market  (hence the name American 1921). While this piece also featured a rotated dial and unique crown position, the crown was placed at the top left of the case and the dial was rotated to the left. This dial layout served a very specific purpose – to allow drivers to easily read the time while their hands were on the steering wheel. It was perfect timing since the adoption of automobiles in America, and therefore drivers on the road, exploded in the 1920s.

De Bethune
Meanwhile, De Bethune crafts cases that look like they were designed by a dreamer. The Dream Watch collection is at once the most extreme and the most accomplished embodiment of this creative folly. It encapsulates an ongoing work of research on shapes, materials and colours. In step with successive creations, the design has been pared down to a cambered delta-shaped motif representing the major element of the collection's aesthetic and that of De Bethune watches. With the Dream Watch, De Bethune creates a fascinating work that is placed like a landmark on the frontier between art and watchmaking. 

The DW5 Al-Amal, inspired by the museum's calligraphic motifs, this mirror-polished titanium “time capsule”is adorned with six Arabic calligraphies of the word “Amour,” conveys a universal message of hope for future generations. Created in the spirit of the Dream Watch collection, the DW5 reflects the aesthetic and philosophical research of master watchmaker Denis Flageollet, and embodies De Bethune's vision of an innovative watchmaking art integrating contemporary cultural and technological influences.

These watches remind us that while round cases may be the norm, exceptional timepieces come in all shapes and sizes. Whether inspired by history, artistry, or pure innovation, these designs prove that in the world of watchmaking, standing out is just as important as keeping time.