I have more of an individual outlook on scales. I don't find them particularly useful as pure exercises because they don't work the fingers equally. For that purpose I prefer to devise my own grips which work all ten fingers in various sequences and combinations. I do use them in unconventional ways though, on the silent practice clavier mostly, to force difficult spontaneous problems of coordination, as well as dexterity, on myself. For instance I might play a broken scale in one key in the left hand 5,3,4,2,3,1,.... against similar in the right in another key - never the same each day though, and it doesn't matter what it sounds like on the piano. Of course the same approach can be used with any grip or figuration, not just scales.
Musically ? Yes and no. Offhand, with Chopin, perhaps significantly, I can only think of the scale in the G minor Ballade, the ones in the Ab Polonaise and the one at the end of 25/11. He usually stuck extra notes in, left a few out, or varied the pattern somehow. Maybe he was sick of the sound of ordinary scales having been done to death in previous music. They can sound nice, of course, but especially when improvising I feel life is too short not to keep trying different things. They are a very small subset of the available combinations and sequences, after all.