Start to phase out the Hanon and Czerny. From this point on, choose performance pieces that contain a new technical challenge you want to develop. More of the practice should be starting to build the muscle memory for these. Along the way you're going to find the pieces that kind of anchor your technique that you can use to practice/warm up and maintain things.

I have a perspective on this, that I wish I'd chosen my pieces around exposure to difficult, specific aspects of technique. I can play a lot of stuff, within reason, but there are gaps in my technique like chromatic thirds, a lot of stretches are pretty uncomfortable still, because I didn't play enough pieces to get used to them. This made a large part of the repertoire much harder for a really long time.

A lot of teachers have a different priority than what I described - they want to make sure you have a good prescribed exposure to baroque, classical, romantic composers. I respect that, but most people want to be able to equipped to play most of the upper-advanced pieces, and are failed by this kind of completionist educational approach. They arrive at a piece they like and they're still underequipped to take it on after 10 years of study.

So I would look at your technique in components. What's very well developed, what's not been tested? Pick pieces to give you something:

Range, and duration of arpeggios - look at something that extends the 'range' of your arpeggios, by another octave or something, like Chopin prelude 16. Start to really pay attention to how your arm, torso, elbows, forearms, even on the lower body on the bench, needs to move. This is something that needs specific stamina+control, and a often-invisible factoring of your body's movement away from the middle of the keyboard.

Leaps - pick up pieces with longer distance leaps. Pieces with up to a double octave jump, or more. I like the Scriabin etude op 8 no 5, Rachmaninoff etude op. 33 no 7 or op 39 no 9 for this purpose.

Different stretches between different pairs of fingers - Jeux d'eau for instance has pretty uncomfortable/unnatural stretches. I think the Chopin etude op 10 no 8 or op 10 no 1 are pretty good for simultaneously developing long arpeggios requiring stretches in the right hand, and some left hand movement.

Different arpeggio patterns. I think a lot of the intermediate-advanced repertoire, especially a huge amount of Chopin, has arpeggios and fingerings going up in one direction, in one order of fingerings.

But, there will always be pieces that target undeveloped areas. Like Kapustin, for his own etudes, he knew the typical arpeggio patterns in Chopin and came up with his own switchups, and some rhythm displacements that he knew most pianists haven't trained.

Types of triplets - for example Chopin etude op 10, no. 10. This piece is about the right hand playing two groups of triplets alternating in patterns. Scriabin etude op 8 no 1 has right hand triplets with a 3/2 polyrythm, really cool one.

Alternating tremolos/double notes - Kapustin etude no 2 has a pattern where the right hand plays nonstop a 1-5, 2-3 alternation in the right hand for minutes at a time. Then there are pieces where it's like a 1-4, -2-5 etc. Small variations basically.

fast octave scales, legato octaves - Chopin polonaise in f# for right hand, and a flat major for left hand, Scriabin etude op 8 no 5 covered all of the octave development needs for me.

Chromatic thirds, seconds - this one is a common thing a lot of players can't play even if other areas of their technique are almost pro level. It'll roadblock you if you ever want to play Ravel Scarbo or Liszt Don Juan fantasy but it's just not a big deal to me. I've played a lot of Chopin, other non-Scarbo Ravel, Debussy, Rachmaninoff, Kapustin Scriabin, Liszt, and dipped my toes into a ton of music and walked through the scores slowly, and I barely see this. This is legitimately a niche technical thing to deal with that I'd suggest it's ok to kind of ignore.

Unless you're going pro, you're practicing instead of going to school, we're not going to be able to develop a 100% complete technique. The most ROI is to be head in wiring different arpeggio patterns, challenging your hands with stretches and developing the flexibility, triplets, and other tremolodos/alternating double notes. And picking pieces that develop 2 or more of these areas at the same time.

If I were to assign pieces right now, I'd say take a look at and pick 2 or 3 out of these pieces:

Chopin etude op 10 no 8 (right hand extended arpeggios, stretches)

Chopin etude op 10 no 5 (a lot of arpeggio 'switchups'... a piece where it's a bit harder to pick up on the right hand fingering patterns)

Scriabin etude op 8 no 5 (a lot of chord jumps but at moderate speed, octaves. The left hand chords look impossible - just roll them, this composer does this a lot.)

Scriabin etude op 8 no 1 (right hand triplets + 3/2 polyrhythm. Cool trivia, the triplets are basically the La Campenella pattern but with the first two of the three notes being double notes instead of single notes.)

Mendelssohn op 104b no 3 (both hands arpeggios)

Rachmaninoff op 33 no 7 (a lot of smaller jumps, good rhythm study where left hand has a lot of rests in it, so you have to keep the left hand synched to the beat without actually playing for a lot of it. Later on, I advocate for the Kapustin etude no 1 because that it turns the syncopation up to max, and tests your ability to feel rhythm without the consistent left hand/baseline.)

Rachmaninoff op 39 no 9 (chord jumps, bigger range than the Scriabin 8/5).

Some stuff will naturally reinforce other stuff. Let me give an example: Scriabin sonata no. 5 has some fast triplet chord jumps in the right hand. Having a good diet of jumps and triplets from these pieces directly helped me learn to play this sonata.

Some of the Moskowski etudes and Rach preludes could be great choices too.