Anoma - History, Models and Owners' Reviews

Anoma is a recent independent brand launched in 2024 by Matteo Violet-Vianello, with a stated base in London and production described as “Made in Switzerland”. The intention is clear from the start: to create a shaped watch that does not try to imitate established codes, but instead draws on design, architecture, and art to build a coherent object—almost a wearable sculpture. Anoma therefore speaks to enthusiasts who want an instantly recognisable piece, who prioritise form, proportions, and wrist presence, and who accept that personality matters more than tradition.

A rounded triangle “in the spirit of Perriand”: the A1 shape as the foundation

The core of Anoma’s identity is readable in the shape of its first case: a rounded triangle, with virtually no straight lines, conceived as a continuous volume. The brand explains that this geometry is notably inspired by a 1950s free-form table associated with Charlotte Perriand, spotted in a Parisian gallery and then translated into watchmaking language. The case aims for the feel of a polished pebble rather than a sharp-edged triangle. That intention changes everything: the object is not “aggressive”; it is meant to be tactile, soft, and almost instinctive, while still looking surprising.

To preserve the purity of the silhouette, several elements that are usually visible on a watch are concealed. The lugs do not present themselves openly, the strap integrates underneath the case, and the crown is designed not to break the overall line. This obsession with continuity means you notice the mass and the light first, before the details. In a market full of classic round cases, Anoma proposes an object that reads in three dimensions: the watch is not only a dial, it is a form.

This approach sits within a broader renaissance of shaped watches, but Anoma takes a distinctive stance: rather than referencing only watchmaking, the brand claims external inspirations and embraces the idea of a “wearable sculpture”. The project does not try to be neutral: it wants to trigger an immediate reaction. That is precisely what explains the fast enthusiasm of many collectors and observers: the proposition does not rely on complicated technical talk; it relies on a strong drawing.

Offset dial and controlled tension: legibility as a deliberate choice

Anoma’s singularity does not stop at the case: the display itself is designed to create visual tension. On the A1, the dial is not necessarily “perfectly centred” within the triangle, and the whole object plays with a sense of slight displacement, as if it were moving while staying still. The design seeks a balance between stability and instability, avoiding the feeling of “a logo on a shape”. That decision matters: it builds graphic personality without multiplying inscriptions.

Legibility remains intentionally simple: hours and minutes, clear markers, and a dial that prioritises texture and light rather than information overload. The most minimalist versions rely on brushed, lacquered, or engraved surfaces to create depth without turning the watch into an information board. Anoma bets on quick reading first, then on a gradual discovery of details. In practice, you understand the time immediately, then you linger on the surfaces and rounded edges.

With some recent variations, the brand pushes further the idea of “dial as an artistic surface”, notably through repetitive engravings and patterns that change with viewing angle. The watch becomes a small optical device, highly sensitive to wrist movement. This logic fits the initial promise: embrace strangeness while remaining wearable day to day, without becoming an impractical object.

The A1 family: first series and texture-driven variations

So far, the Anoma universe is built around one main family, identified by the name “A1”, which the brand develops through series and dial treatments. The approach feels like a design studio: keep a founding form, then explore materials, finishing, and visual themes. This tight catalogue strengthens coherence: Anoma sells a signature object, not a multitude of silhouettes. For the buyer, the reading is simple: you choose the form first, then the atmosphere.

• Anoma A1 First Series — The initial proposition widely discussed, tied to a pre-order launch and a limited early distribution; it establishes the silhouette and the overall personality.
• Anoma A1 Slate — A more monochrome variation, built around textures and triangular “rings” that structure the dial; often described as a more architectural version.
• Anoma A1 Optical — A version focused on visual illusion (Op Art), with repeated engraving and relief that shifts with light; conceived as the most “art-driven” expression of the line.

In watch media, the A1 is often framed as an “accessible” shaped watch compared with the prices of certain historical houses, while still offering execution that can satisfy demanding enthusiasts. Anoma’s success partly comes from the contrast between a radical design and a relatively straightforward launch model. The object is quickly understood, desire forms quickly, and the project spreads by word-of-mouth in a community looking for different proposals.

One reality must be integrated, though: a young brand with a hero model can evolve quickly. Some aspects (numbering, quantities, release rhythm) depend on each launch campaign and can shift from one series to the next. The best way to read Anoma is to follow its “series logic” rather than expecting a fixed, permanent collection. You are buying a moment in a project as much as a timeless product—and that is part of the microbrand DNA.

“Made in Switzerland”, movement choices, and production: what is known, and what is not disclosed

On its product pages, Anoma states an origin of “Made in Switzerland” and describes technical choices aligned with everyday wear: stated water resistance, sapphire crystal, and a Swiss automatic Sellita-type movement for certain versions. Here the brand favours a proven industrial base rather than a display of mechanical virtuosity. That is coherent with its promise: identity should come from design, not from complication rhetoric.

Some observers also highlight, for certain series, the role of international subcontracting to control costs while maintaining the declared assembly and origin. When such details are not explained by the brand at a high level of granularity, they must be read cautiously. If a supply-chain point is not clearly documented by Anoma, it should be treated as unconfirmed information. For the buyer, this is a simple rule that prevents rushed conclusions: separate official statements from reported or inferred claims.

This “layered transparency” is fairly typical of microbrands: origins, materials, and design intentions are often communicated clearly, while a full supplier map is not always published. In Anoma’s case, the key is to judge the final object: finishing, comfort, graphic coherence, and the service offered. Those elements, more than abstract debates about production, determine real satisfaction on the wrist.

Pricing, direct-to-consumer sales, and “pre-order culture”: how to buy smart

Anoma operates largely through direct sales and window-based launches (pre-orders, series, numbered batches depending on the case). This strategy has advantages: it calibrates production to demand, limits dead stock, and concentrates energy on precise execution. For the buyer, it mainly means a more direct relationship with the brand’s calendar. You do not always buy “whenever you want”; you buy “when it opens”.

Publicly observed prices vary by version and launch period: some series have been announced around “premium microbrand” levels, while others move upward with more elaborate dials or art-linked elements. It is therefore useful to think in ranges and launch context rather than in a fixed price. What matters is not only the number, but what it covers: perceived quality, design originality, and surface-finishing ambition.

A natural consequence of this model is a sense of scarcity, sometimes amplified by media attention. Some coverage mentions long waiting lists or heavy demand at opening moments. In that environment, the best decision is not to buy in panic, but to confirm the shape truly fits your wrist and your style first. A shaped watch succeeds when it wears with obviousness; if the geometry intrigues you but also intimidates you, take time to compare worn photos and user feedback.

Choosing advice: “felt size”, comfort, and realistic expectations

With a triangular watch, the question is not only diameter “on paper”: it is how the shape anchors, how the corners orient, and how the case follows the wrist bone. Anoma’s public descriptions emphasise a more compact wear than the dimensions might suggest, thanks to rounded edges and the absence of prominent lugs. The key criterion becomes felt size, not raw measurement. In other words: an A1 can look large in pictures and still feel soft on the wrist.

Second point: a highly polished, sculptural watch lives with light, but it also lives with micro-scratches. You have to accept that a genuinely worn Anoma will develop a usage patina, and that patina is part of the emotional contract. If you like objects that visibly age, Anoma’s surface can become a feature; otherwise it can become a constraint. This reflection is essential before buying because it shapes long-term satisfaction.

Finally, the most realistic expectation is to see Anoma as a design-driven watch object, not as a century-old heritage brand. The pleasure comes from the originality of the form, the dialogue with art and furniture, and the watch’s ability to start conversations without loud branding. You are buying a strong aesthetic proposal, and that is exactly why it can be polarising. If you love “quiet” watches, Anoma may not be for you; if you love signature pieces, it becomes an obvious choice.

Conclusion

Anoma is for those who want an instantly identifiable shaped watch, fuelled by design and art rather than by repeating classic watchmaking codes. To choose well, you first accept the logic of a focused catalogue built around one silhouette, then decide which dial mood speaks to you most—architectural restraint or optical experimentation. The right purchase also depends on your relationship to patina and polishing, because the watch reacts intensely to light and daily wear. And if you are hesitating between series, the most reliable way to decide is to listen to people who actually wear it: check Dialicious owner reviews.

(Updated January 2026)