_{With photography by George Hughes}

Matteo Violet Vianello grew up in Paris with an Italian mother and a French father, in an environment that valued creativity and the arts. His great-grandfather was a jeweller, which influenced his appreciation for design and craftsmanship through the pieces of jewellery left behind and the stories of his life.

Matteo’s focused passion for watches began in childhood when he started disassembling vintage watches discovered in a drawer. They weren’t particularly special pieces, but they opened up a whole world for him. He later worked at Sotheby’s and became one of the first employees at A Collected Man, a leading platform for rare watches.

During his four years at A Collected Man, Matteo studied and sourced rare watches, worked closely with independent watchmakers, and helped shape the platform’s editorial content. This experience deepened his appreciation for singular visions of watchmaking and attention to detail.

Matteo and I have been friends for a number of years now, and our interactions I’ve observed that he has a finger rested on the pulse of culture. His ability to communicate colourful ideas translates as well through the first creation of his new watch brand. The Anoma A1 is an asymmetrical wristwatch with mid-century aesthetics, with its purpose to become a sculpture of beauty on its wearer’s wrist.

It embodies a more experimental and daring vision of watch design, one that is defined by tension between balance and imbalance, softness and sharpness, boldness and subtlety.

The watch’s rounded triangular shape draws inspiration from a free-form table created by Charlotte Perriand in the 1950s and it forms the foundation of the A1.

We sit with Matteo to discuss the Anoma A1 and beyond.

Tom: Why shaped watches?

Anoma was born from my life-long passion for watches, combined with the belief that watch design could be much more experimental, daring and creative. While there is significant innovation in mechanics, dial finishing and other areas, I felt this was less true for case design, which generally adheres to a narrower set of rules.

Tom: What demographic do you think the A1 will appeal to?

I hope the A1 will appeal to those who connect with the vision for more experimental watch design, appreciate the design inspiration from a vintage Charlotte Perriand table, or simply feel an instinctive connection with the watch itself.

Interestingly enough, when I designed the A1, I expected it to have a niche appeal. However, I’ve discovered that even people who aren’t into watches have been naturally drawn to it, whether it’s friends or even a stranger who stopped me in the street this one time. It’s fascinating how the reality of who appreciates your work can differ from your initial expectations. I find that really exciting.

Tom: How important is good design in watchmaking?

I believe that good design is crucial in watchmaking. While mechanics are often seen as more important, I believe design holds equal significance. Both matter.

Tom: What was the last watch that impressed you with its design?

I really connected with the recently released Gerald Genta Oursin. Inspired by a sea urchin, it was originally designed by Genta following a holiday in Corsica in 1993. I like the unusual inspiration, striking visual result and attention to detail in the execution. It’s unashamedly different, and I respect that.

Tom: Must form follow function or can it be the other way around?

I don’t think it’s one or the other. I believe that form and function should coexist in a way that enhances both the aesthetic and practical aspects of an object. Function without form is uninspiring and form without function is merely decoration. In my eyes, good design should seamlessly integrate form and function, creating objects that are not only functional but also visually pleasing.

Tom: What does Anoma represent?

Anoma is all about breaking the conventional mould — hence our name, Anoma, which is short for anomaly.

Tom: What are some of your interests outside of watches?

My love for storytelling and aesthetics cuts across several disciplines, including architecture, furniture, sculpture and cinema.

In sculpture and furniture design, I’m highly drawn to the work of Charlotte Perriand, Jean Prouvé, Carlo Scarpa and Oscar Niemeyer. They all challenged the status quo, and created visually striking work that was a direct result of their world view.

For similar reasons, I also really appreciate the sculpture of Constantin Brâncuși, Jean Arp and Isamu Noguchi. I also spend an unreasonably high amount of time watch movies, across a wide spectrum, from Wong Kar-wai to Federico Fellini.

In a way, Anoma represents the fusion and reconfiguration of all these diverse influences. I’m sure they have influenced my taste and design approach in a way I’m not able to fully identify or isolate.

Tom: The A1 is a strong first move from a new brand, but yet it is also an incredibly short production run. What can we expect from Anoma in the future?

Hopefully continuing to stay true to our vision of pushing design boundaries and breaking the conventional mould.

The Anoma A1 is available for pre-order from 6th June to 6th July. The first 100 pieces will be individually numbered while those beyond the first 100 won’t be. All watches will be engraved as “First Series”.

Once this pre-order window closes, Anoma assures that they will never reproduce the watch in this configuration again. Delivery is scheduled for January 2025.

-FIN-