The Measure of a Life: Danielle Hodges and the Art of BANKS Timepieces.
An object can tell us rather more about ourselves than we might care to admit. We choose it, live with it, grow accustomed to it; sometimes, years later, we discover that it has become a repository for things it was never designed to hold. A watch is an especially curious example. It measures the passing of time while quietly acquiring a history of its own. There are few possessions quite so intimate, yet few whose significance is so easily reduced to a set of specifications, a price and a name on the dial.
The German cultural critic Walter Benjamin understood that objects have lives beyond their manufacture. In his writing on collecting, he considered how an object can be released from its ordinary commercial existence and become something deeply personal through ownership, memory and association. The collector, in this sense, does more than acquire; they confer meaning. It is an intriguing thought in an industry where the language of value can become almost as elaborate as the mechanisms themselves. A movement may be measured in fractions of a second, but the meaning of an object is considerably less obedient to measurement.
There is another, rather different sensibility in Jun'ichirō Tanizaki's In Praise of Shadows. His meditation on material, light and the understated beauty of things that do not immediately reveal themselves offers a counterpoint to a culture increasingly intent on making everything visible. Not all distinction needs an announcement; not all beauty benefits from a spotlight. It is a subtle argument, but one with considerable relevance to the design of objects intended to be lived with rather than merely looked at.
Between Benjamin's accumulated meanings and Tanizaki's appreciation of the understated lies an interesting territory for contemporary design. It is also a useful place from which to consider the business of making watches today. The category carries an extraordinary inheritance of craft, prestige and convention, alongside the commercial pressures of a market in which novelty is frequently mistaken for progress. There is no shortage of things to buy. The more interesting question is what makes something worth bringing into the world in the first place.
It is in this landscape that Danielle Hodges (née Eid) has established BANKS Timepieces, an Australian-founded watch brand engaging with the traditions of Swiss watchmaking.
Creating a brand in such a well-established category involves more than finding a place on the market. It requires an independent point of view, an understanding of the object and its context, and the conviction to turn an idea into something tangible. Between the original impulse and the finished timepiece lies a world of decisions that rarely makes it onto the product page.
There is, too, a particular fascination in the perspective of a founder. We encounter the finished object, presented with all the confidence of something that was always meant to exist. We rarely see the uncertainties, instincts, negotiations and personal convictions that brought it there. Yet these are often where the more revealing story resides. A brand is, after all, an expression of someone’s judgement made public - and then tested by the world.
BANKS provides the occasion to explore that relationship between creator, object and audience, and to consider what it means to establish an independent voice in a category with such a long memory.
We spoke with Danielle Hodges about the thinking behind BANKS, the experiences that have informed its creation and the ideas that continue to shape its evolution.
The ’90s aesthetic is enjoying a considerable revival, but nostalgia alone rarely sustains good design. What did that era get right about personal style that we have since lost?
Danielle Hodges: As a minimalist myself, I think the beautiful thing about the ’90s was that it really brought minimalism to the forefront, with designers like Prada and Calvin Klein pioneering a more effortless, pared-back approach to dressing. Women like Carolyn Bessette-Kennedy became style icons because their personal style felt so refreshing, particularly coming out of the maximalism of the ’80s.
I think something we’ve lost a little is that sense of personal style, and in some ways, it’s hard to avoid given the digital world we live in now. We’re consuming so much content every day, and when something goes viral, everyone naturally wants to be a part of it. Trends come and go faster than ever before, and I think there’s something really nice about the idea of dressing for yourself rather than what’s currently popular.
Watch culture has long celebrated size, complication and conspicuousness. What does the petite watch offer that the industry has perhaps overlooked?
Danielle Hodges: I think there’s something really beautiful about a petite watch. It’s subtle, sophisticated and what grabs your attention ironically is how petite the piece is. It can be just as much of a statement as a larger timepiece, but in a much quieter way. I’ve always loved the idea of a watch complementing someone’s personal style rather than being the first thing you notice.
You’re designing watches for everyday life, rather than the display cabinet. What makes a timepiece earn a permanent place in someone’s life rather than simply their wardrobe?
Danielle Hodges: For me, it comes down to creating something that isn’t trend-driven, it’s beautifully made and can be worn with almost anything in your wardrobe. You can see yourself wearing it with jeans and a tee or an evening slip dress. It's always been really important to me that a BANKS timepiece becomes part of someone's daily ritual, rather than just another accessory that comes and goes. I love the thought of it being something you instinctively reach for before walking out the door, without even thinking about it.
Swiss watchmaking carries centuries of heritage and firmly established conventions. As an Australian founder, where do you feel free to do things differently?
Danielle Hodges: I think there's an opportunity to approach watchmaking from a slightly different perspective. For me, it's about creating beautiful, quality timepieces that feel more accessible, without compromising on the experience that comes with purchasing something special.
I always want anyone who interacts with BANKS to have a luxury brand experience in every sense, not just through the product itself, but through the relationship we build with our customers and how they experience the brand.
Every brand has a point at which commercial logic meets creative conviction. What were you determined not to compromise on when creating BANKS?
Danielle Hodges: Quality has always been something I'm unwilling to compromise on. We're already surrounded by so many products and constantly being presented with something new to buy. I've always felt that if I'm going to bring another product into the world, it needs to be something worth owning.
As we continue to develop our collections, particularly the more petite designs we're working on for next year, that becomes even more important. I want to create timepieces that are made to last, that people can wear for years and hopefully pass down one day. If I can't produce something to that standard, I'd rather not produce it at all.
Accessible luxury is a crowded space, and quality must ultimately be experienced rather than simply claimed. How do you define value beyond the price tag, and which details matter most to you?
Danielle Hodges: For me, value is about the entire experience, not just the product itself. Of course, the materials, craftsmanship and quality of the timepiece are incredibly important, but so is everything that surrounds it.
From the experience someone has shopping with us online, to speaking with our concierge, to the moment they open their BANKS package, I want every touchpoint to feel special.
I think when someone chooses to spend their money with your brand, there's a responsibility to make that experience a really good one. Those details matter just as much to me as the product itself.
Building an independent brand inevitably involves a gap between the original vision and the practical realities of bringing it to market. What has surprised you most about that process, and what have you had to learn the hard way?
Danielle Hodges: One thing I'm constantly reminded of is that when you're trying to create something of a certain quality, you can't rush the process. It wasn't necessarily a surprise, but it's definitely something I've had to learn to be more comfortable with.
There's so much pressure today for brands to grow quickly, constantly release new products and always be doing something. But the whole philosophy behind BANKS is really about the opposite. Slowing down, switching off and being more present in everyday life.
I try to remind myself of that when making decisions for the business. I'd much rather take a little longer to get something right than rush something to market simply because I feel like I should be moving faster.
A watch can outlive its original owner and acquire a meaning its designer could never have anticipated. If someone passes their BANKS watch on twenty years from now, what would you hope it carries with it?
Danielle Hodges: I'd hope it carries memories and sentiment. I love the idea that something we created could become part of someone's life for so long that it eventually holds a meaning far beyond simply telling the time.
And if that timepiece is passed down to someone else, I hope it's treasured just as much for the person it belonged to as it is for the watch itself.
---
Words and questions by AW.
Answers courtesy of Danielle Hodges.
Photo courtesy of BANKS.
