How to prepare your property for sale in a trade shortage
Achieving your maximum sale price is still possible, even if tradies are thin on the ground
4 min
Preparing a home for sale has never been more challenging. A construction crisis means materials and trades are pricier and harder to come by so renovation budgets and timelines are blowing out. Trade portal hipages.com.au recently reported that 85 percent of tradespeople on their site have had to raise their rates this year as timber and metal prices soar in the wake of a global supply chain crisis, coupled with a scarcity of skilled labour and trades.
CoreLogic’s Cordell Construction Cost Index revealed that building expenses increased 9 percent over the 12 months to March, the highest annual growth rate since the introduction of the GST in 2001.
Property stylist Justine Wilson of Vault Interiors says mammoth renovations should be shelved for sellers on a tight timeline right now.
“Almost across the board, everything from materials to furniture is taking longer to source,” she says. “What used to be a one-month lead time is turning into 14, 16 or sometimes 24 weeks.
It’s doubling or tripling the standard time and that has a flow on effect for anyone trying to renovate for sale, she says, but there are multiple fixes vendors can undertake to add value quickly.
“See what you can do on a cosmetic level before knocking out walls and attempting things that are going to need trades,” Wilson says. “You can give your place a facelift with styling or a fresh coat of paint rather than structural changes.”
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Refresh your strongest selling points
While the old adage says kitchens sell houses, Justine Wilson says vendors needn’t install a new one.
“Kitchens and bathrooms will always entice buyers so have them looking as fresh as possible. If you can’t order a whole new kitchen then use laminate paint to update cupboards, change out door hardware and consider peel and stick tile options to modernise really dated splashbacks. You could also swap out older benchtops and choose a laminate or Caesarstone top because they seem to be in ample supply at the moment.”
Home offices are also an asset in a post-pandemic marketplace.
“Whether it’s a nook under the stairs or a self-contained study it will appeal to buyers because people want an office or media zone separate to the rest of their family,” Wilson says. “You can get freestanding prefab pods, convert a garage, or garden shed rather than going through the expensive and long process of getting something approved and built.”
Take it outside
According to the recent Great Australian Backyard survey by Adbri Masonry, 80 percent of respondents said an entertaining space out back plays an important, or very important, part in decision making when buying a property.
“The outdoor dining and entertaining area is a staple for every Aussie home because it adds a new dimension to how you can entertain while enhancing the appeal of your home,” says landscaping expert and Adbri Masonry brand ambassador, Jason Hodges.
Since timber and carpenters are hard to come by, he suggests refreshing your outdoor area with pavers with a high pressure hose down.
“If you have a paved or decked area, you can give it a clean to inject new life,” he says. “If you’re starting with a blank canvas, consider creating your own aesthetic with a small format paver such as Havenbrick, which allows you to create different patterns with a variety of colour tones to choose from. Also, adding a cosy fire pit as part of your outdoor entertaining area means your space becomes usable all year round.”
A veggie patch can also add to the family-friendly nature of a home, as can embracing a wellbeing element, like a meditation space.
“The beauty of the backyard is its diversity,” Hodges says. “With a little effort and a dash of creativity it can be transformed into the space which is right for you, be it a Zen garden or sleek entertaining area. It’s yours to define. Plus, it can reap financial rewards when selling.”
Invest in styling for maximum ROI
Staging a home for sale is a quick, temporary fix which often means you can avoid the wait for trades. Stylists like Justine Wilson have warehouses of items ready to go so a tired listing can be revived within days rather than weeks or months.
“Styling adds value when you’re presenting your home for sale and can completely uplift a property without any renovation,” she says. “If you can’t redo your kitchen or bathroom then look at putting that money into the best presentation possible,” she says.
Window dressings like these custom made blinds from Tuiss can be ordered online and are suitable for DIY installation
Homeowners can start by making sure the house is neat and decluttered, the carpet is steam cleaned and windows are washed. Even the smell of the home has proven to help with the sale. A study by UK-based real estate agent comparison site GetAgent revealed which scents sell homes. Top aromas included freshly baked bread (with 37 percent of respondents claiming it would entice them to buy), followed by fresh linen (36 per cent), freshly brewed coffee (27 per cent), new carpet and freshly cut grass (both 25 percent).
“You could go a step further and have your home professionally staged so that it stands out online,” Wilson says. “We’ve seen anywhere from a 5 percent to 20 percent increase in the sale price after presenting a home well.”
She says to view styling not so much as an expense, but more of an investment.
“By presenting the space correctly, with the right flow, function, and scale of furniture, it can help buyers who have trouble visualising its potential.”
Margot Robbie and Jacob Elordi star in an adaptation of the classic novel that respects the romance’s slow burn.
High-end homeowners are choosing to upgrade rather than relocate, investing in bespoke design, premium finishes and long-term lifestyle value.
Margot Robbie and Jacob Elordi star in an adaptation of the classic novel that respects the romance’s slow burn.
3 minThe most 2026 element of the latest screen adaptation of 1847’s hottest novel, “Wuthering Heights,” is the scene in which Heathcliff repeatedly asks the young lady he’s undressing, “Do you want me to stop?” even as she writhes with lust, indicating an affirmative response is unlikely.
Previously understood as a notorious brute even by 19th-century standards, Heathcliff now exhibits signs of having earned perfect grades in today’s campus training modules.
There’s also a reference to septicemia, which is writer-director Emerald Fennell’s perhaps too-technical stab at explaining the nonspecific Victorian disease that afflicts one character.
Mostly, however, Ms. Fennell has done an admirable job of not modernising a dark and moody romance. If most of today’s filmmakers crave hearing, “This is not your mother’s (fill in the blank)” when adapting classic material, this pretty much is your mother’s “Wuthering Heights,” or at least one she will recognise.
Catherine Earnshaw, played with great soapy gusto by Margot Robbie, is still the same judgment-impaired social-climbing drama queen as ever, and Ms. Fennell frequently associates her with a rich, decadent red—the colour of the bordello—to suggest that she has unwisely traded her body for riches.
Ms. Fennell, who won an Oscar for writing the feminist parable “Promising Young Woman,” doesn’t bother suggesting that Catherine is a victim of society’s impossible expectations for women, which allows her to focus on the core story without intrusive mutters of disapproval for 19th-century mores.
The plot is a template for every Harlequin romance about a woman caught between a sexy beast and a languid but wealthy wimp.
Catherine, who lives with her frequently drunken father (Martin Clunes) on a struggling Yorkshire estate called Wuthering Heights, grows up with a wild, apparently orphaned boy adopted by her father after being found hapless in the street.
The boy at first doesn’t even talk, and seems to have no name, so Catherine calls him Heathcliff. As an adult, he is played by Jacob Elordi , an excellent match for Ms. Robbie, both in comeliness and star power.
The pair grow up best friends and even sleep in the same bed. The desperate attraction between them is evident to both, but Catherine has her sights set on a higher-status mate than this mere stable boy.
After much figurative and literal peering over the walls of the posh neighbouring estate, Thrushcross Grange, she twists an ankle and becomes a six-week houseguest of the gentleman who owns it, the wealthy Edgar Linton (Shazad Latif). He lives with his ward, Isabella (Alison Oliver). Heathcliff, in agony, moves away without notice while Catherine marries Edgar.
Ms. Fennell has greatly streamlined the complicated plot of Emily Brontë’s novel, eliminating the framing device, the supernatural element, several peripheral figures and a second generation of characters.
Other adaptations have made similar excisions, and yet the latest version is luxuriantly long, fully half an hour longer than the much-loved 1939 film by William Wyler that starred Merle Oberon, Laurence Olivier and David Niven.
Ms. Fennell is a millennial who might have been expected to make the material slick, hip or at least fast; she has done none of that.
The story is a slow burn, as it should be, an extended sonata of moaning winds, crackling storms, smouldering glances and heaving bosoms. When you’ve got two actors as luminous as Ms. Robbie and Mr. Elordi, you don’t need them to say clever things, and they don’t.
Having simplified matters, Ms. Fennell sloughs off the psychological depth of the novel and instead lavishes attention on the heavy breathing and the decor, exhibiting much interest in the ornate mansion in which the Linton family lives (one room is set aside for ribbons only) and the costumes and accessories with which Ms. Robbie is gloriously draped.
Catherine essentially becomes a character in a Sofia Coppola movie who grows increasingly trapped and anguished in proportion to her cosseting. A slate of songs by Charli XCX captures Catherine’s tragic self-absorption without seeming jarringly modern.
The movie is very much aimed at female viewers, and Heathcliff (whose bare-chested form Ms. Fennell’s camera adoringly takes in) is less robustly drawn than in some previous iterations, driven mainly by carnal lust rather than a more all-encompassing rage.
Olivier’s demonic anger at the world came through clearly, whereas Mr. Elordi’s Heathcliff seems as though he’d be content to simply peel away Catherine from Edgar. And though Nelly (Hong Chau), Catherine’s maid and confidante, plays an essential role in developments, her character remains a bit frustratingly hazy.
Still, in the wake of adaptations such as 2012’s “Anna Karenina,” with Keira Knightley , and 2013’s “The Great Gatsby,” with Leonardo DiCaprio, that were all sizzle and flash, “Wuthering Heights” is a worthy throwback.
Deeply felt longing is its own kind of sizzle.
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