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BOLD COLOUR IS THE NEW CONFIDENCE

For almost a decade, interiors whispered. Minimalism took over, neutral palettes dominated, and many homes drifted into a safe sameness built from beige, cream and careful restraint. 

But something has shifted. As the world becomes more chaotic, homeowners are leaning toward spaces that offer warmth, optimism and personality. 

Colour has returned to luxury design because it delivers exactly that, but in a considered, modern way, far from the brash maximalism of the 2010s or the timid pastels of the early pandemic years. 

The new wave is thoughtful, layered and emotionally led, a resurgence shaped by a desire to feel grounded in our own space. 

From Sydney to Melbourne, Atlanta to Toronto and Portugal, colour is back with conviction. 

Why Colour Matters 

Major global paint houses see the shift clearly. Warm earth tones and gentle pastels are now sitting comfortably beside deeper colours like burnt orange, moss green, berry shades and vintage rose. 

Forecasts suggest a swing back to expressive palettes shaped by nostalgia, slower living and a renewed pull toward nature. 

This shift reflects what people are living through: rising costs, global tension, digital overload and plain old burnout. People want comfort, a sense of connection and something that lifts the mood. Designers are responding with palettes that feel warm, grounded and human. 

Colour is no longer about trends, but about emotional resonance. 

Lauren Treloar, Dulux Colour and Design Manager, says homes are increasingly becoming “canvases of personal storytelling.” 

She notes a growing willingness to use colour to bring “energy, joy and personal character throughout the space,” driven by the desire for warmth, individuality and emotional connection. 

The broader colour movement is also reflected in the 2026 Dulux Colour Forecast, distilled into three palettes: Ethereal, Elemental and Evoke. 

Together they champion warm earth-based neutrals, rich burnt oranges, caramels, sage, moss and spearmint greens, alongside soft pinks, vintage rose tones and muted berries. One of the strongest shifts, Treloar says, is the rise of spearmint green, which pairs effortlessly with earthy pinks, browns and burgundies. 

Sydney’s Coastal Blues 

In one Sydney penthouse, the shift towards colour begins with quiet confidence. Soft aqua and Mediterranean blues wind through the kitchen, living and bathroom in a way that feels serene rather than showy. 

The goal, says Nathalie Scipioni, principal architect and director of Nathalie Scipioni Architects, was to unify what had once been a disconnected, boxed-in layout. 

“My aim was to open up what had been a closed, disconnected layout and create a home where the kitchen, living and dining areas feel connected and calm,” she says. 

“I used one feature colour (blue) to tie the spaces together, applying it in different ways so it feels consistent but not repetitive.” 

The palette works because it’s balanced with soft greys, pale timber, brushed brass and plenty of texture. 

“I controlled saturation by choosing muted shades and finishes with texture. I used pale timber, brushed gold and soft greys so the blue stands out without overpowering the overall sense of calm,” she says. 

Even so, Australia is still colour-cautious. 

“I don’t see bold colour making a major return in Australia just yet,” she says. “The market still leans towards neutrals… clients are hesitant to embrace colour because they don’t see it used around them. It is not part of the visual landscape in the same way it is Europe.” 

Yet she sees her work as a quiet education, showing that colour can be gentle, refined and deeply personal. 

Earthy Depth 

Further south, another family home takes colour in an entirely different direction. Here, deep greens, walnut timber, brushed brass, mustard, rust and black stone fill the rooms with a rich, tactile warmth. 

The brief was clear: no more beige. 

“The brief was to completely move away from the beige and neutral tones that once defined the home and to reintroduce personality through a palette that felt both sophisticated and nurturing,” says Richard Misso, creative director of The Stylesmiths. 

“Deep greens and walnut were chosen for their connection to nature… Brushed brass details added warmth and subtle reflection.” 

In the living area, an artwork becomes the anchor that unites rust armchairs, an olive sofa, terracotta tones and black stone. 

“A multi-tone palette like this works when each hue earns its place and connects through tone rather than saturation,” he explains. 

“Texture plays an equal role to colour… creating variation and visual rhythm without overwhelming the eye.” 

What’s ahead? 

“Bold colour is already making its return, but in a more refined, tonal way… It’s less about maximalism and more about authenticity through colour.” 

Rich earth tones define this living space by The Stylesmiths. Photo: The Stylesmiths

The American Case 

Across the Pacific, a roughly 930-square-metre manor near Atlanta champions a cinematic approach to colour, says Seth van den Bergh, principal designer at The Drawing Room. 

Long architectural sightlines demanded strong punctuation points, bold red moments, black walls, saturated accents and warm neutrals. 

“At Milton Manor, the palette was built around rhythm and a restrained use of colour,” van den Bergh says. 

“Boldness only works when it is balanced with restraint… the ‘fearless palette’ gains its strength from warm neutrals, white painted wood floors and a thoughtful use of colours and objects. 

These elements allow the saturated gestures to feel intentional rather than overwhelming. It is that balance that lets the home breathe.” 

Even the black walls are handled with precision. 

“We layered the surfaces and filled the negative space with related tones… the key is to treat black as a finish rather than a colour,” he says. 

For those scared to commit, he recommends beginning with emotion, studying the light, understanding the room’s vistas, then editing to one clear direction. 

“Think of it like a film. You would not have all your lead characters speaking at once, so let the room have one clear voice to follow,” van den Bergh says. 

For homeowners nervous about bold shades, Treloar suggests starting with how a space should feel and introducing colour slowly through architectural details or textures. Moodboards and real paint samples remainessential. 

“Colour can change substantially in different lighting or when colour from other furnishings reflects on the wall,” she says. “It’s all about experimentation and allowing your personal style to evolve.” 

Playful Confidence in Toronto 

In a Toronto condo belonging to actress Amalia Williamson, colour takes on a joyful, youthful energy. 

The space started as a blank, characterless developer shell. With a careful mix of custom cabinetry and budget retail pieces, the palette evolved into a vibrant blend of navy, blush, gentle greens, bold orange and saturated green. 

Crucially, the bold accents came last. 

“We actually selected those accents at the very end,” designer Isabel Clune of Isabel Clune Design says. “The foundation of the room was already rich with colour but in a soft, muted way. 

The saturated green pendants and bold orange stools became the perfect counterbalance… It’s a controlled pop, not a swing into ultra-maximalism.” 

Even the surfaces balance practicality with beauty. 

“I always design with equal consideration for function and beauty… Marble can be refinished, it’s naturally heat-resistant… its subtle imperfections and patina add character over time.” 

The embossed tile was chosen purely for its visual impact, with marble behind the stove for everyday practicality. 

It proves colour doesn’t require huge budgets – just intentionality. 

Colour Me Happy 

Colour at Portugal’s Viterbo Interior Design begins with feeling, not pigment. As Gracinha Viterbo and Miguel Vieira da Rocha explain, “we never begin by selecting colours, we begin by talking about how people live.” 

The team worked with the family to map the emotional temperature of each room, asking what mood each part of the home should hold: where they should feel energised, where they should slow down, where they should decompress and where they should gather with others. 

The palette grew out of that emotional map, refined on site with large samples and fabrics at different hours of the day so that each hue produced the exact feeling the family wanted. 

The home’s bold moments never spill into chaos because strict principles anchor the palette. 

“Each room was given one strong chromatic gesture – never two,” the designers say, ensuring character without competition. 

A restrained architectural backdrop and a tight family of colours allowed tones to reappear through the house in different intensities, creating continuity. 

The result is a home that feels expressive and dynamic, yet the flow is seamless. 

Bold colour meets considered balance. In this Lisbon project by Viterbo Interior Design. Photo: Francisco Nogueira

19th Century Revival 

In Turin, colour becomes a bridge between eras. A 19th-century apartment restored by BRH+ Studio has been reimagined as a dialogue between heritage architecture and a vivid contemporary art collection. 

Nowhere is that tension more captivating than in the entryway, where deep octanium walls and a site-specific fresco ignite a striking conversation between past and present. 

Victoria Stoian’s fresco transforms the vaulted ceiling into an imagined sky, drawing the eye upward the moment visitors enter the apartment and signalling that this is a home shaped as much by art and narrative as by architecture. 

BRH+ Studio treat colour not as decoration but as architecture, using it to connect the original terrazzo floors with new interventions and give the apartment a cohesive rhythm. 

A dramatic fresco crowns the entry of Apartment SL.

BRH+ on Colour and Heritage 

For architects Barbara Brondi and Marco Rainò, founders of BRH+Q, the entrance to the Turin apartment was conceived as more than a hallway. 

“The entrance to an apartment can be understood not only as the threshold to private living spaces, but also as a symbolically charged environment where the personality of the inhabitant can be expressed,” they explain. 

In this case, the space was designed to reveal the owners’ passion for contemporary art while connecting that sensibility with the building’s nineteenth-century architecture. 

The large tempera fresco by Moldovan artist Victoria Stoian transforms the vaulted ceiling into an imaginary landscape suspended between past and present. At the same time, the deep chromatic treatment of the walls connects visually with the apartment’s terrazzo flooring, creating a dialogue between decorative surfaces. 

For Brondi and Rainò, the key to working within historic buildings is restraint. Every project begins with a close study of the context so that new interventions complement rather than overwhelm the architecture. 

Pasadena: A Cocoon of Blue 

In Pasadena, a second-floor bedroom suite became the perfect test case for how far colour can transform a small space when used with conviction. 

The room sits apart from the home’s communal areas, giving interior designer Jennifer Vaquero of September Workshop the freedom to create a space centred entirely around her client’s favourite hue. 

“While we loved the idea of creating a relaxing and serene space, it was equally important that the rooms also feel energetic and joyful,” she says. 

Warm accents, reflective textures and subtle sheen in the window sheers ensure the deep blue palette never feels flat. 

“When that light bounces off the golden and purple hues in the marble or the warm woods, the whole suite seems to come alive.” 

Wrapped in cocooning layers of deep blue, the September bedroom suite balances calm and energy.

Where Colour Is Heading 

Across continents, a consistent story emerges. Colour is returning not as trend but as therapy, craftsmanship and identity. 

Homes no longer want to whisper. They want to reflect the lives within them, joyful, complex, grounded and expressive. 

Design is shifting from minimalism to meaning. From quiet to considered. From safe to soulful. 

The new colour confidence isn’t loud or chaotic. It’s intentional, emotional and human, and one of the most powerful tools in luxury design. 

This article appeared in the Autumn 26 issue of Kanebridge Quarterly, which you can buy  here.

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Hobart Trophy Home Targets $15m

Sentosa in Hobart has already spent its time in the history books, but now the historic estate in Sandy Bay is set to shine again.

The period home, which sits on a large 2300 square metres riverfront block, made headlines in 2017 when the then century-old mansion sold for a Tasmanian record of $6.5 million.

Fast forward to 2026 and the 1917 trophy home is returning to the market with $15 million expectations – a figure that could set a brand new price benchmark for the Apple Isle.

Owned by Sydney investors, Piers Dawson-Damer and his partner Kim, Sentosa has been used as a Tassie holiday home for almost a decade. The pair bought the riverside residence from locals Wendy and Barry Turnbull, who had paid $815,000 for it in 1993.

The current sale is expected to easily eclipse Hobart’s record, which stands at $8.5 million. That benchmark was set when Point Piper-based Taswegian, financier Greg Woolley, bought historic Waimea House in 2011.

Interestingly, Woolley took the keys to Waimea House – also in Sandy Bay – from the Dawson-Damers, who themselves had paid a then-record of $6.06 million.

Co-agents, Forbes Global Properties directors Tracey Atkins and Robert Fletcher, are tasked with marketing Sentosa.

“Sentosa has been set up perfectly by its interstate owners to serve as a top-tier second home, with state-of-the-art automation, technology and security now in place that allow it to be run seamlessly from anywhere in the world,” Fletcher said, adding that the unique Hobart home has been turning heads since it landed online this week

“There is no question it merits attention locally and internationally – it is a true Tasmanian trophy.”

Taking its name from the Malay word for “peace and tranquility”, Sentosa is once of the city’s most iconic properties. Even early Australian aviator Charles Kingsford-Smith reportedly visited the estate when he honeymooned in Hobart with his second wife Mary in 1931.

With 270-degree views of the Derwent River and mountain backdrop, the house on Blinking Billy Point has given its owners a front-row seat to the final sprints of the Sydney to Hobart Yacht Race.

Now fully renovated, the arts and crafts era house has been restored to its former glory.

Fletcher said the Dawson-Damers wanted to respect the home’s heritage while updating the five-bedroom house for modern living.

The result is a blend of classic craftsmanship and modern luxury, all with a strong connection to the water.

There are many restored original details, like ornate cornices, lead-light windows, fireplaces, and intricate fretwork.

The renovation has also added several modern touches, including a new central staircase, updated joinery, sleek bathrooms, and an entertainer’s kitchen. Other modern features of the Sandy Bay home include advanced home automation and CCTV security.

Living areas include both formal and casual spaces, plus there is a grand main bedroom suite, all designed to capture uninterrupted views of the river and ranges.

Outside, the estate offers resort-style amenities, including landscaped gardens by award-winning designer Paul Bangay, with European-inspired green spaces, a statement water fountain, level lawns, and sandstone terraces.

Additionally, there is a fully equipped boat shed with a slipway right on the water’s edge.

Sentosa is close to beaches, popular schools, large parks, and Hobart’s CBD.

Sentosa at 650 Sandy Bay Rd, Sandy Bay is listed with price hopes of $15 million through an expressions of interest campaign with Forbes Global Properties agents Robert Fletcher and Tracey Atkins.

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What Is Artemis II? The NASA Mission to Fly Astronauts Around the Moon

It’s go time for the highest-stakes mission at NASA in more than 50 years.  

On April 1, the agency is set to launch four astronauts around the moon, the deepest human spaceflight since the final Apollo lunar landing in 1972.  

The launch window for Artemis II , as the mission is called, opens at 6:24 p.m. ET. 

National Aeronautics and Space Administration teams have been preparing the vehicles to depart from Florida’s Kennedy Space Center on the planned roughly 10-day trip. Crew members have trained for years for this moment. 

Reid Wiseman, the NASA astronaut serving as mission commander, said he doesn’t fear taking the voyage. A widower, he does worry at times about what he is putting his daughters through. 

“I could have a very comfortable life for them,” Wiseman said in an interview last September.  

“But I’m also a human, and I see the spirit in their eyes that is burning in my soul too. And so we’ve just got to never stop going.” 

Wiseman’s crewmates on Artemis II are NASA’s Victor Glover and Christina Koch, as well as Canadian Space Agency astronaut Jeremy Hansen. 

Photo: NASA’s Artemis II SLS rocket and Orion spacecraft being rolled out at night. Miguel J. Rodriguez Carrillo/Getty Images

What are the goals for Artemis II? 

The biggest one: Safely fly the crew on vehicles that have never carried astronauts before.  

The towering Space Launch System rocket has the job of lofting a vehicle called Orion into space and on its way to the moon.  

Orion is designed to carry the crew around the moon and back. Myriad systems on the ship—life support, communications, navigation—will be tested with the astronauts on board. 

SLS and Orion don’t have much flight experience. The vehicles last flew in 2022, when the agency completed its uncrewed Artemis I mission . 

How is the mission expected to unfold? 

Artemis II will begin when SLS takes off from a launchpad in Florida with Orion stacked on top of it.  

The so-called upper stage of SLS will later separate from the main part of the rocket with Orion attached, and use its engine to set up the latter vehicle for a push to the moon. 

After Orion separates from the upper stage, it will conduct what is called a translunar injection—the engine firing that commits Orion to soaring out to the moon. It will fly to the moon over the course of a few days and travel around its far side. 

Orion will face a tough return home after speeding through space. As it hits Earth’s atmosphere, Orion will be flying at 25,000 miles an hour and face temperatures of 5,000 degrees as it slows down. The capsule is designed to land under parachutes in the Pacific Ocean, not far from San Diego. 

Water photo: NASA’s Orion capsule after its splash-down in the Pacific Ocean in 2022 for the Artemis I mission. Mario Tama/Press Pool

Is it possible Artemis II will be delayed? 

Yes.  

For safety reasons, the agency won’t launch if certain tough weather conditions roll through the Cape Canaveral, Fla., area. Delays caused by technical problems are possible, too. NASA has other dates identified for the mission if it doesn’t begin April 1. 

Who are the astronauts flying on Artemis II? 

The crew will be led by Wiseman, a retired Navy pilot who completed military deployments before joining NASA’s astronaut corps. He traveled to the International Space Station in 2014. 

Two other astronauts will represent NASA during the mission: Glover, an experienced Navy pilot, and Koch, who began her career as an electrical engineer for the agency and once spent a year at a research station in the South Pole. Both have traveled to the space station before. 

Hansen is a military pilot who joined Canada’s astronaut corps in 2009. He will be making his first trip to space. 

Koch’s participation in Artemis II will mark the first time a woman has flown beyond orbits near Earth. Glover and Hansen will be the first African-American and non-American astronauts, respectively, to do the same. 

What will the astronauts do during the flight? 

The astronauts will evaluate how Orion flies, practice emergency procedures and capture images of the far side of the moon for scientific and exploration purposes (they may become the first humans to see parts of the far side of the lunar surface). Health-tracking projects of the astronauts are designed to inform future missions. 

Those efforts will play out in Orion’s crew module, which has about two minivans worth of living area.  

On board, the astronauts will spend about 30 minutes a day exercising, using a device that allows them to do dead lifts, rowing and more. Sleep will come in eight-hour stretches in hammocks. 

There is a custom-made warmer for meals, with beef brisket and veggie quiche on the menu.  

Each astronaut is permitted two flavored beverages a day, including coffee. The crew will hold one hourlong shared meal each day.  

The Universal Waste Management System—that’s the toilet—uses air flow to pull fluid and solid waste away into containers. 

What happens after Artemis II? 

Assuming it goes well, NASA will march on to Artemis III, scheduled for next year. During that operation, NASA plans to launch Orion with crew members on board and have the ship practice docking with lunar-lander vehicles that Elon Musk’s SpaceX and Jeff Bezos’ Blue Origin have been developing. The rendezvous operations will occur relatively close to Earth. 

NASA hopes that its contractors and the agency itself are ready to attempt one or more lunar landing missions in 2028. Many current and former spaceflight officials are skeptical that timeline is feasible. 

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ROLLS-ROYCE UNVEILS YACHT-INSPIRED CULLINAN SERIES FOR BESPOKE CLIENTS

Rolls-Royce has revealed a new series of bespoke Cullinan motor cars inspired by the world of yachting, with four individually commissioned vehicles reflecting the materials, movement and design codes of life at sea. 

Presented at Goodwood in the UK, the Cullinan Yachting collection comprises four one-off vehicles themed around the cardinal directions, North, South, East and West, each expressed through distinct exterior finishes and interior detailing. 

The commissions lean heavily into maritime influence, a space Rolls-Royce says is closely aligned with its global client base.  

Each vehicle features marine-grade teak, hand-painted fascia artwork inspired by the wake of a tender cutting through water, and intricate marquetry compass motifs made from more than 40 individual pieces of wood veneer. 

Hand-painted elements have become an increasingly sought-after feature among Rolls-Royce clients, with the brand employing dedicated artisans to develop bespoke interior compositions.  

For the Cullinan Yachting series, the painted wake effect required months of experimentation to achieve a natural sense of movement. 

Inside, the vehicles are finished in Arctic White and Navy Blue leather, with hand-stitched detailing designed to echo the structure of nautical ropework. A signature Rolls-Royce Starlight  

Headliner has also been reimagined, with fibre-optic constellations arranged to reflect Mediterranean wind patterns. 

Each car’s exterior colour has been developed to align with its directional theme, ranging from lighter blue tones evoking northern waters to deeper hues referencing warmer southern seas and storm-lit horizons. 

Rolls-Royce said the collection reflects a longstanding relationship between the marque and the world of yachting, dating back to its co-founder Charles Rolls, whose family owned a steam yacht and travelled extensively through the Mediterranean. 

The release underscores the growing demand for highly personalised vehicles among ultra-high-net-worth buyers, with Rolls-Royce increasingly positioning its cars as part of a broader luxury lifestyle that extends beyond the road. 

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Palm Beach Icon Returns to the Market

In Sydney’s Northern Beaches, there are plenty of homes with a multimillion-dollar view and an enviable position close to the sand.

This unique listing has all that, but it has also earned its page in the local history books.

After 50 years in the same hands, The Palladium in Palm Beach—once a famed dance hall, then a restaurant, a private residence, and an artists’ studio—is now back on the market with a price hopes of $13.5 million through BJ Edwards and David Edwards of LJ Hooker Palm Beach.

Positioned in a rare corner spot where Ocean Rd meets Palm Beach Rd, The Palladium has been front and centre observing the famous sandy stretch for almost a century.

Built in the early 1930s, the Art Deco building was originally conceived as a vibrant community dance hall; the “it” place to be for young folk during Sydney’s thriving interwar period.

Often the dances were held to raise money for the Palm Beach Surf Life Saving Club, and newspaper reports of the time told of rowdy parties lasting until the early hours, bootleg liquor arrests, and where shorts and sandals—or even pyjamas—were scandalously worn by “both sexes”.

Over the decades, The Palladium has worn many hats.

By 1943, the original owner, Joseph Henry Graham, had defaulted on his loan, and a mortgagee sale reportedly sold the building for £1550, which translates to about $137,000 today. It later became a dining space and a general store run by the Milton family. In the 1960s and early 1970s, the property was also home to the Blue Pacific Restaurant.

The current owners acquired the keys in 1976 when it began its next chapter as a creative hub. One of today’s vendors, filmmaker David Elfick, who has been a filmmaker and producer on such films as Newsfront and Rabbit-Proof Fence, has told stories of a free-spirited creative hub that has been used for film sets, to store numerous movie props, as editing rooms, to hold countless parties and has even hosted visiting members of the Royal Shakespeare Company.

From its famed beachside soirees to its grassroots film club nights, the venue has become woven into the cultural fabric of Palm Beach.

Today, that rich history has been reimagined into a coastal home that honours its past while embracing contemporary beachside living.

Built in a unique architectural style known as streamline moderne, the aeroplane hangar-like building reflects the era’s fascination with air travel, mass transport, and modernity. The facade is defined by a sweeping curved roofline and subtle nautical cues.

The main residence features a vast central living space framed by a number of bedrooms and sunrooms, as well as a front dining room and kitchen. In total, there are four to five bedrooms, three bathrooms and a powder room adjoining an upstairs loft space.

Big, broad windows draw in loads of natural light and provide iconic views, plus the sounds of the beach just across the road.

Many of the original elements remain, most fittingly the polished floors of the former dance hall. In the additional building at the back of the block, there is a separate, self-contained studio with its own bedroom, bathroom, kitchen and laundry. From its elevated deck, the outlook stretches across the full sweep of Palm Beach.

Outside, the expansive 1151sq m land parcel also features established gardens with veggie patches and standalone decks for quiet contemplation.

Sitting just across the road from the beach, the property is also within walking distance of local cafes and the surf club. Palm Beach Rock Pool is at one end of the beach, with the Palm Beach Golf Club and the water airport at the other end of the peninsula.

The Palladium and Palm Beach Studio at 16 Ocean Rd, Palm Beach are listed with BJ Edwards and David Edwards of LJ Hooker Palm Beach via a private treaty campaign with a price guide of $13.5 million.

 

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Drew Barrymore Puts Westchester Home on the Market Two Years After Buying It

Two years ago, fed up with the long drive to the Hamptons, the actress and daytime talk-show host Drew Barrymore started looking for a weekend home in Westchester County. 

When she saw a circa-1700s mansion for sale, Barrymore said, she felt a karmic connection to the Harrison, N.Y., property. 

“I walked in, and I was, like, ‘I know my family’s been here. I know that I have to work on this house. I know that I’m supposed to be doing this,’” said Barrymore, 51 years old, who lives primarily in Manhattan with her two daughters. “It was like a strange, spiritual calling.” 

It turned out she actually did have a connection to the area: Her great-aunt, the late actress Ethel Barrymore, had a home in nearby Mamaroneck, where an enclave known as Barrymore Lane is widely believed to be named for the family. 

Barrymore bought the roughly 12-acre estate for $4.4 million, according to property records. She did an extensive renovation; she has a deep interest in interior design and has considered pursuing it professionally. “Between Pinterest, thrifting and a can of paint, there’s nothing you can’t do,” Barrymore said with a laugh. 

But roughly two years later, the actress is listing the property for $4.99 million. The renovation took longer than expected, she said, and the family’s lives have changed in the interim. 

The estate includes a roughly 5,600-square-foot, five-bedroom main house, a pool and a poolhouse with an additional bedroom, according to Kori Sassower of Compass. 

Barrymore said she previously owned a home in Sagaponack, N.Y., but the distance from the city and the weekend traffic to the Hamptons became untenable as her children’s schedules filled up with social and sporting activities. 

Harrison, by contrast, offered accessibility and charm. The property, located roughly an hour from Manhattan, is a short drive from picturesque Rye and Bronxville, while nearby Bedford has drawn celebrities. The median sales price for a home in Harrison is around $1.1 million, according to Redfin. 

The property’s expansive acreage gave Barrymore a sense of being close to nature. “It’s really like being in your own personal park,” she said. “There are tons of deer. There are pheasants, there are ducks, there are rabbits.” 

When she purchased the home, Barrymore said, she thought it would need only a cosmetic renovation. Instead, it turned into a “complete internal gut,” with much of the plumbing, heating and air conditioning replaced, she said.  

Barrymore also revamped the ground floor to open up the kitchen, which felt dark and boxed in. “It took a year of engineering to figure out how to accomplish it,” she said. 

Barrymore declined to comment on the exact costs of the renovation, but compared herself to actress Shelley Long’s character in the 1986 film “The Money Pit.”  

Some of the rooms have maximalist patterned wallpaper, elaborate art walls and heavy, old-fashioned draperies. Others are minimalist. “Every little corner gets scrutinised for what it could be,” she said. “If I see a closet, it’s probably not a closet, it’s going to become some secret hideout for my kid, or I’m going to take the door off and turn it into a sculptural piece.” 

In the home’s living room, Barrymore said she cycled through multiple paint colours, including pink and green. 

“I painted it all green because I was dying for greenery. And then the summer came, and I was, like, ‘Oh, God, everything is green!’” 

She spent time at the property even while it was under construction. When they didn’t have a kitchen, the family cooked dinner on a grill outside and drank boxed water, she said. 

When workers were redoing the pipes, Barrymore couldn’t shower. “I lived in the house in the most primitive of scenarios,” she said. “It’s some of my favourite times and memories.” 

When Barrymore celebrated her birthday at the property in February, she and two friends decided to grill for old time’s sake, even though the kitchen was fully functional.  

“There we were in zero-degree weather with parkas, hoodies, gloves and face masks. But we were, like, ‘We gotta do it. It’s the tradition.” 

Barrymore, who grew up in Los Angeles, stars in films like “Never Been Kissed,” “Riding in Cars With Boys” and “Charlie’s Angels.” Her eponymous daytime talk show launched in September 2020. 

Sassower is listing the property with her colleague Brian K. Lewis in New York City. 

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BMW’s Electric i3 and iX3 Raise the EV Standard With a 400-Plus-Mile Range

The current BMW i5 electric sedan has an official range of 278 to 310 miles, and it might be closer to 250 to 270 in the real world. 

That is why the coming 2027 BMW i3 50 xDrive—the first of the “Neue Klasse” cars coming to the U.S. early next year and just revealed to the world—is such a game changer.  

The range is estimated at 440 miles, beating most EVs on the road now, and it is coupled with exciting performance, including zero-to-60 estimated at 3.8 seconds and an impressive 463 horsepower (with 476 pound-feet of torque) from a pair of electric motors, delivering xDrive to all four wheels.  

A single-motor version is down the road. The price isn’t out yet, but it is likely to begin between US$55,000 and $65,000.  

If sedans aren’t your thing, the electric 3-Series will also be offered as an approximately $60,000 iX3 crossover SUV, which has a similar powertrain and performance.  

The twin-motor iX3 50 xDrive has a slightly lower 400 miles of range, due in part to its less-aerodynamic shape compared with the i3. It is also not quite as speedy, getting to 60 mph in 4.7 seconds.  

BMW design has been iffy lately, and virtually no one loves the cars with the huge kidney grilles, but the “Neue Klasse” turns the page, and the i3 and iX3 are both strikingly handsome.  

The i3 isn’t a particularly lightweight vehicle, at approximately 4,850 pounds, which is why both the i3 and iX3 need a huge 108-kilowatt-hour battery pack.  

The drawback could be longer charge times, but up to 400-kilowatt plug ins are available here.  

At a DC fast charger, a charge from 10% to 80% should take only 21 minutes.  

A 19.2-kilowatt home charger is available. The pack supports standard bidirectional charging, which means it could theoretically provide power to your home during an outage.  

A bonus is that the big battery can also supply 3,700 watts for whatever you have in mind, from tailgating to camping.  

The cars share basic suspension, but on the sedan an adaptive M-branded suspension is available.  

Both BMWs introduce the new Panoramic iDrive, which features an 18-inch touch screen angled at the driver.  

Early users say it is incredibly responsive. Inside, the standard trim features Econeer upholstery that is 100% fabricated from recycled PET bottles.  

M Design cars upgrade to black Veganza (aka vegan leather). The top trim is BMW Individual with black Merino leather.  

It is standard for automakers to introduce their fully loaded models out of the gate, with the more bread-and-butter versions appearing later.  

BMW is certainly doing that here, but i3s and iX3s priced below $50,000 are expected fairly soon.  

The momentum for electrics has certainly slowed, but cars like these—offering performance, dynamics and features superior to the conventional alternatives—should help EVs get back on track. 

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ARCHITECTS TURN TO BRICK FOR DURABILITY, DESIGN FLEXIBILITY & CLIMATE PERFORMANCE

Brick continues to play a significant role in contemporary Australian residential architecture, with a series of recently highlighted projects demonstrating how the traditional building material is being adapted to meet modern design expectations and environmental demands. 

The case studies focus on three homes in NSW, Queensland and Victoria, where brick has been used to balance aesthetic considerations with practical performance benefits such as durability, thermal efficiency and reduced maintenance requirements. 

At a suburban residence on Badgery Avenue, pale-toned brickwork has been used to reinterpret established streetscapes through a more contemporary architectural approach, with uniform masonry emphasising sculptural curves and clean structural lines. 

In regional Queensland, a rural property known as Springdale demonstrates brick’s ability to withstand challenging environmental conditions.  

The use of textured brickwork helps the home blend with its natural surroundings while providing strength against heat, wind and long-term weather exposure. 

“Australian homes ask a lot of their materials, and brick has always been one of the few that can deliver beauty and performance in equal measure,” says Brickworks spokesperson, Brett Ward.  

“These homes show just how versatile brick can be — whether it’s creating a striking façade, providing year-round comfort, or offering the kind of durability that stands up to the harshest conditions.  

“Brick gives homeowners confidence. It’s a material that looks incredible on day one and continues to perform for generations.” 

Thermal performance is also highlighted in a coastal home at Point Leo on Victoria’s Mornington Peninsula, where brick has been used both internally and externally to help regulate indoor temperatures. 

Its density also contributes to acoustic insulation, supporting quieter living environments in both coastal and urban settings. 

According to Brickworks, the featured homes reflect growing interest in materials that combine architectural versatility with long-term resilience and passive design benefits suited to Australia’s varied climate conditions. 

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NEW DESIGN-LED SAFARI LODGE TO OPEN IN KENYA’S AMBOSELI REGION

Luxury safari operator  Abercrombie & Kent  has announced the opening of Kitirua Plains Lodge, a new design-led property in Kenya’s Amboseli region that aims to redefine traditional safari accommodation. 

Set on a 128-acre private concession bordering Amboseli National Park, the lodge has been designed to blend into its natural surroundings rather than dominate them.  

Developed in partnership with architecture firm Luxury Frontiers, the property reflects a broader shift towards environmentally responsive and community-integrated safari experiences. 

Positioned within sweeping savannah landscapes and offering uninterrupted views of Mount Kilimanjaro, the lodge features 13 standalone suites oriented to frame the iconic peak.  

The design draws on vernacular architecture and local artistic traditions, with an undulating black roof inspired by traditional Maasai buildings and lath screens based on indigenous construction methods to enhance ventilation and shade. 

The project marks a return to Amboseli for Abercrombie & Kent, where founder Geoffrey Kent first introduced clients to luxury safari travel in 1962, establishing a model of adventure by day and comfort by night that continues to influence the industry. 

Materials used throughout the lodge have been sourced locally where possible.  

According to the company, 90 per cent of the furniture was made in Kenya using mango wood and African teak, while Mazeras stone quarried nearby has been used for cladding and flooring. 

Interior finishes, including rough-plaster walls mixed with soil from the site, reflect the colours and textures of the surrounding terrain. 

Sustainability measures have been embedded into the design from the outset.  

The lodge operates on 100 per cent solar power, uses passive cooling strategies to reduce reliance on air-conditioning and recycles greywater for irrigation. 

Waste management systems, including recycling and composting, were incorporated during construction. 

Community engagement also formed a central part of the development, with local workers employed during construction and traditional techniques used to encourage skills transfer and economic benefit. 

Features such as hand-woven sisal ceilings, clay bead pendants and sculptural grass art highlight the role of regional artisans in shaping the property’s aesthetic identity. 

Kitirua Plains Lodge is scheduled to open on June 1, 2026, joining A&K Sanctuary’s existing Kenyan properties Olonana Lodge in the Maasai Mara and Tambarare Camp in Ol Pejeta Conservancy.  

The lodge will be available as part of the brand’s Tailor Made and Small Group journeys.

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Would You Spend $1,000 a Month on Supplements?

Happy smiling woman holding an omega pill in her hand.

Kristin Leite, 38, spends about an hour organising her “stack” for the week.  

“In the morning, I take four powders and about five capsules,” said Leite, an esthetician who lives in Tampa, Fla. She pops around five more in the afternoon, and at night she swallows six or seven capsules. 

“I’m talking probably like over 20 different supplements throughout the day,” she said, making adjustments based on how she feels.

That’s on top of the injections Leite gives herself regularly: NAD+, which she says makes her feel energised and alleviates her brain fog, and glutathione, which is marketed for antioxidant and immune support.  

“It’s very painful, and it stings and it’s horrible,” Leite said of the latter. The Food and Drug Administration has warned that both can cause health problems in injectable form.  

On TikTok, where she has more than 615,000 followers, Leite talks about the products she’s using. She links to them on ShopMy and Amazon, where she earns affiliate revenue from sales. 

Over-the-top supplement regimens have become bragging rights for the health-conscious and wellness-obsessed.  

From beauty lovers to masculinity influencers, everyone is boasting about their “stacks”—the numerous capsules, powders and injections they take regularly in the hopes of achieving a cumulative, self-optimizing effect.  

They’re spending over $1,000 a month in some cases on products that purport to improve their sleep, mental health, fertility, appearance and longevity, but often aren’t approved for those purposes. Some are making money from their endorsements. 

Influencers and other public figures are driving the frenzy. “I do 150 supplements a day, and I have for 20 years,” biohacker Dave Asprey said on a podcast last year . 

 Bryan Johnson, the tech entrepreneur and longevity enthusiast, said in a 2023 YouTube video that he took 111 supplements daily.  

“A lot of people are pretty confused that I can take this many supplements in a given day,” he said in the video, posted the year before his company Blueprint commercialised multi-nutrient products. (He said in an email that he now takes fewer than 30.)  

Health Secretary Robert F. Kennedy Jr., who has vowed to “end the war on vitamins,” has said in interviews that he takes “a ton” of them. 

“Supplements aren’t a silver bullet, and they don’t override poor lifestyle choices,” Asprey said in a statement.  

He said that the ones he takes aren’t necessarily for everyone. “That’s why I never share my exact supplement stack. Experiment, test, and find out what works for you personally.” 

Supplements went from a means of treating diseases caused by nutritional deficiencies in the 1900s to lifestyle products that are now the backbone of a $70 billion industry.  

Because they do not undergo approval by the FDA, they aren’t reviewed for safety or efficacy before coming to market.  

Some have lots of scientific research backing their use, while others have very limited support.  

Manufacturers are prohibited from making claims about treating or preventing disease, but influencers have sold the idea that buying the right products can fend off or cure almost any ailment.  

Their videos draw on popular TikTok formats like shopping “hauls” and “get ready with me” routines, making supplements seem like a step toward pleasure or self-actualisation.  

“Here are all the supplements I take as a 22-year-old, 125-pound girl in college who prioritises protein, slow movement and a healthy, active lifestyle,” one creator says in a video before filling a pale-pink mirrored pill case with a week’s worth of capsules.  

“Rate my stack” is a common prompt in the Reddit forum r/Supplements, where posters share photos of the copious supplement bottles on their shelves. 

Dylan Amble, a 28-year-old in North Carolina’s Outer Banks, recently filmed himself taking creatine and electrolytes, an NAC capsule, black seed oil, a saffron capsule and a supplement called Mojo that says it supports the production of testosterone. 

“I don’t feel like I’m low-testosterone,” he said in an interview, “but I’ve seen a lot of podcasts where they talk about how it’s a gradual decline for males, so my mindset is, Why don’t I hedge myself as much as possible? ” 

He’d been leading a self-described “degenerate lifestyle” that included drinking frequently and vaping before resolving to optimise his health and improve his appearance along the lines of so-called looksmaxxers—young men whose relentless pursuit of a physical ideal can include dangerous behaviours like injecting unknown substances and breaking their own facial bones.  

(He considers himself a “softmaxxer,” meaning he doesn’t take things that far.)  

To assemble his stack, which costs an average of $115 a month, he followed information shared by podcasters, including Andrew Huberman as well as models on social media. 

“I always make sure to emphasise the importance of getting behaviours right first,” Huberman said in an email.  

“While I personally have had great benefit from taking certain supplements, the topic of supplementation is a very small fraction of what I discuss on the podcast and social media.”   

SuppCo, an app with 675,000 users, helps people track their stacks and assess the quality of certain supplement products.  

CEO Steve Martocci, who previously co-founded messaging platform GroupMe and the Uber-for-helicopters company Blade, said he spends $1,114 a month on 28 supplements he takes daily to address nutrient deficiencies and, hopefully, increase his longevity. 

The top 20% of SuppCo users spend $479 a month on supplements, according to the company, and the average SuppCo user spends $168 a month. 

Nutritionists generally recommend filling nutrient gaps through food rather than supplements when possible. Some supplements can actually introduce or exacerbate health issues.  

“It’s a new addiction that people have,” said Mona Sharma, a celebrity nutritionist in Los Angeles. She said many of her clients take upward of 15 supplements a day.  

One female client, she said, was taking 70 of them, following guidance she’d seen online, without feeling any positive effect on her well-being.  

“We hear that [Andrew] Huberman is taking something, and we all jump on the bandwagon thinking it’s good for us,” Sharma said, “when that’s not the case.” 

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Saudi Arabia Sees a Spike to $180 Oil if Energy Shock Persists Past April

Saudi Arabia’s oil officials are working frantically to project how high oil prices might go if the Iran war and its disruption of energy supplies doesn’t end soon—and they don’t like what they are seeing. 

The base case, several oil officials in the Gulf’s biggest producer said, is that prices could soar past $180 a barrel if the disruptions persist until late April. 

While that would sound like a bonanza for a kingdom still heavily leveraged to oil revenue, it is deeply concerning. Prices that high could push consumers into habits that slash their oil use—potentially for the long term—or trigger a recession that also hurts demand. They also would risk casting Saudi Arabia in the role of profiteer in a war it didn’t start. 

“Saudi Arabia generally does not like too-rapid increases in oil, because that then creates long-term market instability,” said Umer Karim, an analyst of Saudi foreign policy and geopolitics with the King Faisal Center for Research and Islamic Studies. “For Saudis, the ideal equation is a relatively modest increase in prices while their market share remains stable.” 

Saudi Aramco, the country’s national oil company, which handles production, sales and pricing, declined to comment. 

This week’s strikes targeting energy facilities have pushed oil prices higher . In retaliation for an Israeli strike Wednesday on Iran’s South Pars gas field , Tehran hit facilities in Qatar’s Ras Laffan energy hub and attacked other Gulf infrastructure including Saudi facilities at Yanbu, the Red Sea end of a pipeline that can take crude around the chokepoint in the Strait of Hormuz . 

Iran also continued to hit ships in the Gulf, extending a string of attacks that have all but shut the strait, the narrow conduit for 20% of the world’s oil shipments. 

Attacks sent benchmark Brent futures as high as $119 a barrel before easing back Thursday. The contract’s all-time high, reached in July 2008, was $146.08.  

“$200 a barrel is not outside the realms of possibility in 2026,” analysts at energy consulting firm Wood Mackenzie said. 

Gulf futures tied to Oman crude, which are less liquid but which quickly reflect local supply disruptions, shot past $166 a barrel. Oman is a benchmark for much of the oil sold by Middle East producers such as Saudi Arabia, with tankers of physical crude priced at a fixed spread to the benchmark, which floats up and down each day with the market. 

Some Saudi customers are balking at using the benchmark given its volatility, the oil officials said. Aramco, however, is insisting it is a true reflection of supply in the market, they said. 

The war has already removed millions of barrels of oil from global supply. Prices are up by around 50% since the conflict began Feb. 28. 

Modellers at Saudi Aramco need to assess the direction of the market in time to release the official selling prices for their crude by April 2. They pull in a number of inputs, including soundings on customer demand from staff who handle oil sales.  

Saudi Arabian light crude is already being sold to Asian buyers via its Red Sea port for around $125 a barrel. As extra oil in storage—some of which was shipped out of the Gulf ahead of the war—is used up, physical shortages will bite more deeply next week, causing prices to close in on $138 to $140, the officials said. 

By the second week of April, with no easing of the supply disruptions and the Strait of Hormuz remaining closed, the Saudi officials said they expected prices could hit $150 before stepping up to $165 and $180 in the weeks ahead. 

Oil traders are also putting bets on much higher prices, though many remain far lower than Aramco’s most dire scenario. Wagers that Brent futures will hit $130, $140 or $150 a barrel next month were among the most popular positions in the options market on Wednesday, according to Intercontinental Exchange data. A smaller but growing number of traders are betting prices could shoot up even further. 

“The market isn’t acting like this is an end-of-March thing any more,” said Rebecca Babin, a senior energy trader for CIBC Private Wealth, referring to an ending for the war. “I don’t think $150 is out of the question in another month…You start talking about June, I’ll give you $180.”  

Many variables could keep prices from going that high, among them an end to the fighting or freed-up barrels from sanctioned producers such as Russia contributing to global supply. Demand could also fall, which would bring prices back down but potentially only in tandem with a recession. 

Energy producers are scrambling to figure out how high prices can go before buyers start cutting back, a phenomenon called demand destruction. 

“Generally, $150 Brent is where people will really start to put their pencils down and do the math,” Babin said.  

At that price, analysts say, Americans might start taking the bus, working from home or rethinking their summer vacations. Manufacturers could slow down rather than operate uneconomically.  

The more relevant price for most consumers is at the pump. Gasoline demand tends to start declining once prices exceed $3.50 a gallon, according to James West of Melius Research. 

For many, prices are already there. Americans’ average retail prices for gasoline jumped to $3.88 a gallon Thursday, according to AAA, up from $2.93 a month ago. Drivers in Arizona, New Mexico and Colorado have faced the starkest sticker shock. 

Diesel’s even more rapid price surge, to $5.10 a gallon, is already hitting companies that rely on the fuel to move everything from produce to semiconductors to steel nationwide.  

“Higher fuel costs act like a tax on consumers and businesses, forcing households to spend more on energy and less elsewhere,” said Philip Blancato, chief executive at Ladenburg Asset Management. 

Another big risk to demand comes from industrial users curtailing consumption and from the broad economic contraction that can accompany oil shocks, according to Wood Mackenzie. 

That pullback in demand would likely initially hit energy-poor countries in Asia and Europe, where prices for jet fuel, diesel and more already are skyrocketing. 

An adviser working with Saudi Aramco said the company is weighing a scenario in which the rapidly rising cost of oil imports in Europe, Japan and Korea puts downward pressure on their currencies, raising their effective cost of energy, driving inflation and interest rates up, and eventually slowing their economies and demand. 

Analysts warn that a continued run-up in U.S. prices could eventually hit the U.S. , the world’s largest oil producer. 

Federal Reserve Chair Jerome Powell said Wednesday that persistently higher energy costs would buoy price pressures and ding growth. 

While the U.S. has become a major energy exporter in recent years, Powell said, “The net of the oil shock will still be some downward pressure on spending and employment and upward pressure on inflation.” 

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WATERFRONT ICON RETURNS TO MARKET

Anyone familiar with Port Phillip Bay knows the eclectic mix of prime properties along the popular waterfront strip of Beaconsfield Parade. Now one of the coveted residences has come to market for the first time in more than 20 years.

Carnane is an address with the best of both worlds – art deco charm blended with contemporary sophistication.

Originally built around 1915 as four smaller flats, the property has been transformed behind its period facade to reveal a modern designer interior crafted for family living.

Reimagined by Buro Architects and interiors, the five-bedroom, four-bathroom house was shortlisted back in 2008 for an Australian Interior Design Award and subsequently appeared in multiple design magazines.

Last sold in 2005 for $2.32 million, Carnane is now listed with a price guide of $14 million to $15 million. The expressions of interest campaign, via Ben Manolitsas, Melissa Turner, and Thomas Wilson of Marshall White Port Phillip, closes on April 9.

What anchors the historic bayside home in the 21st century is the moody, cantilevered steel staircase set just inside the entry foyer. Sculptural in every sense of the word, the “floating” stairs make a bold statement at first sight and even discreetly conceal a refrigerated wine cellar and bar.

The long 580 sq m footprint and three-story layout allow for a convenient separation between entertainment and accommodation zones. In the shell of the original Art Deco facade, there are two sitting areas framed by deep bay windows.

Beyond the iconic stairs, a gallery walkway leads through to the dining room and show-stopping kitchen. A design statement in itself, the sleek black kitchen has Gaggenau appliances, hidden storage, a grand island bench, a casual meals area, and a vast butler’s pantry with a second entry to cater for any sized soirée.

This ground level has marble floors, Venetian-plastered walls, and full-height glazing, as well as the mammoth rear extension. The stylish addition dishes up another large living room, warmed by an ethanol fireplace, and enormous timber-framed sliding doors that open onto the private north-facing pool deck and lush landscaped gardens.

An internal courtyard offers homeowners a bonus green space, separating the formal and informal dining zones.

Upstairs, there is yet another living area and an adjoining study that mirror the bay windows below and capture sweeping views of the bay. There are two bedrooms with built-ins sharing a palatial family bathroom, as well as the main bedroom with a walk-in Polyform wardrobe, extra built-ins, motorised blinds, and an ensuite with a shower.

One more floor up, a top-level guest or teenager retreat with a bathroom, kitchenette, living area, and a huge water-facing terrace. Additionally, the triple garage, accessed via Ashworth St, has its own fully independent studio.

The Beaconsfield Pde home also has spotted gum floors, a video intercom, an alarm, an integrated sound system, abundant storage, and zoned heating and cooling, all within walking distance of Middle Park village, Albert Park Lake, and city-bound transport.

Carnane at 245 Beaconsfield Pde, Middle Park is listed with a price guide of $14 million to $15 million through Marshall White Port Phillip via an expressions of interest campaign closing on April 9.

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SPRING’S MOST PLAYFUL LUXURY ACCESSORIES ARRIVE

Luxury accessories brand  MAISON de SABRÉ is welcoming the new season with a whimsical yet meticulously crafted release, unveiling its Spring Harvest Collection.  

The global launch introduces a series of collectible SABRÉMOJI Vegetable Charms alongside two new interpretations of the label’s popular Bucket bag silhouette. 

Inspired by the changing rhythm of the seasons, the collection reimagines everyday produce as sculptural leather miniatures designed to be attached, stacked and styled. 

Crafted entirely from upcycled leather offcuts generated during handbag production, the charms blend playful personalisation with a considered approach to sustainability. 

“The new Vegetable Charms reflect our renewed focus on seasonal storytelling – capturing the optimism of spring through an expression of craft,” said Omar Sabré, Co-Founder and Creative Director of MAISON de SABRÉ.  

“The SABRÉMOJ platform allows us to push the playful boundaries of our savoir-faire on the smallest and most intricate scale. The charms are contemporary art for your handbag.” 

Available in four designs – Carrot, Mushroom, Snap Pea and Chilli – each piece showcases intricate leather marquetry techniques including bombé onlay and underlay panels, hand knotting and detailed tack stitching.  

Select styles also feature miniature zipper compartments capable of housing small essentials or even an Apple AirTag, merging decorative craft with everyday practicality. 

“For us, vegetables felt like the perfect symbols of the season,” said Sabré.  

“They represent growth, abundance and nature – but translating them into leather with this level of detail required incredible craftsmanship from our artisans.” 

Complementing the charm launch are two new additions to the brand’s Bucket bag family.  

The Mini Bucket Soft Tote offers a petite, fluid interpretation of the original design, crafted from resin-backed full-grain leather and featuring a reinforced base, magnetic closure and detachable strap.  

A new dual-tone top handle introduces a fresh design signature while maintaining the relaxed slouch that defines the silhouette. 

Meanwhile, the Zipped Bucket Crossbody presents a more structured take on the cult shape.  

Designed with a trapezoid profile, full-length brass zipper and crescent silhouette that moulds comfortably to the body, the bag arrives in new seasonal hues intended to complement everyday wardrobes. 

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Gen X Is Stuck in the Middle and Financially Squeezed. How One Financial Adviser Is Helping.

Gen X families, including affluent ones, face a hornet’s nest of financial challenges, from helping out their adult children to providing care for ageing parents to managing careers in a perilous job market.

Zach Mangels, a senior vice president at Wealthspire Advisors in San Rafael, Calif., estimates a quarter of his clients are in the Gen X demographic.

“Mortgage rates are higher, carrying costs are higher, educational costs are higher, groceries are higher, eldercare is higher—all of that stuff eats into cash flow. And even people with higher incomes are feeling that,” says Mangels, 40.

Barron’s Advisor spoke with Mangels about the financial challenges facing his Gen X clients, people between the ages of 46 and 61.

Mangels touched on how he creates short-term plans for clients concerned about career setbacks, why he recommends boundaries for Gen X parents who want to financially support adult kids, and how he guides clients with ageing parents.

How has financial planning for Gen X clients changed?

Typically, when you create a financial plan, you’re looking at long-range goals.

But now I look at more immediate needs because of the pressures Gen X families are dealing with.

For example, I see more clients whose children are coming back home after graduating from college, needing financial support for a much longer period of time than previous generations expected to receive.

How should help for adult children be structured?

If they need to support their child, I want to understand the nature of what the support will look like.

I have a client whose kids just graduated and whose majors don’t lend themselves to a high income right now.

They knew their kids would be coming back home after graduation and we talked about what the nature of their help would look like.

First we looked at their financial plan to see what kind of support they could provide and we defined the maximum amount.

Then we designed the support in a way that would be planned, explicit, and with purposeful boundaries.

That’s very important for the younger generation. Parents need to know how to help their kids without them becoming dependent.

The children need to have agency and to know they don’t have access to an unlimited piggy bank.

What was the plan?

The clients had a conversation with their kids about what to expect.

The kids could live rent-free for three years, with a small stipend, an amount that didn’t disincentivise them from looking for a job.

In this environment, entry-level jobs are increasingly hard to come by, but any job that moves you closer to a career you want is worth looking at. In this case, their daughter got a job as an assistant to a personal shopper, which was related to the direction she wanted to follow.

Do you help the parents practice what to say?

I didn’t provide a ton of details to the parents with what exactly to say. But I coached them on the basics—having a clear, purposeful, intentional conversation and getting buy-in from their kids.

How do you advise clients with ageing parents?

The cost of long-term care for seniors has increased dramatically.

One of the conversations I have with my clients is how they perceive their parents’ financial circumstances and to what degree they might have to provide a layer of financial support. My dad was in memory care for a few years and we paid maybe 15 grand a month.

My clients’ parents are usually relatively stable financially. But the most important issue is the use of the family residence to help provide support. A lot of people in California who have owned homes a long time have a lot of equity in those homes. That’s the ultimate backstop, the last line of defence.

What about the job market?

Gen X is also dealing with career and income volatility. We’ve seen all the headlines about tech layoffs and the rise of AI. A lot of my clients work in the tech industry.

The conversations I have more frequently focus on clients’ concerns about their ability to continue earning at the same level.

We look at diversifying their equity component more quickly, getting it out of company stock, especially for those in tech.

For example, some clients at Amazon have restricted stock units they can sell periodically. But now they’re selling those (Amazon) stocks and then deploying the [cash into other equities] more slowly.

We’re hearing about how quickly AI is going to change things. For people in software on the front lines, they’re pretty anxious about it.

Can you provide an example?

One client who works at Google told me he expected a lot of change with AI as the disruptive force.

A few companies will benefit, he feels. A lot won’t. So he’s actively selling his company shares.

Historically we would reinvest the proceeds as they’ve come in. But now he wants to slow that down. Hold cash a little bit longer and slowly deploy it.

His perception is that change is coming quickly. He doesn’t know what that will look like but it probably won’t be good.

In behavioural finance, we know you feel a loss much more significantly than you feel a gain. And he’s trying to avoid putting money in the market right before there is a big correction.

It sounds stressful.

It’s super stressful. And as we go into 2026, especially in the tech sector and among those with high incomes, I see a lot of anxiety.

I have another client who works in finance, but the nature of his job moves with economic cycles.

He was laid off at the start of Covid and he’s getting nervous again. It’s a “vibecession” that a lot of people are feeling right now.

How do you help someone worried about a job loss?

Over a year ago, we restructured where his investments are held, so that if he gets laid off and ends up spending his emergency fund, the next thing he’ll tap is a more conservative account we created.

It’s not that we took his overall asset allocation and made it more conservative. We just put more investments in this other account. It’s a matter of asset location and it gives him peace of mind knowing he has a fallback he can tap.

That strategy would be helpful for anybody today. The challenge is if you have accounts with a lot of capital gains.

Does multigenerational planning help?

My work with baby boomer clients often involves conversations about supporting their Gen X and older millennial children.

I’ve seen a lot of parents and grandparents of Gen Xers looking for ways to accelerate their generational wealth transfer, trying to provide assistance now when it’s more impactful on their kids’ lives.

For example, a baby boomer client was looking for ways to help her Gen X son, who is married with a child in middle school, but had started accumulating a lot of debt after he was laid off.

We worked together to model the level of support she could provide and how to structure the assistance so it wouldn’t impact her son’s sense of independence.

Ultimately, she decided on a one-time gift that would cover about six months of living expenses. I call this indirect Gen X planning.

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Inside The Craft-Led Luxury Dog Brand Changing Pet Style

For many luxury consumers, the idea of premium pet accessories has long been synonymous with designer logos and glossy marketing.  

But in Melbourne, professional dog trainer Chris Loverseed is quietly reshaping the conversation around what true luxury dog gear should look and feel like. 

As founder of PK9 Gear, Loverseed sits at the intersection of functional performance and traditional craftsmanship, creating handcrafted collars, leads and harnesses designed first and foremost with the dog in mind. 

“As trainers, we work with dogs in real-world environments every day, so that experience directly influences how we design every piece of gear,” he told Kanebridge News. 

Unlike many mass-produced pet accessories, PK9 Gear products are developed through hands-on training rather than driven by aesthetic trends. 

“One of our core principles is that we only design and sell products that we genuinely use ourselves in training,” he said. 

“Unfortunately, many brands create products simply to look trendy or appealing on social media, with very little consideration for how they actually function for the dog or the handler in the real world.” 

For Loverseed, product development begins with performance, ergonomics and canine wellbeing. 

“When I design a product, I always start with a dog-first perspective, and then consider the handler.  

“That might mean looking at how a collar sits on a dog’s neck, how a lead feels in the handler’s hand, or whether a tug toy gives the dog the right grip and satisfaction when they bite. 

“If a product doesn’t improve the dog’s experience and make handling easier, we simply don’t make it. That philosophy sits at the centre of everything we create at PK9 Gear.” 

Defining luxury beyond logos 

In a crowded market of designer-inspired pet accessories, Loverseed believes true luxury is less about branding and more about authenticity. 

“Standing out from mass-produced pet accessories is actually quite simple. Using ethical labour, quality materials, and genuine craftsmanship already sets you apart from much of the market.  

“But defining luxury is more complex, because luxury can mean different things to different people.” 

He sees a broader shift taking place among consumers who are increasingly questioning what luxury really represents. 

“I believe there is also a noticeable shift happening in the market.  

“With USA tariffs and those viral videos showing how many “luxury” handbags are actually manufactured, consumers are starting to question whether luxury is simply a price tag or something more meaningful.” 

Instead, he points to a growing appreciation for understated design and meticulous detail. 

“For me, it is twofold. First, I believe quiet luxury is becoming the new flex, where quality and craftsmanship speak louder than visible branding.” 

His work with high-net-worth dog owners has reinforced this belief. 

“As a professional dog trainer in Melbourne, I work with several VIP clients who live in $40 million plus homes. 

“One thing I have noticed is that people at that level are rarely trying to impress others with logos. They value craftsmanship, authenticity and products that are simply made well.” 

Materials also play a defining role in the brand’s positioning. 

“At PK9 Gear, we take the opposite approach. We use premium vegetable-tanned leathers from Italy, sourced from tanneries that are part of the Pelle Conciata al Vegetale consortium.” 

These traditional tanning methods prioritise durability, natural finishes and longevity. Hardware choices are equally considered, with solid brass, stainless steel and 24-carat gold PVD stainless steel used across the range, alongside hand-stitched construction techniques. 

“For us, luxury is not about logos. It is about craftsmanship, integrity in materials and creating gear that is functional, beautiful and built to last for both the dog and the handler.” 

The rise of Australian craftsmanship 

As global consumers move away from fast fashion and disposable purchases, Australian artisans are finding renewed recognition. 

“Australian craftsmanship is definitely gaining global attention, and I think part of that comes from consumers moving away from fast fashion and mass production,” Chris said. 

“People are beginning to value products that are made properly, with care and attention to detail.” 

PK9 Gear reflects this shift by offering both accessible performance-driven products and highly bespoke pieces that showcase traditional leatherworking techniques. 

“Traditional handmade products naturally come at a higher cost because of the time, skill and materials involved. 

“That alone places them in a more premium or luxury category, but many consumers are now willing to pay for something that will last longer and has genuine craftsmanship behind it. 

A trainer’s favourite companion 

Despite working with a wide range of breeds, Loverseed has a clear personal favourite. 

“If I could have only one dog breed it would be a Rottweiler,” he says. 

In a luxury market increasingly driven by authenticity, longevity and meaningful design, PK9 Gear represents a new kind of status symbol.  

One that values quiet excellence over overt display and performance over perception.