Shaping Australia’s Next Generation of Luxury Developments

Sydney’s ultra-luxury property market continues to move to its own rhythm.

Scarcity, lifestyle appeal and a new generation of high-net-worth buyers are reshaping how prestige projects are designed, marketed and sold.

We asked Abadeen’s Executive Chairman and Founder Justin Brown to unpack what’s driving demand, where he sees opportunity and how the definition of luxury living is changing.

Q: Sydney’s ultra-luxury property market has remained remarkably resilient. Why?

Supply is structurally tight, and the best sites are almost impossible to replicate. Planning is slow, construction costs are high, and true blue-chip land rarely changes hands. That keeps premium stock scarce.

Much of the demand at this level is from owner-occupiers, and their numbers are increasing exponentially. With long horizons, they help stabilise values through cycles.

As a developer, we manage release strategies carefully. Private placements and staged launches absorb volatility and protect pricing integrity. Sydney’s quality of life, stability, and the international desire to live here do the rest.

Q: Off-market transactions are a hallmark of prestige property sales. What advantages do they offer buyers and sellers?

Both channels have a role. On market provides full exposure, public benchmarking and visible competitive tension. It’s useful when we want to set a new reference price or showcase a precinct at scale.

Off-market delivers privacy, precision and control. There is a smaller pool of qualified buyers who set the tempo and negotiate the terms that actually matter.

It protects residents’ privacy, reduces disruption on site, and keeps the brand experience consistent. Buyers gain early access to irreplaceable products and the ability to tailor outcomes quietly.

For true trophy assets and pre-release allocations, I prefer off-market. We are able to customise and personalise the outcome.

Q: Luxury buyers expect more than location. What must-have features and amenities drive demand?

Views and villages is simplistic but precise. Long, protected outlooks, correct orientation, and a connected neighbourhood that offers vibrancy seven days a week.

Then privacy and a sense of arrival. Generous indoor–outdoor living, a primary kitchen plus a catering space for real entertaining, serious wellness facilities, secure multi-car garaging with EV infrastructure, and building services that feel five-star without fuss.

Technology should disappear into the experience and be reliable. Acoustic and thermal performance matter as much as marble. Designing homes is our craft. We obsess over those details because they determine how a home actually lives and breathes.

Q: Beyond Sydney, are there emerging luxury markets in Australia that high-net-worth investors should watch?

We have further expanded in Melbourne, Perth and Queensland. That is where we see sustained depth for the premium owner-occupier product in the right areas, targeting similar demographics to the Sydney market.

Think Melbourne’s inner bayside and east, Perth’s western suburbs and river precincts, and select Brisbane and Gold Coast locations where scarcity is real and community amenity is maturing.

Q: What has been your most remarkable sale, and what made it unique?

I have been fortunate over the last 30 years to be involved in Australia’s premium apartment revival from Bennelong, Hyde Park precinct and Barangaroo in Sydney, to HMAS in Melbourne, and the waterfront precincts of South-East Queensland and Perth, amounting to more than $200 million in property sales. We have also transacted a high proportion of development opportunities, up to $750 million.

Q: What is one piece of advice you always give high-net-worth buyers?

Choose the developer first. At this level, counterpart risk matters as much as postcode. Buy in the best village with the best views you can, but make your first filter the team delivering it: if you trust the people and the product, move early and buy with confidence.

This interview appeared in the Spring issue of Kanebridge Quarterly magazine. You can buy your copy here.

For Jack Freeman, a compelling interior should not look as though it was completed in a single shopping trip.

The founder and designer behind FREEMAN & CO prefers rooms that develop through art, travel, commissioned furniture and objects collected over time. It is an approach that treats the home less as a decorative project and more as an evolving portrait of its owner.

“I am a true believer in collecting versus decorating,” Freeman says.

That distinction underpins the international practice he has built across private residences, hotels, property developments, yachts and private aviation. Its projects stretch from Point Piper, Vaucluse, Circular Quay and Toorak to Mayfair, Bel Air and the Caribbean.

Although the locations and architecture vary considerably, the work is connected by a restrained design language. Natural stone, warm timbers and sculptural furniture establish the foundation, while art, bespoke lighting and individual objects give each interior its identity.

The objective is not to overwhelm a room with obvious symbols of expense. It is to create an environment that feels calm, layered and particular to the people living within it.

“The greatest luxury isn’t about excess,” Freeman says. “It’s about creating an oasis where you come home and feel immediately grounded — effortlessly chic and deeply personal.”

Collecting instead of decorating

Decorating can imply the completion of a room: selecting the required furniture, filling the available walls and producing a coherent finished image.

Collecting is less conclusive.

A collected interior has room to change as its owners travel, discover artists, inherit pieces or reassess how they use their home. Its character comes from the relationship between objects rather than adherence to a single brand or season.

That does not mean placing unrelated pieces together without discipline. The designer must understand scale, proportion, material and provenance well enough to create a dialogue between them.

A contemporary artwork might sit beside a historic piece of furniture. A precisely detailed new interior may be interrupted by an irregular object made by hand. Smooth stone can be balanced by timber, textiles or a patinated metal surface that becomes richer with age.

The tension between those elements is part of the appeal.

For Freeman, art is not an accessory to be added once the furniture plan is complete. It forms part of the architecture and atmosphere of the room from the beginning.

Lighting is considered in the same way. Beyond its practical purpose, a bespoke fitting can operate as a suspended sculpture, changing both the room’s composition and the way its materials are experienced after dark.

A design perspective shaped by travel

International travel plays a significant role in Freeman’s creative process.

Design fairs such as PAD Paris and Salone del Mobile in Milan provide opportunities to encounter emerging designers, established galleries, new materials and collectible furniture away from the filter of social media.

More spontaneous discoveries can prove equally important.

“Sometimes it’s the simple things,” Freeman says. “That piece found on a shopping trip with a client in Paris, stumbling across an artisan’s workshop, or a special memory that forms the narrative of the story.”

Objects selected during travel bring more than visual interest into a home. They carry an association with a place, maker or experience, giving the client a connection that cannot be reproduced by ordering an entire interior from a catalogue.

Freeman’s influences are international, but his projects are not conceived as replicas of Parisian, Milanese or Californian style. Each commission responds to its architecture, setting, natural light and the daily lives of its occupants.

A waterfront Sydney residence demands a different treatment from a Mayfair townhouse. A Caribbean estate shaped by brutalist architecture and reflecting pools calls for another response again.

The designer’s role is to absorb those references without allowing them to overwhelm the individual qualities of the property.

Designing the complete experience

FREEMAN & CO extends beyond conventional interior decoration.

The practice’s stated services include interior design and architecture, project management, property acquisition, development advice, concept design, documentation, furniture and lighting design, procurement and art curation.

That breadth allows the team to become involved before a room’s dimensions and finishes are fixed.

Early participation can be important at the top end of the residential market, where architecture, landscape, interiors, technology and art must operate as one environment. Decisions about ceiling heights, wall dimensions, sightlines and lighting can directly affect where art is installed or how custom furniture is proportioned.

The practice can then carry those decisions through to procurement and final installation, maintaining the design narrative as a project moves between architects, builders, specialist craftspeople, dealers and suppliers.

Its residential portfolio includes a South Coast retreat conceived as an escape from urban life, a Caribbean estate with reflecting pools, an East Coast-inspired Palm Beach residence and a Mayfair townhouse organised around an expressive drawing room.

The studio also says it has worked on highly tailored Sydney residences with values exceeding $100 million, although the private nature of such commissions means individual addresses and clients are not always disclosed.

A home that can keep changing

The risk in creating a perfectly resolved interior is that it can become too static — a composition that looks exceptional in photographs but leaves little room for life.

Freeman sees the home as something that should evolve with its owners.

“I love the evolution of design,” he says. “We are talking about people’s lives, and as they evolve, so too should their private sanctuaries.”

That evolution might involve adding art, reupholstering a significant piece, adapting rooms as a family changes or making space for objects gathered through future travels.

The original design needs to be strong enough to accommodate those layers.

This may be the clearest expression of Freeman’s approach to luxury. It is not simply access to rare stone, collectible furniture or commissioned craftsmanship. It is the creation of a personal environment whose meaning deepens rather than diminishes with time.

Fact box

Designer: Jack Freeman

Role: Founder and managing director

Practice: FREEMAN & CO

Base: Australia, with international projects

Project locations named by the practice: Point Piper, Vaucluse, Circular Quay, Toorak, Palm Beach, the NSW South Coast, Mayfair, Bel Air and the Caribbean

Sectors: Private residences, hotels, residential developments, private aviation and superyachts

Services: Interior design and architecture, property development, project management, property acquisition, documentation, furniture and lighting design, FF&E procurement, interior dressing and art curation

Design philosophy: Collected, personal interiors shaped by art, craftsmanship, travel and enduring materials

Website: free-man.co

Shaping Australia’s Next Generation of Luxury Developments

Abadeen Executive Chairman & Founder Justin Brown shares his insights on the resilience of Sydney’s ultra-luxury property market and the future of premium living.

Jack Freeman believes the most compelling interiors are not decorated, but collected. The FREEMAN & CO founder creates layered, personal spaces shaped by art, travel and craftsmanship.