“Ever since I started this job and anyone asks how I’m doing, I always say, ‘I’m great!’ ” Maayan Zilberman excitedly explains. And why shouldn’t she? The former Lake & Stars lingerie designer, who has since founded confections lineSweet Saba, happens to have the sweetest career around. Concocting a literal visual feast out of her Park *****, Brooklyn, kitchen and Fort Gansevoort Meatpacking pop-up shop, the Israeli-born polymath uses her background in sculpture and a biting sense of humor to create her vibrant, indulgent delicacies. Think sugarfied tubes of lipstick, rap mixtapes, and Rolex watches—with their raw handiwork and dead-on wit, these in-demand pieces match Zilberman’s equally enticing wardrobe. Hardly barefoot in the kitchen, Zilberman teeters about in her workspace in vintage Betsey Johnson Mary Janes, while throwing on a customized Adam Selman pearl-laced apron to protect her Prada skirts andProenza Schouler knits. Here, the dazzling candymaker reveals how she has always been more En Vogue than grunge, why she never forgoes a perfect press-on manicure, and her plans on taking Sweet Saba herbal.

From Jerusalem to Vancouver

I was born on a kibbutz, where the first clothing I had was a mix of unisex hand-me-downs, so I was given a pretty blank slate. When I lived in Jerusalem we were surrounded by several sects of Orthodox communities, and the fabrics associated with each group were inspiring to me. During those years, designer brands were becoming popular, and the only place I was seeing this was in the shuk [market] where one could find imitation Calvin Klein and United Colors of Benetton next to tzitzit and shawls. I think it was in the early ’90s that I first understood how to mix my ethnicity with fashion and food.

Also, one of the most influential books of my childhood was Color Me Beautiful, which the women in my family took very seriously. I learned at the age of 6 that I was a “Winter” and haven’t veered off course since. I still have the book and love to pull it out at parties. Later in high school in Vancouver, grunge was the big trend and there wasn’t much room for my sensibilities in that environment—even when I wore my Revlon Blackberry lipstick and grunged out with irony. I was always far more En Vogue and Versace than the Pacific Northwest could handle.

Taking Cues From ’90s New York City Street Style

When I first got to New York, when I was 15, one of the first things I discovered was all the music I could get on Canal Street. I used to buy mix CDs from girls in monochrome outfits and big name-plate earrings. They pointed me to Fulton Mall in Brooklyn, and that’s where I finally got pants that fit right and jewelry that reflected my personality—a departure from the stuff I’d received for my bat mitzvah.

A shift in style for me meant a tougher, more confident look, where a short skirt is a reference to an era, not a call for attention. Music and lyrics played a big part in teaching me about how to dress and how to feel feminine. I had a Versace quilted skirt that I wore a lot—it made me feel like the supermodels in the ad campaigns: Cindy, Claudia, Stephanie, et cetera. I also had a Jean Paul Gaultierdouble-breasted pinstripe suit that I’d wear casually. In fact, I’m still wearing most of my clothes from those days: Betsey Johnson floral dresses, Donna Karanbodysuits, a metallic Byblos pouf skirt, and a grommeted Pelle Pelle jacket.

Lingerie Beginnings

I studied sculpture at the School of Visual Arts, and for a year at the San Francisco Art Institute my major was “new genres,” a very ’90s thing. Right after I graduated from SVA, I did an artist residency with Ilya Kabakov at the Fondazione Antonio Ratti in Como, where they also manufactured some of the world’s most beautiful silks. A tour of their factory opened my eyes to a potential dip into fashion, but it wasn’t until I met a pair of women in New York City that same year looking to start a lingerie brand that I took a chance on garment design. I bought a bunch of bras and took them apart and figured out how they were put back together. I cofounded The Lake & Stars in 2007 with the desire to make a brand that was in line with the story I wanted to tell as an artist. Lingerie was a tool, a structure that gave me rules so I could tell a sci-fi tale while inherently delivering romance and *** appeal.

read more:http://www.marieaustralia.com

www.marieaustralia.com/short-formal-dresses

Mildew clutched tight,
hollow-*****, manic thrusting,
marionette-faced, barrow-lunged,
nails bit to the bone-gristle,
lips raw with spit-polish,
redacted eyes, redacted eyes --
two palpable creatures,
transient drifters of soulspeck,
one unraveling the other constructing
one unraveling the other constructing
forever,
sallow truth would dissolve skin.

Lips read: founder a self.
Rusty copper
with adamantine eyes.
Steel core, unbroken by absence.

Drown in opposite directions,
oceanwater salve, yes
calloused tongues jostle,
ribbed in salt and rust.

Unlaced corset,
striped sweater,
grunged trainline veins
run on endless.
A clock,
abandoned in the middle,
I think once

it very much mattered.

(I. Summer ‘ 13)

Freckles clung
like manic-pixie stardust,
spackled whispers
an unfolding fractal
of brimming dresser drawers
old pictures and mix cds,
we could only ever do
what teenagers were supposed to.

Smushed crabapple handholds,
moxy and sadism hard-won,
no crash course in platonicness,
our stained glass eroded
into a beach
frozen in unsummer,
opiates dull senses,
a synesthetic void
exchanging echoes of echoes,
a cacophony of empty
distilling as it leaves
in whisks of 2 a.m.s,
honey-laced whiskey—

if the sky murmurs one
last love poem, it isn't
to us but our
moment of infinity,
of blind faith
irredeemably lost,

that forever of apex
where the line between
falling and flying
blurs.

(II. Fall ’13)

Spines and ribs
don’t do it justice
you raptured me
both ways to Sunday,
built me up to shatter jaws,
car windows—me
bar stool battered,
you my perfect carpenter,
smile with wooden teeth
(you made them yourself)
so stain me the color of
cherry trees
and unbliss my empty spine.

(III. Winter ’13)

Mildew clutched tight,
hollow-*****, manic thrusting,
marionette-faced, barrow-lunged,
nails to the bone-gristle,
lips raw with spit-polish,
redacted eyes, redacted eyes--
we are palpable creatures,
transient drifters of soulspeck,
one unraveling the other constructing,
sallow truth would dissolve skin.
founder a self, rusty copper
with adamantine eyes,
steel core unbroken by absence,
drown in opposite directions,
oceanwater salve, yes
calloused tongues jostle,
ribbed in salt and rust.

Unlaced corset,
striped sweater,
grunged trainline veins
run on endlessly,
a clock,
abandoned in the middle,
I think once
it very much mattered.

now's the mistake; another 36thr. another of these
poor decisions, these stiff hands, and a once seventeen year-
old out in soul for remembrance of *******. and self-destruct-
ion. epochs ago to now, and in writ moment,
a loss of speech. isolation of a decade, but not always.
kinda like alonenness, but not always. kinda like the crossing of a des-
ert during multitudinal suns' rising; endless cessation
from night's innate lonesomeness. kinda, but not always, and
kinda breaking out with the freak outs. maybe there's become
a problem. (light's bleeding to the left) perhaps incite
a disconnection. perhaps that is forward by removal --
that all-evasive isolation. (unresponsive, compulsive) just touch
base again, but by this moment, may have slid right on by. grunged
pants, dirt streaks, to that tepid walk home as rains began. mud-
stains, and at least there's a good ******* cup of coffee waiting . .
        (broken thought)
                            when voice rings out,
                   "Cut your ******* hair!" as of feminism,
               always thought to be self-righteous ****;
                (again, breaking)
                   "Words are cheap, and breath is free." narrative
of own thought in anothers' voice. distracted; fatigued;
waking to coffee and toast. butter and jam, of course. realizing -- ever realizing -- that I will break every wine glass I ever own, and I will
leave it broken. avoiding the shards of shattered glass, at least,
until my foot drags the carpet. until my foot leaves inevitable blooded-trail.
and lips to wound, some kiss of peace felt from soul; after lips are no
longer of cheek, or of wound, they sing out for my life.
Always singing for life, when this voice always wails for the
absence of warming weather. And this voice is of perpetual
*******, often and forever repeating priorly stated words -- if only a line
back. If only there weren't this block. Past weeks, the past hours, have
been found .  . a ******* block. this voice is always falling deaf.

Its all skylights from here.
(Eros collects any leftover heartbeats and I smile)

Holding the stars to his face, its nonsensical, this stash of inhabited husks and sienna skies ; we should quake with

anticipation. "Yes," we'll be grunged cigarettes, coaxed, a rained-out velvet, I'll smash bottles on traincars- like so - ($) - and he'll pick the scraps out of us with his teeth

IN KITCHEN - DAWN

makin' biznitch calls
looks t'sun

"ya crown is grunged
scraggly
ur ****'s ****'n ugly"

well ****
everyone's got drums
don't beat mine
even i get to beam
lion's mange
ain't all the same

HANGS-UP

"geez i'm *******!"

you know what else gets *******?
" ..."
bowel-void stains in a toilet bowl