It was Derek Jarman who said that “painters use red like spice”. Perhaps it’s because red is so emotionally intense; red stimulates enthusiasm and energy, encourages action and confidence. And they (the internet) say that red stimulates a faster heartbeat—this could be why a woman in red is irresistible. Works for Valentino right? (And didn’t Juno get pregnant wearing a red hoodie?)

So get out your little red dress, and while you’re at it, perhaps a red sweetie to match. But be careful: pretty food can have ugly effects. The same people (the internet) say that Red Dye #40 has the greatest impact on children’s brain function, i.e causes them to go insane!

But you’re a grown up, make your own decision. This week, we celebrate the colour of passion, danger, Coke and love.

The creators of the genius blog Wardrobe v Pantry couldn’t decide what they liked more—food or fashion. So they just stuck ‘em together. Each week they’ll share a selection of their fashionable foodstuffs with Portable readers. If you can’t wait until next week to see more, head to their Tumblr or Facebook page for daily sartorial treats that’ll leave you salivating.

New Wave rockers Bishop Morocco want the 80s back. Life was sweet then; all sparklers, parties, denim jackets, ouija boards and television-shaped sunglasses. Boys with dangly earrings were edgy and there was nothing wrong with shorter men being with taller women.

Lucky for them director Eva Michon shares this vision and collaborated with the band of the nostalgic piece of music video splendor for Bishop Morocco’s new single Old Boys. The clip opens on the scene of an accident, and a young woman is shown through a red filter. The song begins as three girls use a Ouija board, and the whole clip plays out in muted moody lighting.

We see a kids’ party in progress and, after coming down a flight of stairs, one of the Ouija girls grabs the hand of one of the boys and leads him outside. It is all very romantic in an are-you-even-in-high-school-yet kind of way. The significance of the young woman is not elaborated upon, but there is something about this clip that suggests she affects the little girl and her first romance.

Bishop Morocco are releasing their ‘Old Boys’ EP  on 13 March through Arts & Crafts and are playing at SXSW 2012.

Martha Stewart is no match for Canadian shaggy dog rockers Yukon Blonde; they take obsessive compulsive cleaning away from uptight middle class soccer moms and transform it into the thing to do for hipsters in their down-time.

This video is for the new song Stairway and is directed by Joy Broadbent. It shows a young man with a cat fetish and color coded books clean his apartment from top to bottom. Like any self-respecting human being, he makes it fun by turning it into a scene from a musical. Unfortunately for him, a bunch of people keep popping up and disrupting his work. They do try to help out, but licking plates clean is probably not as helpful as you might think.

Whatever kind of creatures they are, they’re certainly not of this world. It is a fun video for a boppy song and the Yukon boys explain on Youtube that they wanted to make a clip about how being on the road makes you miss the domesticity and comfort of home.

That is something they’re going to have to get used to; Yukon Blonde are touring their butts off until May, covering Europe, America and Canada, including shows at SXSW 2012 festival in March. They also have an album due out in spring this year on Dine Alone Records.

Juergen Teller: Exposed on Nowness.com.

One of the few pleasures left for smokers is the classic excuse for escaping a bad party: “I’m just going outside for a cigarette”. It is a sweet reserve for those who otherwise only look forward to a depleted bank account and life-threatening illness during the course of their addiction. It appears that two best friends gave just that excuse recently, and luckily for us they had a video camera with them.

Those friends are photographer Juergen Teller and director TJ Wilcox, the pair behind the video and print campaign for Marc Jacobs’ Daisy fragrance. The resulting film is Juergen Teller: Exposed, and it shows Teller on the streets and rooftops of New York, smoking and chatting to Wilcox, who is behind the camera. The footage is handheld and occasionally the sound goes because of the wind, but that is the beauty of this video. It lends the spur-of-the-moment feel, which allows you to concentrate on the scenery of the city and the anecdotes of the photographer, which is a nice change from the highly stylized work they otherwise offer us.

Teller has worked with a whole bunch of fashion houses, including Vivienne Westwood, Helmut Lang, Marc Jacobs, Yves Saint Laurent and most recently Celine. He muses on how he got into photography, his shoots for the fashion industry, his work ethic and his meeting with the infamous OJ Simpson. Not a bad trade-off for the cold and the passive smoke.

There is an exhibition of Teller’s work currently showing until 17  March at Lehmann Maupin in New York.

Video cameras are marvelous things. They have been bringing us the joys of television and cinema for years. They’ve even managed to make an appearance in the art world and Portable stake their lives, their loves and their reputations on documenting the glorious results of their use on the internet from people right across the world.

Computer artist Jonathan Brainin is here to use the video camera to seriously mess with your head. This clip was taken as part of his ongoing work on a kinetic video pendulum. What Brainin does is set a camera up in front of two monitors; one is swinging back and forth like the pendulum on a clock and the other is still. The camera feeds directly into the two monitors so what is displayed is video feedback; a video which is projected and slightly delayed with each reproduction. It is almost like the hall of mirrors scene in Citizen Kane, only with a couple of computer monitors instead of Orson Welles.

Brainin must be breaking some kind of fundamental law of physics with this contraption. Either that or he seeks to hypnotize us. Nevertheless, our love for the video camera makes us willing guinea pigs.

“If people aren’t going to like it they probably have no tattoos, probably never been in a street fight and probably wear a condom every time…”, muses Mister Cartoon, one of the slew of famed street artists who appear in the exploration of contemporary graffiti that is Outside In: The Story of Art in the Streets. With this statement he is separating those who view graffiti as creation from those who perceive it to be the arrogant destruction of public property and, by association, those who are open minded versus the squares of the world—according to Mister Cartoon anyway.

To the contrary, the beauty of this film is that you needn’t be a street art aficionado to appreciate the unquestionable creativity and sheer scale of the diverse and wide ranging work produced by the artists featured in Museum of Contemporary Art (MOCA) director and curator Jeffrey Deitch’s exhibition. By taking graffiti inside the walls of an art gallery and onto our screens through the lens of director Alex Stapleton‘s camera, Outside In allows the self proclaimed squares of the world, who may feel more comfortable inside the confines of a gallery than in a graffiti laden alleyway, to interact with the intrinsically rebellious movement that is graffiti-and keep their condoms on too.

The piece raises questions about ownership, property and whether permanence is a prerequisite of serious art. These questions are naturally divisive, eliciting emotional and heated responses during the film-the exhibition’s opening is described as potentially one of the most important moments for art in the 21st century minutes taggers are likened to to baby pigeons (like the aforementioned flying rodents you know they exist but you never see them). Regardless of your stance on graffiti both the dedication to the craft of artists such as Shepard Fairey, Lee Quiñones, Swoon, Futura, Mister Cartoon, Revok, Martha Cooper and Invader, as well as what they produce, is “at the worst…magnificent.”

The 1980s is the decade that witnessed the death of cult. Sure, there are always new forms of art being made now, but somewhere between the shoulder pads and the synths, truly fearsome boundary-pushing ended. 1981 saw the last film made by Jim Sharman, the legend behind The Rocky Horror Picture Show and 1987 saw the death of Andy Warhol in a hospital in New York, and there went the world of true cult. Until now.

Sharman is back, and he’s brought Andy Warhol with him. Andy X is Sharman’s first film in 31 years and it’s being released online to commemorate the precise moment of Warhol’s death, at 6.21am on 22 February. The film is a composite musical/verse/montage spectacular and watching it makes you feel like you’re in an intimate theater in a back alley of the great city of New York. Don’t expect a searing melodramatic biopic that reduces Warhol’s life to an explainable two-hour time slot; expect 42 minutes of dancing, singing, poetry slamming, color-filled, set-romping deliriousness that Warhol would be proud of.

The cast is kept to a minimum, with a handful of actors playing multiple roles. Akos Armont heads the largely Australian cast as Andy Warhol and as the poet narrator. Featured are Warhol’s friends, idols and enemies including Jean-Michel Basquiat, Judy Garland, Billy Name, Warhol’s mother Julia Warhola and Warhol’s attempted murderer Valerie Solanas.

This trailer is just a taste of the ‘screen seance’ that is Jim Sharman’s Andy X. You can watch the complete film online here, or download it for a fee to keep forever.

The Woman Dress is the third instalment in Miu Miu’s Women’s Tales film saga (the first two, directed by Zoe Cassavetes and Lucrecia Martel, are here and here). Directed by Giada Colagrande and starring Italian actress Maya Sansa, the film alludes to a more sinister side of Miu Miu. Adding to the macabre vibe of the piece is the haunting soundtrack written especially for the film by electric pop trio Au Revoir Simone.

Featuring witchcraft, reverse-speak and incantations, the fashion obsession is taken to its most extreme conclusion in a “metaphysical tale of transcendence and ritual” whereby the woman becomes the dress.

Led to a bath and her finger pricked to draw blood, the anonymous woman is encircled by a coven of elegant witches chanting in tongues. As the smoke clears we see the woman has made the ultimate sacrifice by transforming herself into the dress of her desire.

The film debuted on Valentine’s Day at a New York fashion event at which the attendees were make to gain access via an elaborate labyrinth hallway.

Collaborating with director Bertrand Le Pluard for the second time, Simon Porte Jacquemus’ second film for his eponymous label Jacquemus is an exploration into the life “of a lonely woman, tired of men, who dedicates her life to dogs.”  Inspired by “Brigitte Bardot’s spirit”, Jacquemus explained to Portable, “since I was young I have been fascinated by this kind of person, who gives her life to her dogs.”

The summer collection on show in the film, Le Chenil is an array of linen dresses in a colour palette of white, lavander, navy, black and red.  Jacquemus told Portable the color palette is representative of the connection “between nurse (hospital colours and the red blood) and none; something radical, strict, with five colors and five different dresses.”

Jacquemus’ previous collection also explored the notion of the modern French working woman, something he continues to develop in his design, with Le Chenil being his fourth collection.  For his latest collection Jacquemus divulged, “I wanted clothes that look very old, like a grandmother’s dress.  I also wanted something for every day, something very light, because during the summer you must feel very comfortable.”

Set to a soundtrack from French chanteuse Marie Laforet, the film in itself is a sweet, nostalgic look at life in the French countryside, starring Caroline de Maigret, with the garments standing out against the pastel farm surroundings.  It also shows a sense of female empowerment which Jacquemus is clearly trying to reinforce into his homeland’s industry once more.

I went into the class with nothing special in mind except for the need to acquire a passing grade. But once I started with photography, I never wanted to put down the camera. There was something special about capturing a specific moment in time that moved me and made me pursue the craft. My basic need to pass the high school course was overridden with a much higher need to capture a little bit of the world and pin it down.

The Seattle native is studying at the University of St Andrews in Scotland, where the visages she’s met with each day outweigh her fascination with capturing people in intimate portraits.

The place I live always affects the pictures I take. When I am at home in Seattle, I tend to take lots of photos of people and animals. But when I am away at school in Scotland, I love to take photos of the landscape. The history behind every little piece of building or sloping hills is so significant that I can’t help but snap away at them. I love taking photos of landscape and animals because you get to see the beauty of the world printed out for you and you get to hold onto that forever.