Darker Than Black

You can’t go wrong with black, they say. It goes with everything and can be combined with any other colour. It also exudes elegance and exclusivity. The perfect choice for the wardrobe. Here we explain why black has a magical attraction for us and why this colour is not always what it seems.





There is actually no such thing as black in fashion. Or to put it another way, there is black and there is BLACK. Dyeing a fabric with this colour is a lengthy and expensive process that requires many hours of work. Therefore, most of the clothes we buy are dyed with a superficial shade of black that fades after a while. However, especially with suits, the bold black silhouette looks more accentuated and striking. The Italian weaving mill GUABELLO has developed a fabric that has a deep colour-fast black. GUABELLO calls it Super Nero. CG – CLUB of GENTS has used Super Nero to produce a suit that meets all the authenticity requirements of a black suit.




The intense black colour of Super Nero is lightfast and protected against bleaching by a special finishing process. The slim fit suit made of 100 percent virgin wool (outer fabric) is woven in Italy in Super 130’S yarn quality – this number corresponds to the thickness of the wool fibres. The higher the Super number, the higher the quality of the fabric. A thread count of Super 130 to 150 represents the perfect balance between durability, comfort and luxury for a normal business suit. This makes the CG Cayson jacket with matching trousers the perfect all-rounder in the segment of high-quality black suits.

How fabric dyeing works





To dye textiles black, several complementary pigments such as blue, orange or yellow have to be mixed. For the dyer, this means that he has to match the fibre, dye and dyeing process exactly for optimal dyeing. For cost reasons, the result can vary greatly. In most cases, the black dyeing has a red or blue undertone. This applies to both textiles and leather. The red undertone gives a warmer black, the blue undertone a cooler black. The true character of the black colour can be seen by moving the textile in the light. Although the effect is not perceptible to many consumers, there is a big difference compared to a high-quality dyeing process. This is noticeable through colour fastness, saturation and depth. The CG Cayson suit in Super Nero offers this quality in a fine Super 130 yarn.




Basically, all fabrics consisting of at least 60 percent natural fibres can be dyed. The higher the proportion of natural fibres, the more intense the dyeing. Fabrics made of synthetic fibres, on the other hand, tend to take colour poorly or not at all. In addition, light-coloured fabrics are particularly suitable for dyeing. Dark fabrics can at most be dyed darker or bleached. Both natural and synthetic dyes are used in the dyeing process. Colour extracts from plants and from foods create astonishing results. For example, coffee and black tea are used for brown tones, camomile, onion and turmeric for yellow to orange. Red to blue shades are achieved by using beetroot, elderberry or red cabbage. Since the extraction of natural dyes is very time-consuming and cost-intensive, synthetic dyes are preferred, especially in industrial textile production. Synthetic dyes have an almost unlimited range of colours.

The dyeing trade – a millennia-old craft



In Europe, the dyer’s craft has a long tradition. Important centres were Florence and Venice. Here, particularly valuable cloth and a high standard of workmanship and the quality of dyeing were produced, which set the standards for the whole continent. Other textile-producing countries also excelled in the refinement of their clothing fabrics. The "kuro montsuki" is a black kimono worn by men in Japan on special occasions. As is the case everywhere in Japanese craft tradition, work steps are refined to absolute perfection – as is the case with the dyeing of the "Kuro montsuki".


Unlike printed fabrics, kuro montsuki has a darker and more intense black because black dye is applied to each individual fibre. To achieve this, the garment is dyed several times at extremely high temperatures. This process reduces light reflection, resulting in the intense black. The process takes longer than mass-produced printed products, but the difference is clearly visible when you look at the colour intensity of the kimono. Super Nero achieves a comparable reduction in light reflections. Light is swallowed by the surface and a strong black takes its place.