Art in History: Shining Light on the Color Black
- Jared Fredrick Loeb
- May 7, 2025
- 11 min read
Updated: May 27, 2025
When studying the history of any topic, it is conventional to find at least one instance of its origin. The color black is particularly interesting in this regard, as the history behind its first use as an aesthetic tool is one of contention. It is a story of multiple beginnings, a fusion of various artists and their inspirations. With a vast array of historical and cultural references to consider, pinpointing just one moment seems to be difficult. Such a mysterious quality makes it a pleasure for me to discuss, as I doubt I'd be inspired to this degree by its general characteristics. I see black to be the natural placeholder for eventual vibrance in any concept, as everything changes eventually, as what was once lacking will eventually be in abundance. Though I believe this, I am not solely writing about my opinion of the color, but also its history. The world would grow old, granted, too many of Jared's opinions anyway; maybe it could use more black.
From Greece to Rome
Garments of the color black in ancient Greece were mostly symbolic, prominent almost only during ceremonial occasions, or when mourning the dead. To make the clothing, dye was prepared from iron oxide or charcoal. The preparation of such dyes was an art in itself, often involving various techniques to ensure that the color adhered well to the fabric, allowing the garments to convey the intended solemnity and gravity. The significance of black garments was intertwined with the Greek understanding of life, death, and the afterlife, where the color black represented not only sorrow but also a connection to the spiritual realm.
As it extended to Rome, the color began to hold a much broader cultural meaning for this new period in history. Whereas it was once worn by the commoners in Greece for ceremony, it became an indicator of class and wealth in Rome. To ordain the dark color became extremely important for the Roman elite during the Imperial period, which marked Rome's time as an Empire. Upon public appearances, magistrates would wear black togas as a symbol of definitive authority and gravitas. This deep color was one seldom seen by most, not just on clothing, but even naturally, making it all the more eye-catching and glamorous. Magistrates even had a special black gown, called a toga pulla, only to be worn by them during ceremonies of mourning. Black had transitioned from a color of reverence to one of prestige, its rarity lending it power in both spiritual and political spheres. What began as a symbol of mortality in Greece became, in Rome, a marker of enduring influence and elevated social standing. The visual weight of black communicated seriousness, intellect, and control, qualities essential to the Roman image of leadership.
In both cultures, black was never merely worn; it was performed, signaling the wearer’s relationship to life, death, and power.
Protestant Reformation and Calvinism
Granted, given the time, I could write endlessly about the Protestant Reformation's effect on art. To first understand the Protestant Reformation, one must be acquainted with the Catholic Church, which was the world's largest international institution at the time. The Church wielded the ethos of Christianity, political strategy, and, inevitably, human corruption to act as medieval Europe’s governing body. The Protestant Reformation was the fundamental reconstruction of how the Western World would be governed following the growing dissatisfaction and loss of trust in the Church's capabilities. The Protestants were Christians who opposed the authority of the Church and used the Christian values of unconditional love and humanity's free will as proof of the Church's hypocrisy. As the Church had banned other colors through Sumptuary laws, the Protestants and followers of Calvinism adopted black as a symbol of humility, rejection, and sobriety from their perceived confinements. Calvinism was a branch of Protestantism rooted in the theologies of John Calvin; a system which emphasizes the supremacy of God's predestination and sovereignty. Notable reformers like John Calvin and Martin Luther advocated for simple black clothing, contrasting the ornate vestments and colorful decorations of Catholic clergy. Chosen effectively to state: "By wearing black, I am pure". This philosophy traveled with early Pilgrims to America, who continued to wear black intentionally, further distancing themselves from the extravagance of the old Church. Interestingly, what once symbolized piety and protest has taken on new meanings over time. Today, black is often associated with gothic, punk, and counterculture aesthetics. These movements, much like the early Reformers, aimed to challenge dominant institutions. In this way, black remains a powerful visual language of dissent, constantly redefined by those who wear it.
A Bewitching Point in History
The dark hue has been a focal point of modern pop culture, becoming the color synonymous with mystery and witchcraft. These perspectives can be traced back to the era known as the “Witch Craze.” This period was marked by widespread hysteria and the wrongful persecution of women accused of witchcraft, primarily in Europe and, to a lesser extent, in Colonial America between the 15th and 18th centuries. During this time, the accused were demonized and depicted in black clothing. True black dyes were rare and expensive, lending the color a mysterious and questionable aura. This made an outcasted woman appear even more enigmatic when portrayed in such an elusive color, which was the accusers' intent. Ironically, if these individuals were indeed witches, they might have embraced the symbolism despite its negative connotations. Black is achromatic, meaning it lacks hue; it results from mixing all colors, naturally absorbing light wavelengths rather than reflecting them (unlike white, which is why we’re advised against wearing black in summer). The absorption and reflection of light carried implicit magical connotations, especially for 18th-century townsfolk. We still see these aspects of color in storytelling today to evoke emotion; white reflects, and black absorbs, presenting the infinite dichotomy of good vs. evil. This association between black and the arcane reveals how deeply cultural anxieties have shaped our view of both color and individual fashion choice. What began as a tool for vilification evolved into a broader symbolism. Its ability to absorb rather than reflect made it a metaphorical void; an unknowable space onto which fears, fantasies, and stereotypes could be projected. In storytelling, fashion, and visual culture, black continues to operate as a vessel of ambiguity and depth, reminding us that what we fear most is often what we least understand. The color no longer simply cloaks the villain; it envelops complexity itself.
Mrs. Coco Chanel, A Pioneer
Trailblazing fashion designer Coco Chanel once said, “I have said that black has it all, white too. Their beauty is absolute, it has the perfect harmony.” This statement encapsulates the timeless elegance and versatility of these two colors in the realm of fashion. Come 1926, black would achieve an unprecedented level of admiration and respect with the introduction of Coco Chanel’s iconic Little Black Dress (LBD). This revolutionary garment not only transformed the perception of black in women's fashion but also marked a significant turning point in the history of clothing. Leading up to the debut of this dress, black had predominantly been associated with the attire of domestic servants and retail employees, often seen as a color of mourning or a symbol of lower social status. However, as the 1920s progressed, social norms were rapidly evolving, challenging the long-standing formalities of fashion that had previously dictated how women should dress. The aftermath of World War I brought about a wave of change, as people sought to break free from the constraints of tradition. Women, in particular, began to embrace a more relaxed and liberating approach to clothing, opting for styles that allowed for greater freedom of movement and self-expression. As hemlines rose higher and higher, the restrictive corsets and elaborate gowns that had once dominated women's wardrobes were increasingly cast aside in favor of more comfortable and accessible options. The rise of sportswear during this period also played a crucial role in reshaping women's fashion, as garments designed for physical activity became fashionable for everyday wear. This shift was not just about comfort; it represented a broader cultural movement towards modernity and independence.
By 1926, socially conscious women who desired to project an image that was both youthful and edgy eagerly embraced Chanel’s LBD. It allowed women to express their individuality while simultaneously maintaining an air of elegance and refinement. It quickly became a staple in the wardrobes of fashionable women around the globe, symbolizing a new era of style that was both practical and chic. It inspired a generation of emerging fashion designers, including notable names like Maison Schiaparelli, Hubert de Givenchy, and Christian Dior, who would go on to redefine the fashion landscape in their own right. The LBD not only secured its place at the forefront of the fashion world but also became intrinsically linked with the rise of black and white film. As Hollywood stars donned the classic dress on screen, it inspired women everywhere to emulate the looks of their favorite actresses. This dress was a revolutionary statement that encapsulated the spirit of a changing society. It reflected the desires of women seeking both comfort and sophistication, while also challenging the conventions of fashion that had long dictated what was deemed acceptable. The LBD continues to inspire and influence fashion to this day, proving that black truly does have it all.
British Pop and Goth
After 1926, the next significant cultural movement to exemplify such a dark shade was Britain during the early 1980s. This period marked a profound shift in the landscape of subculture, one being what we now recognize as Goth. The Goth movement was not merely a fashion statement; it was a lifestyle, a philosophy, and a form of artistic expression that resonated deeply with the youth of that era. During this time in fashion, we would see torn fishnets, leather bondage wear, and various forms of fetish fashion that blurred the lines of traditional gender norms. Hair became a canvas for creativity, often dyed and full of volume to achieve dramatic silhouettes that captured attention. Makeup was equally striking, with eyes heavily lined in kohl, lips painted in dark hues, and nails adorned with black polish, creating a striking contrast against the pale skin that many Goths embraced as part of their identity. Music played a pivotal role in shaping and defining the Goth subculture. Bands like Depeche Mode and The Cure emerged as powerful forces, each releasing timeless classics that would leave an indelible mark on the music scene. The Cure stands out as my favorite of the two, just so happening to be my favorite band. The band's frontman, Robert Smith, became an emblematic figure of the Goth movement, often seen dressed in dark, flowing garments, complete with dark lipstick and eyeliner that accentuated the haunting tones of expired love and loss in his lyrics. “I’m outside in the dark, wondering how I got so old. It’s all gone, it’s all gone. Nothing left of all I loved. It all feels wrong. It’s all gone, it’s all gone, it’s all gone.” ‘Endsong’ - The Cure (2024). His appearance evoked a sense of welcomed isolation, reminiscent of characters like Edward Scissorhands, who blend the misunderstood and the artistic. His ability to express sorrow and joy through music creates a paradox where, despite the dark themes, his work can illuminate the heart, allowing listeners to perceive color contrasting against the dark landscapes. As Robert Smith and The Cure continued to produce music that resonated with the masses, the influence of Goth culture quickly crossed the pond, making a significant impact in the United States. The influence of this movement can be seen in various 1980s alternative magazines, most notably in the U.S. alternative magazine, Propaganda. The social norms were changing; the bold, dark themes displayed by bands like KISS and Judas Priest, which were once demonized, were beginning to be adopted by the masses. Things like piercings, tight clothing, and over-applied black makeup sound like things we’d imagine a witch to wear, but that’s exactly it, being a witch was cool now.
A Black, but Bright Modernity
In 1981, the fashion world would be reimagined through the lens of Japanese prodigy Rei Kawakubo during her Paris debut of her label Comme des Garçons. Her debut collection, promptly named "Destroy", was dark in color, asymmetric in shape, and riddled with holes. The collection was met with much controversy, as Kawakubo claims that all of her work is initially misunderstood. Her avant-garde approach would be labeled as ‘Hiroshima Chic’ by the confused fashion press. While many interpreted the anti-glamorous garments as evoking devastation, Kawakubo herself dismissed any literal political commentary, emphasizing that her creative choices stem from internal expression and her desire to break boundaries, not historical reference. "Although I never went hungry, I remember well the extreme poverty and devastation of those times. But this had no bearing on my work whatsoever. These critics had it all wrong… Growing up in postwar Japan has made me the person I am, but it is not why I do the work I do. It is a very personal thing – everything comes from inside." - Rei Kawakubo, 2015. A bleak time was cast aside, and something new would grow to inspire the world, yet it would grow from the foundry of something intentionally porous.
The average person might appreciate wearing clothes that feel like a finished product, but then again, most people don't wear CDG. Many of Kawakubo's garments can be seen containing holes, leaving a void where structural seamlines typically reside. Her use of black is liberating through the omission of the potential to use any other color, alluding that a void may not be inherently negative, but rather a space of infinite possibilities. This is key to her design process. In a 1995 interview, when asked what she meant to convey, she answered that the concept of a ‘nothing’ is contained, and the meaning is that there is no meaning.
To Kawakabo, black was not just a single color used to contrast, but a palette of hues to choose from, changing how designers used the color. Black was no longer simply black, but now oil, coal, and asphalt; it was, but wasn't, all at the same time.
The Bat
The hero's journey is a staple of storytelling, dating back to Homer's 'The Odyssey'. A story in which a main character falls from grace, only to learn why, and to return stronger where they initially began. Heroes are role models in our culture, inspiring us to persevere through challenges and to treat others with kindness and respect; someone for us to aspire to be. For many ten-year-old boys, there's no one more intriguing than Batman. In 2008, director Christopher Nolan would gift us 'The Dark Knight', the definitive cinematic portrayal of the comic-book superhero Batman, simultaneously being a spectacle of a film. Bruce Wayne, a wealthy playboy leading a life of luxury, harbored a dark secret. By night, he defended Gotham City, combating crime and protecting its citizens using his wealth and exceptional martial arts skills under the alias Batman. Despite the grand life as a hero, Bruce endured a profoundly dark past. Witnessing the murder of his parents at a young age, Bruce would be noted by saying: "By the spirits of my parents [I will] avenge their deaths by spending the rest of my life warring on all criminals", Detective Comics #33, DC Comics (November 1939). He would achieve this by using his seemingly limitless inheritance to acquire the tools and gadgets needed to become the winged vigilante. Bruce would select the representation of a bat due to a traumatic childhood incident involving the animal. The bat's traits, such as its nocturnal nature and ability to navigate in darkness, resonate with Batman's role as Gotham City's silent protector. Even the city itself echoes these themes; “Gotham” evokes “Goth,” with its shadowy, noir-inspired architecture reinforcing the sense of moral ambiguity. Amidst this ambiguity, Batman carves out hope. He brings light not despite his black armor and solemn vow, but because of them. He is more than a hero in a black costume. Batman is a symbol of resilience, transformation, and the possibility of redemption, proving that even in our darkest moments, we can become a force for good.
In a Vaccum
Throughout human history, black has evolved to represent much more than just the absence of color; it serves as a tool for transformation. It symbolized mourning and authority, while Calvinists wore it as protest attire, and 1980s youth embraced it for rebellious fashion. Black has been used to challenge norms, express power, and redefine identity. It is donned by those more super, both heroes and models. In every era, it has been shaped by those bold enough to wear it, rather than by the color itself. It is endlessly adaptable, absorbing what we project onto it and reflecting it magnified. Black is not merely a color of darkness but a tool for reinvention. It does not signify an end; it marks the threshold of change. Returning to black is not retreating into shadow, but stepping into possibility.
This excerpt regarding Batman is an homage to my brother Charlie Ravitz, who is a lifelong fan of the winged vigilante. I would also like to mention both Maté Cshey and Myka English, my brothers, just the same, who often wear black out of professionalism and sterileness in their careers.
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