Coloring agents in bitters: how to distinguish "good" caramel from industrial caramel.

When we think of amaro, what color comes to mind?
Almost always brown.

But if an amaro is born from botanicals (leaves, herbs, roots) that are often green, why is the result almost always dark? That is the real question.

Color is one of the first things we see, and often the one that influences us the most. A very dark amaro is perceived as intense, structured, "serious." A lighter one might seem milder. But this association is not always correct. In fact, sometimes it is quite the opposite.

Behind the color, there can be real work on the botanicals and macerations, or simply the addition of colorants. Among these, the most common is caramel.

The point is that "caramel" does not always mean the same thing. On a label, it can indicate very different realities, and understanding the difference is one of the easiest ways to truly read a product.

In its simplest form, caramel is cooked sugar. When obtained directly from sugar and heat, it provides a natural brown color and can also contribute to the taste, with toasted and slightly bitter notes. In this case, it is an understandable ingredient, consistent with artisanal production.

The problem arises when caramel becomes an industrial additive. On labels, you often find it indicated as E150, a family of colorants used to standardize color and make every bottle identical to the last.

Behind this code exist four variants: E150a, E150b, E150c and E150d. The difference lies in the production process. E150a is the simplest, obtained without ammonia or sulfites, and is the one closest to cooked sugar. E150b represents an intermediate path. The E150c and E150d versions are more complex and debated because, during production, 4-MEI—a byproduct that is subject to monitoring—can form.

Rather than speaking in a simplistic way about "good" or "bad" caramel, it therefore makes sense to say that E150a is the most straightforward, while E150c and E150d are the ones to look at with more attention.

This does not automatically mean that they are harmful, but it is important to understand their function: they do not add quality, they add uniformity. They are often used to darken a product that, naturally, would not be that dark.

An amaro built on real botanicals, on the other hand, tends to have a less predictable color. It can vary from batch to batch, be less dark than expected, or have different shades over time. It is a natural consequence of infusions: roots, herbs, and peels release pigments in a non-standardized way.

An example is our hibiscus amaro, which is naturally red and contributes to the final color without the need for corrections.

Conversely, when the color is always identical, very stable, and particularly intense, it is worth asking an extra question. It is not definitive proof, but it is a clue.

Reading the label therefore becomes fundamental. If you find a code like E150, you know the color has been corrected. If, on the other hand, nothing is indicated, it is more likely that it derives directly from the botanicals.

It is not a question of right or wrong. It is a question of awareness.

If you are looking for an amaro that truly expresses its raw materials, the color should be a consequence of the process, not something constructed after the fact.

Ultimately, as often happens, the difference is in the details. And learning to recognize them is the first step toward making better choices.