The Numbers Gang is a prison gang that rebels against the hierarchical system imposed by prisons through uniforms. They create their own ranking system marked by tattoos. While the uniform is meant to render prisoners docile, the gang challenges this power by prioritizing their own rules over the prison's. They gain status through dangerous acts like attacking guards. An image depicts an ex-prisoner displaying tattoos that serve as his uniform and signal his resistance to authority despite being out of prison. The gang completely defies the power prisons aim to establish through uniforms.

1. Courtney Matthee
MAT013
Fashion and Power: The Numbers Gang

2. The photographic series by Arimenta de Clermont entitled “Life After” will be drawn
on in this essay in order to question the relationship between the body and the power
that institutionalised uniform is said to impose on the wearer. The traditional intention
of regulation dress and the power it inflicts on populations as outlined by Jane Tynan
in “Power Dressing on Fashion and Regulation Clothing” (2013), is used to elucidate
how the Numbers Gang defies the hierarchical system that the institutionalised
uniform sets out to establish. In order to further the idea’s brought forward by Tynan
on regulation dress; a reading on “Dress Behind Bars” by Juliet Ash (2010) will be
considered. A brief history on the Numbers Gang will be provided in order to fully
understand the way in which they operate around the system of institutionalised
power.
Due to the extreme level of secrecy upheld within the Numbers Gang there is limited
knowledge on the history behind their origins. However, the intention of the gangs
activities are made exceedingly clear. The Numbers Gang aims to rebel against the
form of colonialism imposed on them by the prison system – which sets out to control
the prisons population through various means (Charlton, n.d). The gang members
deem the prison system oppressive and therefore fight in order to achieve equality
within the prison itself – they wage this war by creating their own hierarchical system,
which can be likened to the system used within the military (Charlton, n.d). The
system of power used within the Numbers Gang is highly structured with ranking
members organised from the most experienced, high ranking officers, to the least
experienced, low ranking officers (Charlton, n.d). The system used allows members
to be promoted in rank if they are successful in completing the various tasks, in
which they are given (Charlton, n.d). These tasks usually involve the stabbing of a
warden or a guard who behave in ways the gang believes hinder their rights as
prisoners (Charlton, n.d). Once this assignment has been completed the member is
then rewarded with a badge in which he wears proudly on his body in the form of a
tattoo – these tattoos form the uniform characterised by the Numbers Gang
(Charlton, n.d).
Therefore, it can be inferred that the Numbers Gang has successfully created their
own institution – with its own controlled system of power through the definitive ranks
amongst members. The surrendering of oneself in order to carry out tasks that are

3. beneficial to the Gang and the uniform which is used to affiliate members of the
Numbers Gang – but does the institution of the Gang have any preside over the
institution of the prison?
The traditional intention of institutionalised dress as stated by Jane Tynan says that
“regulation clothing projects [...]” ascendancy over populations in order to compel
them “[...] to conform to institutional norms” (2013). She further articulates that “[...]
the uniform physically directs and coerces [activities]” – through this control of body
disciplines the institution is said to populate the prison with “[...] ‘docile
bodies’ [...]” (Tynan, 2013). This means that the uniform worn by prisoners is
intended to render them docile to the prison system by forcing them to follow the
rules set out by the institution. This system of strict regulations brings forward the
idea of “[...] transformative power [...]”, which is said to provide prisoners with an
opportunity for self- improvement – should they follow the rules laid out for them by
the prison (Tynan, 2013). In addition to the latter, Foucault as stated by Tynan,
continues to argue that the uniform is used by the institutionalised system in order to
form a ‘[...] hierarchy” which allows the populations governed by this system to be
seen “[...] as [objects] of power [...]” – therefore allowing the prison to transform them
into lawful citizens (2013).
Juliet Ash affirms the “[...] transformative nature [...]” of the prison uniform, by
stripping the prisoners of their clothes they are ‘[...] stripped of their [identities]”,
allowing the institution to “[...] rehabilitate and control the prison population
[...]” (2010). Therefore, it is clear to see that the uniform plays an integral part in
rendering prisoners docile and allowing for the reformation of prisoners through the
power that is signified by the penile establishment (Ash, 2010). This authoritative
positioning enables the institution to implement strict disciplines in order to help ‘[...]
[create] order out of disorder [...]”, however, Ash further explains that this is not
always the case (2010). Ash describes how “[...] the fashion of resistance [...]” is able
to challenge the power held by the prison, by rebelling against the rules set out by
the institution the prisoners are able to question the power that the prison system
holds over them (2010).
The defiance that Ash argues can clearly be seen amongst the Numbers Gang
through the addition of their clothed, tattooed bodies to that of the prison uniform –

4. therefore, making the institutionalised dress their own. Majority of these tattoos,
which are worn by the gang members, are executed in prison and can consequently,
be seen as a rebellion against the ownership and control that the uniform is said to
impose on the prisoner (Charlton, n.d). The Numbers Gang further breaks down the
control of the penile establishment, by questioning the hierarchical system that
Tynan states renders prisoners compliant to the institution. The gang does this
through the creation of their own hierarchical system, in which they work according
to their own rules. This hierarchical system of power works against the prisons
hierarchical system, this is seen in the way that the Gangs system of power looms
over the institutions system of power – members of the Gang are assigned to
eliminate wardens and guards without any regard for the consequences of their
actions (Charlton, n.d). However, it is important to note that although the hierarchical
system of power used within the Numbers Gang is meant to uplift the prisoners it
also causes oppression amongst the Gang and their definitive ranks – this
willingness to do anything it takes to honour the Number works as a detriment to the
self-transformation that the power imposed by uniform is meant to impart on the
member (Tynan, 2013).
These aspects that characterise the Numbers Gang can be seen in the image below,
taken from the photographic series entitled “Life After”, by Arimenta de Clermont.
The man in the picture is an ex-prisoner named Ali.

5. The background of this image represents a prison setting due to the institutionalised
colour scheme and the bare concrete walls, this background is dark and eerie – it
connotes an ominous place from which the man is coming out of. The stacked
orange cones, similar to the colour used in some prison uniforms, symbolises
caution and connotes to the presence of police. It is important to note that the cones
are lower than the man, this is indicative of how the gang members believe they are
above the law. The stairs connote to the hierarchy of power that is represented within
the Numbers Gang, as well as the devious ways that gang members gain their
ranks. In the foreground the man is positioned in front of the stairs, representing how
members need to accomplish tasks in order to gain entry into the gang and to work
their way up the system of hierarchy. The man is saturated in light and this therefore,
makes him the focal point. His tattoos are focused on as his torso is exposed and he
is not wearing a shirt. These tattoos, however, form part of his uniform as a gang
member – note how the tattoos connote the silhouette of a shirt. His proud display of
these tattoos signifies that he is still a member of the Numbers Gang, although he is
currently out of prison. The belt he wears hangs loosely around his waist and serves
as evidence that he is no longer in prison, as belts are prohibited during
incarceration. The belt can also be viewed as a warning signal – the buckle is loose,
enabling him to pull it off swiftly and use it as a weapon at any point in time. His
defensive stance further adds to the warning that he is giving off, his rigid stance

6. shows resistance to authority and the institutions hierarchical system of power – this
shows how the Numbers Gang disregards the institution and the power it attempts to
impose on the gang. His overpowering gaze stares straight into the camera, without
hesitation and encourages the viewer to attempt to question the gang’s power.
In conclusion it is evident that the Numbers Gang successfully questions the
relationship between the body and the power that the institutionalised uniform
imposes on them – this is done through the creation of their own institution that
rebels against the establishment that they are said to be governed by. Through the
readings on Jane Tynan and Juliet Ash it is evident to see that the Numbers Gang
breaks down the traditional intention of regulation dress, by not allowing the uniform
to inflict power over them, but rather by rising above the institutions power and
creating their own hierarchical system. In doing this, the Numbers Gang completely
defies the hierarchical system that the institutionalised uniform sets out to establish.

7. Reference List:
Ash, J. (2010). Dress Behind Bars: Prison Clothing and Criminality. Great Brittan:
CPI Antony Rowe, Chippenham, Wiltshire.
Charlton, R. (n.d). ‘The Sabela’, The Numbers Gang. Available at: http://
thenumbersgang.weebly.com/the-sabela.html [04/04/2014].
Tynan, J. (2013). The Journal of Sartorial Matters Power Dressing: on Fashion and
Regulation Clothing.
De Clermont, A. (2012). “Life After”. Available at: http;//
aramentadeclermont.com/work.php?seriesld=1157 [17/04/2015].