Sometimes, the symbols of regime – skull and crossbones, flag, military arsenal, words or large capital initials – represent power and allegiance. And, sometimes, those symbols bear no particular meaning of political power. They merely represent the up and down moods of everyday life.

Taking a cue from that philosophy, C.J. Cunningham has crafted his own “War Regime,” a steadily expanding line of T-shirts, bandanas, and hooded sweatshirts. His computer-generated designs of a gas mask, a businessman decked out in jacket and tie, a string of power lines, and letter and word tags crafted like building and railcar graffiti are intended to communicate widely different fashion statements even among skateboarders, snowboarders, and cyclists for whom his clothing line was created nearly two years ago.

The single most important rule in Cunningham’s “regime” is liberation and that means crossing the boundaries of traditionally defined categories. Echoing the invitation at the door of his website, www.warregime.com, he says: “Our goal is simple: progression. Never stop progressing for when you do . . . you’re done.”

A Layton, Utah resident, Cunningham – when he isn’t busy “slaying fish” and handling sales for Salt Lake City’s Aquarius Fish Market – has been sharpening his graphic design skills at Eagle Gate College. And, of course, like many Utahns, he takes advantage of the state’s healthy snowboarding, skiing, and skateboarding industries.

Starting his online business of designing and selling clothing, Cunningham, 22, is learning to take advantage of the power of word-of-mouth (and word-of-mouse) marketing in Utah, which, according to the National Ski Areas Association, is now the third most skied state in the nation. A video documentary featuring appropriately outfitted skiers and snowboarders will be premiered this fall at the University of Utah.

However, he also understands that his clothing line appeals to individuals who may never navigate kickers, tabletops, or halfpipes at a ski resort or to those who avoid the herd mentality of fashion and music of skateboarders found at most ramps, pools, or wavy bowls. “I wanted to avoid clichés and give people a chance to make their own meaning out of my clothing line,” he adds.

Cunningham’s designs are smooth and transfer well onto many different color backgrounds, including blue, green, and red. The Army Man design – with a distinct Rasta feel – features a reverse capital “R” with an embedded star outline and a silhouette of a soldier in full military gear. On the back is the “War Regime” logo in a free-style graffiti tag at the bottom of the shirt. The Gas Mask design comprises the War Regime logo on the front with a dangling power cord and a well-detailed pen-and-ink drawing of a gas mask on the back. Cunningham is careful not to exaggerate size or proportion. “I prefer designs that fall well on a shirt crest or on the center or lower portions of the back of the shirt,” he says.

One of Cunningham’s favorites is the Business Man design, complete with jacket and tie. “The drawing was taken from a photo a buddy took while he was on vacation,” he explains. “The guy had this comfortable, confident stance and I immediately saw the potential.”

And, he has not forgotten about potential women buyers. The “War Regime” word art and capital “R” have been fashioned in colorful layers and warm, inviting typefaces. He punctuates the design with small hearts and with a heart broken by Cupid’s arrow. The back features a small print of kissing lips. After all, life is about love and war and Cunningham’s regime seems perfectly suited to that basic reality.