Life style
Taste for good cars
BOOK REVIEW
VINTAGE DENNIS AND ROBEY VEHICLES IN SRI LANKA by Ali Azeez; 60 pages, A5 size, numerous black-and-white and colour illustrations; published privately in 2014.
Copies in PDF format may be obtained free of charge by emailing the author at aliazeez07@gmail.com .
Reviewed by Roger Thiedeman
The pioneers of Sri Lanka’s vintage car movement in 1953 were Capt. E.B. ‘Tabby’ Murrell, Mr. Edward ‘Bugs’ Mason, Mr. H.C. (Chitru) Peiris, and Mr. W.R. Daniel. In following decades the old car ‘baton’ was passed on to other stalwarts, of which Mr. Vere de Mel was one. Another was the author of this book, Mr. Ali Azeez.
Ali’s enthusiasm for motor cars, especially what are today considered vintage and classic automobiles, began at an early age. Born into a family noted for its good taste in cars, it was inevitable that Ali would develop an interest in all things automotive: driving, maintaining, owning, and collecting a variety of vintage vehicles, while reading extensively on the subject. Today he is the proud owner of a 1936 Riley Lynx ‘Special Series’ tourer that once belonged to a close relative, and a 1937 Citroën Traction Avant 11CV Familiale (11B) long-wheelbase saloon. Land Rover is another marque beloved of Ali Azeez.
In time Ali became an active committee member of a succession of veteran/vintage car clubs in Sri Lanka, culminating in him holding senior positions in the Vintage Car Owners’ Club of Sri Lanka (VCOC). That was a period when, in addition to his knack for organising and promoting numerous vintage car rallies, road races and exhibitions, as the VCOC’s Newsletter Editor Mr. Azeez began to research and write ‘dossiers’ tracing the histories of interesting old cars for publication in the Newsletter. The subjects he chose were mostly vehicles owned by club members, but others from Sri Lanka’s motoring past were featured too.
One of Azeez’s in-depth profiles is the only detailed history of one of the rarest and finest cars to grace the roads of old Ceylon: a 1924 Napier 40/50 hp Cunard limousine which was imported by a distinguished member of his family.
In view of the passion, time and energy Ali Azeez selflessly invested in serving the VCOC, his involuntary exit from the club more than a decade ago in circumstances of which he was an innocent victim, can only be described as unjust and senseless.
Despite that blow, Ali Azeez never lost either his love of vintage cars or avid interest in motoring history. If anything, it gave him more time, opportunity and motivation to begin learning about types of vehicles that most other vintage enthusiasts might regard as ‘unglamorous’ and unworthy of their attention. This book is partially the result of that work.
Inspired by photos this reviewer took in 2011 of the Kandy Municipal Council’s preserved 1929 Dennis G-type fire engine, and two Robey steam wagons at the Sri Lanka-German Railway Technical Training Centre (SLGTTC), Ratmalana, Ali began his quest to discover as much as possible about the individual histories and mechanical characteristics of those vehicles. With encouragement from Mr. Brian Elias, a personal friend of Ali’s and Editor of a local newspaper’s motoring supplement, Mr. Azeez contacted several organisations in the UK dedicated to the preservation and history of old fire engines and steam-powered wagons (lorries) and traction engines.
Key members of those societies, with whom Ali forged close relationships, generously provided him with vast amounts of information, including rare photos and excerpts from specialist journals pertaining to that trio of vehicles before and after they arrived in Ceylon. Much of that material has been used in this book, which is all the better and more attractive for their inclusion.
Supporting the author’s text and pictures in both black-and-white and colour of Kandy’s Dennis fire engine, registered G-1010, official Dennis factory records provide more fascinating details. Extracts from Customer Order Books, Works Production Orders, and Chassis Lists and Despatch Records – each occupying a full page of the book for easy reading – comprise a potted ‘biography’ of this historic fire appliance, beginning in 1929 at its birthplace in Surrey, England.
As a bonus, the book contains information and photographs of other Dennis fire engines that served in Ceylon. Most notably a 1955 F8 model used by Britain’s Royal Navy at the dockyard in China Bay, Trincomalee. It later returned to the UK where it is now the prized, pristine possession of a fire engine enthusiast who also proved helpful to Ali in his research project.
Another comprehensive chapter is titled ‘Robey Steam Wagons in Sri Lanka’. Commencing with a brief explanation of the technical aspects of steam propulsion in roadgoing vehicles, the narrative shifts to a short history of Robey & Company, the Lincoln, UK-based makers of the two steam wagons of 1925 and 1928 vintage that are this chapter’s principal subjects.
Official records, correspondence relating to the two Robeys, plus a table of their ‘vital statistics’ aside, photographic coverage of both wagons is particularly impressive. Sure to please any lover of transport nostalgia and memorabilia, not just motor or steam vehicle aficionados, are photos of both vehicles working hard for their then employers, the British Ceylon Corporation (BCC), at various locations around Colombo. Two such ‘period’ pictures in colour are stand-outs, although others in black-and-white from the pages of UK-published Steaming magazine, are equally appealing. More colour pictures depict one of the vehicles (registered C-6037) at VCOC rallies and exhibitions before and after restoration by the SLGTTC.
But Ali Azeez’s interest in vintage motoring goes beyond classic motor cars and the utilitarian commercial types that are this book’s main subjects. As a fervent advocate for the preservation and fostering of Sri Lanka’s motoring heritage, for many years he has been campaigning and lobbying relevant authorities – and anyone else willing to listen – for the establishment of a national motoring museum, with State backing and continuing upkeep.
In a chapter titled ‘Transport Museum: An Immediate Need’ Azeez describes some of the museums in Sri Lanka, extant and defunct, small and large, dedicated to other types of transport. For example, the Old Town Hall Museum in the Pettah (which houses another steam wagon, built by Sentinel), the Sri Lanka Navy’s Museum at the Dockyard, China Bay, and the excellent Sri Lanka Air Force Museum at Ratmalana Airport. In fairness to the author, given that this book was published in 2014, no mention is made of the National Railway Museum at Kadugannawa, which was opened in late December that year.
Not entering into the author’s ‘calculations’ either are the motoring museums established in Sri Lanka over the past few years by a small handful of private and discerning car-collecting connoisseurs. Their extensive, varied and dazzling collections of motor vehicles are displayed in purpose-built ‘showrooms’, one in particular rivalling the facilities of better-known motoring museums overseas. But they are not open to the public, with visitors admitted in small numbers and only by special arrangement with the owners.
Rather, what Ali Azeez would like to see is a unified transport museum, accessible to the general public, that would accommodate, all on the same premises if not under one roof, the many road transport relics currently scattered around various government institutions. To demonstrate his point, he has depicted several of those vehicles within this chapter’s pages. Such a facility might induce private owners of historic vehicles to place some of their precious automotive possessions on public display in a secure environment, perhaps on a rotation basis as determined by the museum’s curators.
Almost as if responding to his own pleas, Ali Azeez cites numerous instances of how and when similar proposals were mooted, attracting tentative interest from the authorities, only for those grand plans to be shelved or disappear altogether. From this reviewer’s pragmatic point of view, the current economic climate in Sri Lanka – COVID-19 notwithstanding – will never be conducive to any such ambitious albeit laudable project getting off the ground, let alone reaching fruition.
Yet that should not detract from Ali Azeez’s well-meant intentions and dreams. Nor from his passion and foresightedness as a lover of all things motoring, not only when he wrote this book but over the years before and since. This slim but pleasing volume, packed with information, historical records, and attractive illustrations, is recommended to anyone interested in all aspects of road transport history, especially in the context of Sri Lanka.
Life style
What I Do, What I Love: A Life Shaped by Art, Wilderness and Truth
In a country where creative pursuits are often treated as indulgences rather than vocations, Saman Halloluwa’s journey stands apart — carved patiently through brushstrokes, framed through a camera lens, and articulated through the written word. Painter, wildlife and nature photographer, and independent environmental journalist, Halloluwa inhabits a rare space where art, ecology and social responsibility converge.
His relationship with art began not in galleries or exhibitions, but in a classroom. From his school days, drawing was not simply a subject but an instinct — a language through which he learned to observe, interpret and respond to the world around him. Under the guidance of two dedicated mentors, Ariyaratne Guru Mahathaya and Gunathilaka Guru Mahathaya, he honed both skill and discipline. Those early lessons laid the foundation for a lifelong engagement with visual storytelling.

“His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes.”
That commitment eventually materialised in two solo art exhibitions. The first, held in 2012, marked his formal entry into Sri Lanka’s art scene. The second, staged in Colombo in 2024, was a more mature statement — both in content and confidence. Featuring nearly fifty paintings, the exhibition drew an encouraging public response and reaffirmed his place as an artist with a distinct visual voice.
His work navigates between traditional Sinhala artistic sensibilities, abstract compositions and expansive landscapes. There is restraint in his use of form and colour, and an underlying dialogue between memory and space. Yet, despite positive reception, Halloluwa speaks candidly about the structural challenges faced by artists in Sri Lanka. Recognition remains limited; fair valuation even rarer.
“This is not merely an artistic issue,” he observes. “It is a social and economic problem.”
In Sri Lanka, art is often viewed through the lens of affordability rather than artistic merit. Many approach a painting by first calculating the contents of their wallet, not the value of the idea or labour behind it. In contrast, he notes, art in Europe and many other regions is treated as cultural capital — an investment in identity, history and thought. Until this mindset shifts, local artists will continue to struggle for sustainability.
The decisive push toward wildlife photography came from Professor Pujitha Wickramasinghe, a close friend who recognised both Halloluwa’s observational skills and his affinity with nature. From there, the journey deepened under the mentorship of senior wildlife photographer Ravindra Siriwardena.
Both mentors, he insists, deserve acknowledgment not merely as teachers but as ethical compasses. In a field increasingly driven by competition and spectacle, such grounding is invaluable.
Wildlife photography, Halloluwa argues, is among the most demanding visual disciplines. It cannot be improvised or rushed. “This is an art that demands restraint,” he says.
Among all subjects, elephants hold a special place in his work. Photographing elephants is not merely about proximity or scale, but about understanding behaviour. Observing social patterns, movement, mood and interaction transforms elephant photography into a constantly evolving challenge. It is precisely this complexity that draws him repeatedly to them.
Halloluwa is cautiously optimistic about the current surge of interest in wildlife photography among Sri Lankan youth. Opportunities have expanded, with local and international competitions, exhibitions and platforms becoming more accessible. However, he issues a clear warning: passion alone is not enough
Sri Lanka, he believes, is uniquely positioned in the global nature photography landscape. Few countries offer such concentrated biodiversity within a compact geographical area. This privilege, however, carries responsibility. Nature photography should not merely aestheticise wildlife, but foster respect, aware ness and conservation.
Parallel to his visual work runs another equally significant pursuit — environmental journalism. For the past seven to eight years, Halloluwa has worked as an independent environmental journalist, giving voice to ecological issues often sidelined in mainstream discourse. His entry into the field was guided by Thusara Gunaratne, whose encouragement he acknowledges with gratitude.
An old boy of D.S. Senanayake College, Colombo, Halloluwa holds a Diploma in Writing and Journalism from the University of Sri Jayewardenepura and has completed journalism studies at the Sri Lanka Press Institute. He is currently pursuing an Advanced Certificate in Wildlife Management and Conservation at the Open University of Sri Lanka — a testament to his belief that learning must remain continuous, especially in a rapidly changing ecological landscape.
Outside his professional life, he enjoys cricket, rugby and badminton. Yet even leisure intersects with responsibility. He is a founding member and former president of the D.S. Senanayake College Old Boys’ Wildlife Forum, an active member of Wild Tuskers Sri Lanka, and a contributor to several independent environmental and wildlife volunteer organisations. In an era dominated by speed, spectacle and short attention spans, Saman Halloluwa’s journey unfolds differently. It is deliberate, reflective and rooted in values. Through art, he captures memory and form. Through photography, he frames life beyond human control. Through journalism, he asks uncomfortable but necessary questions.
“What I do, what I love” is not fashion here.
It is conviction — patiently lived, quietly asserted, and urgently needed in a country still learning how to value its artists, its environment and its truth.
By Ifham Nizam ✍️
Life style
Shaping the future of style
Ramani Fernando Sunsilk Hair and Beauty Academy
Ramani Fernando Sunsilk Hair and Beauty Academy marked their graduation of their latest cohort of aspiring hair professionals in a ceremony held at Kingsbury Hotel.
For over two decades, the Ramani Fernando Sunsilk Hair and Beauty Academy has stood as a beacon of excellence in beauty education in Sri Lanka. Founded by industry icon Ramani Fernando, the Academy has built a reputation for producing highly skilled professionals who go on to make their mark in salons, both locally and internationally. As the newly minted graduates step out into the world, they carry forward not just certificates, but also the promise of creative authority and personal empowerment.
The chief guest for the occasion was Rosy Senanayake, a long-standing supporter of the Academy’s mission. Addressing the graduates her message echoed her enduring belief that the beauty industry is not merely about aesthetic but about. confidence, self-worth and future leaders.
Over months of rigorous training, these young professionals honed their skills in cutting colouring, styling and contemporary artistry readying themselves to set trends rather than follow them.
Each graduate walked the stage with confidence, their dedication signalling a promising future for Sri Lanka’s beauty and fashion industry! With this new generation of stylists preparing to raise the standard of professional hairstyling.
Ramani Fernando, addressing the audience reflected on the academy’s mission to cultivate not only skills but vision and confidence in every student.
She urged the graduates to embrace continuous learning to take risks with creativity .The world of beauty is ever evolving, stay curious, stay bold and never underestimate the power of your talent, she added emphasising the importance of confidence, discipline and passion in carving a successful career in shaping the future of style.
These graduates are stepping into a world of endless possibilities. They are future of the country, who will carry a forward legacy of creativity. Behind every successful graduate at Sun silk Hair Academy stands a team dedicated to excellence. While Ramani Fernando serves as a visionary Principal and it is Lucky Lenagala, her trusted person who ensures that the academy runs seemingly.
From overseeing training sessions to guiding students, through hands on practice, Lucky plays a pivotal role in shaping the next generation of hairstylists.
Kumara de Silva, who has been the official compere Ramani’s, Hair graduation ceremony, from inception has brought energy, poise and professionalism. The Sunsilk Hair Academy is a celebration of talent and mentor ship for the graduates stepping confidentially into the next chapter of their careers, ready to make their mark on Sri Lanka beauty landscape
Pix by Thushara Attapathu
By Zanita Careem ✍️
Life style
Capturing the spirit of Christmas
During this season, Romesh Atapattu’s Capello Salon buzzes with a unique energy – a blend of festive excitement and elegance. Clients arrive with visions of holiday parties, office soirees, seeking looks that capture both glamour and individuality. The salon itself mirrors this celebrity mood. Warm lights, tasteful festive décor create an atmosphere where beauty and confidence flourish.
Romesh Atapattu himself curates the festive décor, infusing the space with his signature sense of style. His personal eye ensures that the décor complements the salon’s modern interiors.
As Colombo slips effortlessly into its most glamorous time of year, the Christmas season brings with it more than twinkling lights and celebrity soirees – it signals a transformation season at salons across the city. Capello salons are no exception.
At the heart of this festive beauty movement is Romesh Atapattu of Capello salons, a name synonymous with refined hair artistry, modern elegance and personalised style.
Christmas is about confidence and celebration. Romesh believes ‘People want to look their best without losing who they are”. Our role is to enhance, not overpower. This philosophy is evident in the salon’s seasonal approach.
Beyond trends, what sets Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role in creating the best for Romesh.
Stepping into Romesh’s salon during the Christmas season is an experience in itself. The space hums with festive energy while maintaining an atmosphere of calm sophistication.
The décor embraces the Christmas spirit with understated elegance. Tastefully adorned décor, beautiful Xmas tree, soft gold and ivory tones, and gentle hints of red are woven seamlessly into the salon’s contemporary design.
His staff, known for their warmth and professionalism also plays a key role in shaping the salon’s atmosphere—friendly, stylish and always welcoming. The Capello staff combine skill and creativity to deliver results that have a lasting impression.
Beyond trends, what sets Romesh Atapattu apart is the attention to individuality. Each consultation is treated as a creative collaboration – face shape, lifestyle, hair texture and personal style all play a role.
He is a professional who blends technical mastery with a deeply personal approach to style. His dedicated team of skilled professionals, operate with quiet confidence ensuring styles that create an atmosphere of trust, turning every appointment into a personalised and memorable experience.
(ZC) ✍️
Pic by Rohan Herath
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