Life style
The ” Indian burger ” McDonalds can’t master
Thakur dropped another batch of potato patties, known as batata vada, into the cooking oil that had been sizzling in a massive iron pan since early morning. He’d already shaped the patties, made with mashed potato mixed with masala spices, green chilli and, occasionally, finely chopped raw onion, into near perfect spheres, and dipped them quickly in a thick chickpea batter just before frying. The vada made a gentle hiss as they hit the oil, and the aroma of the chickpea batter floated in the air, making me impatient. A few tosses and turns, and the vada were ready.
Thakur sliced open a soft, square bread roll called a pav, slathered on some green chilli-coriander chutney, and gesturing to me with a bowl of dry garlic chutney asked, “Lahsun?”
I nodded, and he sprinkled on a generous quantity of garlic chutney, then pressed the vada on top. He wrapped the sandwich in a piece of old newspaper, added a side of fried green chilli (in case the spice hit was not enough) and handed it to me in exchange for 12 rupees (roughly 14 pence).
As my teeth sank into the soft cloud of pav and the crispy vada, it was almost as if I was biting into the original taste of Mumbai. It was a perfect contrast of tastes and textures: the chewy blandness of the pav acting as a foil to the piquant crunchiness of the vada. Even to my palate, shaped by years of spicy food, the first mouthful was a fiery hit. I could feel the tang of both chutneys spread across my tongue. The vada pav is a delectable carb overload – an instant energy boost.
Today, this snack is synonymous with the city of Mumbai, with almost every resident, from factory workers to college students to Bollywood stars, unabashed in declaring their love for it. More than two million of these crispy, flavourful sandwiches are consumed in India’s financial capital and largest metropolis every single day.
“For a city that’s always on the move, I think the vada pav makes for the quickest, wallet-friendly, on-the-go snack,” travel blogger Kaushal Karkhanis, who runs a dedicated to this single dish, told me. “I think it’s the first ‘eating out’ experience for just about anyone in Mumbai. At this price, it cuts across social strata and is a great leveller.”

While the vada pav is delicious (as fried snacks tend to be), the overwhelming love for this snack often leaves outsiders bemused. But the truth is that the Maharashtrian capital has a close cultural connection with the vada pav that goes way beyond taste.
The dish is believed to have been invented in 1966 by a Mumbaikar, Ashok Vaidya, who opened the first vada pav stall opposite the Dadar train station, through which hundreds of thousands of workers – often in need of a quick, inexpensive snack – passed every day on their way to the textile mills in suburbs such as Parel and Worli. Vada pav was an instant hit with Bombayites (as Mumbaikars were then known). Vaidya remains a Mumbai icon; one local journalist even made a documentary about him.
After strikes throughout the 1970s and ‘80s eventually led to the textile mills’ closures, many former mill workers opened vada pav stalls of their own with the encouragement of Maharashtra state’s right-wing political party, Shiv Sena.
“The vada pav was subsequently co-opted by the Shiv Sena in order to offer a Maharashtrian alternative to the Udupi joints that were extremely popular at the time,” explained Mumbai-based food writer Meher Mirza, referring to the stalls set up by people from the South Indian temple town of Udupi in Karnataka. Shiv Sena’s campaign followed the rise in popularity of several south Indian dishes: the dosa (a crepe-like pancake made from fermented batter, traditionally stuffed with a spicy potato filling) and the idli (a savoury steamed cake made from black lentils and rice). The goal was to convince Mumbaikars to spurn ‘outside’ snacks and embrace their own cuisine, a strategy that worked very well in those turbulent economic times.

Ironically, both of vada pav’s main components – the potato and the bun – are European imports, brought into India by the Portuguese around the 17th Century. The only key ingredient originally belonging to the region – or even India – in the dish, is the besan (chickpea flour) in which the potato mix is coated before being deep-fried. Still, Mumbaikars consider the vada pav a thoroughly ‘Bombay’ (as Mumbai is still called by many of its residents) dish.
The vada pav industry in Mumbai chugged along peacefully until the 1990s with the arrival of international chain restaurants like McDonald’s, which served vegetarian burgers similar to vada pav to accommodate many Indians’ aversion to beef. But although the patties consist of fried potato, McDonalds’ McAloo Tikki burger could not be more different from the beloved vada pav. Not only does it not match the spice levels of the home-grown vada pav, but it also leaves little room for artistry. The flavour of vada pav depends entirely upon the whims of the cook, with every vendor claiming to have a secret recipe or a special ingredient that makes his vada pav unique: a pinch of ground masala, or a topping of choora (the crispy crumbs left at the bottom of the frying pan) along with the vada. It’s no wonder that the vada pav has always remained more popular in Mumbai, where it flies off street stalls like the proverbial hot cake.
In the early 2000s, local entrepreneur Dheeraj Gupta saw an economic opportunity and franchised the vada pav in his chain . “Calling it the ‘Indian burger’ immediately gave it an aspirational value, as well as a cultural context for those outside Mumbai city,” Gupta told me.
The company also introduced several new spins on the traditional treat, such as the Schezwan vada pav (inspired by Chinese cuisine) and the Nacho vada pav (topped with tortilla chips). Gupta says that the modern variants have struck a chord with consumers, accounting for more than 40% of sales. JumboKing now has 75 outlets in Mumbai alone, with each selling more than 500 vada pav every day, Gupta said. The chain can also be found in cities like Pune and Indore, and Gupta has plans to expand his reach even further over the next five years.
However, many Mumbai residents still vouch for the taste of the vada pav made in the street-side stalls. The most popular vada pav stalls – such as Aaram Milk Bar opposite the Chhatrapai Shivaji Terminus or Ashok Vada Pav in the suburb of Dadar – can still be found near suburban train stations across the city in order to serve the commuters who rely on the ‘Bombay local’ trains (as residents call them) to get to work. Some vendors have even begun serving adapted versions, dishing out Schezwan and sweetcorn vada pav with panache.
But as a former Mumbai resident, I am still partial to the original vada pav. To me, it’s the true taste of the city.– BBC
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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