Did Changi Airport and Jewel make for a better Star Awards show?
By Mao Shan Wang
This year’s Star Awards. (红星大奖) was supposed to soar, but it seemed to have gone as high as a paper plane could. Broadcast live yesterday from Changi Airport T4 and Jewel, the show felt like a bird in a wrong tree. Only here on our island is where an airport is also a leisure site. Or, an entertainment broadcast point. But, hard as I tried, I could not fathom why an airport terminal is an ideal location for an award ceremony that the stars decribed as 盛大 (shengda or grand). Would the Chingay be there next? National Day Parade? Or was T4 designed to be so admirably adaptable that it could be passenger building, vaccination centre and award ceremony venue? Or was this Mediacorp’s interpretation of using SingapoRediscovers Vouchers, while Changi Airport and Singapore Airlines were in enthusiastic marketing mode, in case we have forgotten about them?
It must have been hard for the attendees and the nominees appearing on the unmissable red carpet. I, of course, speculate since I wasn’t there, neither, in all likelihood, were you. But you and I can imagine. First, there was the weather. I live in the east, so I experienced what the attendees and participants must have had. It was blazing hot in the morning, which kept everything dry, but toasted the tarmac. Then the sky turned grey after noon, not the expectant grey of storm clouds, but the hoary expanse that just made everything below muggy and so unfavorable to an afternoon of red carpet arrivals at the airport. You did not have to be in the stars’ shoes. If you had covered the anterior Jurassic Mile in such a day, you would know what I mean.
Red-carpet hosts Desmond Ng, Vivian Lai, Lee Teng at the driveway of T4
Then there was the red carpet—not one but two! First encounter was a stretch on the driveway of the entrance to the departure hall and another, ridiculous as it was, on the airport apron, with SIA aircraft as backdrop. Not everyone got to walk in the front and the rear. You needed be a top star to be granted both. Or not either (Fann Wong and Jeanette Aw! Why were they exceptional, I wondered). All of them (those who mattered, anyway) did arrive on the driveway (which I only now realised is red asphalt—already a red ‘carpet’), but some did not alight kerbside. Zoe Tay suddenly appeared, with the top end of the red carpet behind her, with no car in sight, and with no companion. Did she take a bus? I hope not. Wearing a strapless, massive bow-front Caroline Herrera gown with a train, she gamely walked a considerable distance to the first of two platforms to be interviewed. No one was on hand to be chivalrous and to help her up the three-step platform, not even those around to open car doors for other stars. Her steady climb prompted host Lee Teng to say that Ah Jie “真的很有风范，完全是国际巨星的范儿—really has an air of stylishness, and it’s totally in the style of international superstars.”
Other luckier ones were allowed to alight closer to the two stages. I guess I have to count myself lucky too; I have never in my travelling life seen anyone in gowns and tuxedos dropped off at the entrance of an airport—not in Heathrow, not Charles de Gaulle, not Malpensa, not Pudong, not Narita, not JFK, not even LAX! It is fascinating—and horrifying—to see these stars navigate the red carpet in evening wear and towering heels that they get to wear only once a year (or, once since 2019, the year of the last Star Awards broadcast). But not everyone received the same memo. Some, I saw, were dressed as if they were attending a gala, some a wedding, others to perform on a getai, and one, to some debauchery involving paying customers. There were those who treated the event as the Oscars (or perhaps the Golden Horse Awards) and those who imagined it was the Grammys. What was really there on the driveway? Frankly, I don’t know what to call it.
Stars being interviewed on stage that overlooks Airport Boulevard
Star Awards is always touted as Mediacorp’s most glamorous event, but it has always been just a razzle-dazzle. No substance—this year especially. Right from the start, the union of Star Awards and Changi T4 was awkward and, as it turned out, not gratifyingly rewarding. We have so few events here that allow us to look at strikingly attired individuals who are more physically blessed than you and I are that we always fall for Star Awards (other annual events, such as the Tatler and Prestige balls are closed-door events). But when you have to take in the familiar airport locations—two boarding gates and a spot in the long departure lounge—in which the stars try to appear star-like, while socially distanced and their movement thwarted, you’ll be wondering when you can travel again, not who’d win what. Frankly, I struggled to reconcile gowns and airport lounge chairs.
What I was more at pains with was making sense of the pre-recorded runway performance earlier, on the airport apron that no regular passenger would have the privilege to prance on. Some selected (kena-arrowed?) stars were doing what has been described to me as a fashion show, right before a parked plane—an SIA Airbus A350-900. (Who could have guessed Mediacorp was out to beat two Karl Lagerfeld-era Chanel shows?!) Many of them would normally struggle to walk on an actual runway, but there they were, performing on the red-carpeted tarmac as if it was the most natural thing for them to do or part of their job description. Even former model Zoe Tay looked uncomfortable and embarrassed. Desmond Tan, in Alexander McQueen, appeared as if he was there against his will. Only Ian Fang, in Beng mode of his own design (did he don the same suit as the one worn in the 2019 Star Awards?) and the likely-borrowed-from-the-missus Chanel brooch, strutted as if he was already an award winner.
Two major stars Zoe Tay (top) and Desmond Tan performed before an SIA plane
For quite a few actresses, homage was paid to the Hollywood tape. Since so many gowns curiously did not perfectly fit, it was left to the sticky wonders of the double-sided adhesive to secure the edges of plunging necklines. No wardrobe malfunction for a conservative audience that we are. Only high slits on skirts were allowed to gape. One leg exposed, but with the thigh obscured by unsightly shorts. Vivian Lai was devious enough to wear, under the bustier-dress by Australian designer Alex Perry, a skin-coloured pair that was so close to the skin tone of her limbs that army boys in the coffee shop near my home, I heard, were cheering her on whenever she appeared as they viewed the show on their smartphones. Luckily she wasn’t in the running for the Top Ten Most Popular Female Artistes award. She’d pale in comparison to poor Ann Kok, whose Dolce and Gabbana gown seemed uncompleted due to insufficient fabric for the top left. But I suspected Ms Kok was most agreeable to exposing one side of her corset for all to appreciate.
It is sad and disappointing to me that after 26 years of the Star Awards (not counting last year’s hiatus), we are still witnessing attendees unable to understand what is dressing suitably for a special occasion, without looking like they were wearing yet another costume or blindly accepting the recommendation of their over-eager-to-make-a-fashion-statement stylists. Or, to make it easier for all the hosts to stick to the only two descriptions they know, year in, year out: 公主 (gongzhu or princess) or 女神 (nushen or goddess). Once again, it takes foreign artistes, invited to present, to show us how devoid of style many of our stars are: Gigi Leung in a sleek column with metallic bodice, Sandra Ng in an asymmetric dress and a half-cape, and Ella Chen in a gold long-sleeved gown. They wore the clothes, not, as the still-true cliche goes, the other way round.
Screen grabs: Mediacorp/YouTube