Over two years, photographer Ramona Jingru Wang and stylist Momoè Sadamatsu collaborated with a group of models and creatives to develop portraits and first-person writing through slow, conversational sessions. They reimagined the traditional fashion “go-see,” which has historically been tied to casting power, pass-or-fail judgments, and the male gaze. Through Jingru Wang’s perspective, the “go-see” became intimate, process-driven, and rooted in care, creating a space to explore various ways of looking and being looked at.

On November 22nd, 2025, they released the 100-plus-page spiral-bound book GO SEE* with Friend Editions. It features portraits and first-person writing from participants, many from Asian diasporic communities, resulting from these unhurried, conversational sessions. At a time when the fashion industry moves at an extremely fast pace, Jingru Wang and Sadamatsu created a space focused on interconnection, care, reciprocity, and self-definition.

We sat down with them to learn more about their work.

You’re a model too. Did your experience have an impact on the creation of this work?

Ramona Jingru Wang: My experience in front of the camera definitely influenced how I approached GO SEE*. I know what it’s like to be looked at more than listened to or to be interpreted through someone else’s assumptions. That awareness made me very deliberate about slowing down the sessions and creating space for the person in front of me to exist without expectations. It helped me approach each portrait not as an evaluation, but as a meeting.

How did you consciously detach from the male gaze?

RJW: For me, detaching from the male gaze wasn’t about rejecting beauty or fashion, but about shifting who has agency. Instead of directing someone toward a fixed idea, I tried to build a dynamic where the person being photographed could co-author their appearance. A lot of that came through conversation, allowing for pauses, and asking how they wanted to be seen. The goal wasn’t to eliminate the gaze but to redistribute it, making it mutual, shared, and responsive.

Momoè Sadamatsu: My approach to detaching from the male gaze involved first accepting its existence and understanding its deep-rooted influence, and then continuously exploring ways to challenge it, especially in styling. For GO SEE*, we were very intentional with the styling to ensure each model’s unique character and expression through clothing were reflected in their images. Challenging the male gaze meant transforming it into something symbiotic. We spent time getting to know each model, understanding not just their style but who they are as people, based on the experiences and information they shared. We created a space for exchanging ideas, where they could contribute to the styling and conceptualization of the images and feel truly seen.

How did the idea of first-person writing come about?

RJW: The first-person writing emerged naturally from the sessions. People shared stories, memories, or small details about their experiences in casting spaces or the image world. It felt important that these thoughts weren’t filtered through my voice. Inviting them to write or speak in their own words became a way to honor their perspective and let text and image work together as one portrait.

MS: I agree with Ramona. The more we discussed how to highlight the models as individuals, the idea of first-person writing naturally arose. I had already taken notes from our conversations while getting to know them, so including their own writing became an intriguing possibility as the project evolved. We decided that asking each person to write from their own perspective—whether about their experiences as an Asian model or their hopes for the future in the modeling industry—was the most meaningful approach.

As Asian models, what stereotypes hurt you/them the most that you discussed durWhat challenges did people face during your sessions, and how did they overcome them?

RJW: Many participants mentioned the pressure to conform to stereotypes of being quiet, compliant, soft, delicate, or “easy.” These expectations are often subtle but influence how people feel they can express themselves. Simply discussing these pressures together often brought a sense of relief. What stood out to me was how each person found their own way to challenge these narratives by being present, speaking up, and defining themselves on their own terms during the sessions.

MS: A recurring theme among the models was feeling boxed into categories, which led to a sense of being dehumanized. Some also faced additional stereotypes related to their gender identity, body size, age, or mixed heritage. Each person’s experiences were unique, so it’s hard to generalize how they overcame these challenges. However, I was struck by their strength in breaking down barriers and their pride in embracing the diverse and fluid nature of Asian identity.

Has the current political climate in the USA affected the modeling industry?

RJW: Definitely. The political environment has made discussions about race, visibility, and representation more urgent and complex. On one hand, there’s a growing demand for diversity in casting and campaigns, creating opportunities for those who were previously overlooked. On the other hand, this push often clashes with an industry that moves quickly, relies on stereotypes, and sometimes treats inclusion as a box to tick rather than a genuine shift in power.

For many Asian models I spoke with, this climate meant both more visibility and more scrutiny. The increase in anti-Asian sentiment during the pandemic affected how some felt in public, on set, or in front of the camera. It highlighted persistent stereotypes and revealed how shallow the industry’s commitment to inclusion can be when attention shifts elsewhere.

So, yes, the political environment has had an impact, but it’s not straightforward. It’s a mix of progress, exhaustion, contradictions, and the need for deeper, structural changes. For me, projects like GO SEE* offered a way to step back from the industry’s reactive nature and focus on care, agency, and relationships that aren’t driven by trends or external pressures.

What changes would you like to see in the modeling industry?

RJW: I hope the industry moves away from treating models as interchangeable or mere raw materials. Collaboration should be the norm, not the exception. I’d love to see more opportunities where models are valued as storytellers, thinkers, and creative partners, not just as bodies for the camera.

MS: I agree. Early in the project, we spoke with a model friend of Ramona’s who mentioned how models are often left out of the creative process, only receiving instructions when they arrive on set. This experience showed me how rewarding it can be when models are involved in collaboration from start to finish.

Additionally, I hope to see more Asian models in prominent roles and a continued push for diverse representation. Models should be supported to have long-lasting careers and, as Ramona said, not be treated as replaceable.

Did you stay in touch with the people you portrayed? Did your work foster a sense of community?

RJW: Yes, many of the people I photographed are still part of my life. Some became close friends, others collaborators on new projects, and some I keep in touch with in smaller but meaningful ways. I didn’t set out to build a community, but the relationships that grew from these sessions have been significant.The sessions turned into one of the project’s most vital elements. The book serves as a record of those relationships and the trust that underpinned them.

MS: I feel the same way. I’ve kept in touch with many of them and hope to continue these connections going forward. We reached out to and involved numerous individuals and organizations in this project—from hair stylists and makeup artists to fashion brands and PR agencies. They all gave their time, effort, and resources to back our mission, and through that, I sense a shared hope and goal for moving the industry forward, which really fosters a feeling of community.

Frequently Asked Questions
Of course Here is a list of helpful and clear FAQs about the photobook

General Beginner Questions

1 What is this photobook about
This photobook reimagines the traditional gosee by turning the camera on Asian diasporic individuals in their own personal spaces offering intimate and authentic glimpses into their lives identities and communities

2 What is a gosee and how is it being reimagined
A gosee is typically a quick impersonal meeting where a model goes to a studio to be evaluated This project reimagines it as a collaborative respectful visit to a persons home or meaningful space focusing on their story and humanity rather than just their appearance

3 What does Asian Diasporic mean
It refers to people of Asian descent who live outside of their ancestral homeland forming communities and creating unique identities that blend their heritage with their new cultures

4 Who is the photographer behind this project

This project is by photographer who focuses on documenting community and identity

5 Where can I buy the photobook
It is available for purchase on the projects official website and through select independent bookstores

Deeper Thematic Questions

6 What was the main goal or message of this project
The goal was to challenge stereotypes celebrate the diversity within Asian diasporic communities and reclaim the narrative by portraying subjects with agency dignity and in control of their own representation

7 How were the subjects for the photobook found and selected
Subjects were often found through community networks wordofmouth and open calls seeking a diverse range of ages professions backgrounds and stories within the Asian diaspora

8 What makes the glimpses in this book intimate
The intimacy comes from the settingtheir homesand the collaborative process The photos often capture quiet personal moments cherished objects and spaces that reveal their true selves far from a formal studio portrait

9 How does this photobook contribute to the conversation about representation
It moves beyond tokenism or onedimensional portrayals by presenting a multifaceted look at a community