Over two years, photographer Ramona Jingru Wang, in collaboration with stylist Momoè Sadamatsu, worked closely with a group of models and creatives, developing portraits and first-person writing through slow, conversational sessions and reimagining the traditional fashion “go-see.” A format historically tied to casting power, pass-or-fail judgment, and the male gaze, the “go-see” becomes intimate, process-driven, and grounded in care through Jingru Wang s gaze, a moment in which to explore a range of ways of looking and being looked at.
The 100-plus-page spiral-bound book GO SEE*, released with Friend Editions on November 22nd, 2025, gathers portraits of different people—many from Asian diasporic communities—who participated in the project with first-person writing, the result of slow, conversational sessions. In a moment when the fashion system runs at an extremely fast pace, Jingru Wang and Sadamatsu created a space of interconnection and 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 being in front of the camera definitely shaped how I approached GO SEE*. I understand what it feels like to be looked at more than listened to, or to be read through someone else’s assumptions. That awareness made me very intentional about slowing the sessions down and creating space for the person in front of me to exist without expectation. 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 shifting who holds agency. Instead of directing someone toward a fixed idea, I tried to build a dynamic where the sitter could co-author how they appear. A lot of that came through conversation, leaving room for pauses, and asking how they wanted to be seen. The goal wasn’t to erase the gaze, but to redistribute it, and to make it mutual, shared, and responsive.
Momoè Sadamatsu: My experience of detaching from the male gaze involved periods of accepting its existence in this world and understanding its deep-rooted influence, and from there, continuously exploring ways to challenge it, especially when it comes to styling. For GO SEE*, there was a lot of intentionality in the styling so that each of the models’ unique characters and expressions through dressing are reflected in their images. Part of challenging the male gaze for me meant transcending the gaze into one that’s symbiotic. Spending time to get to know each model, understanding not only their style but who they are as people from the experiences and information they shared. Creating that space where ideas are exchanged, where they give input on the styling and conceptualisation of these images, and where they feel seen.
How did the idea of first-person writing come about?
RJW: The first-person writing emerged naturally from the sessions. People would share stories, memories, or small details about how they moved through casting spaces or the image world. It felt important that those thoughts weren’t filtered through my voice. Inviting them to write or speak in their own words became a way to honour their perspective and let text and image function together as one portrait.
MS: I agree with Ramona. I think the more we discussed how we can really shed light on the models as people, the idea of first-person writing organically came about. I had already had some notes on hand from what they shared during the time we spent getting to know them so the idea of including some sort of writing involving them became intriguing as the project progressed. We decided that asking each person to write from their own perspective, whether it be about their experience navigating as an Asian model or their hopes for the future in the modelling industry, was the most meaningful.
As Asian models, what are the stereotypes that hurt you/them the most that you discussed during your sessions, and how did you/they overcome them?
RJW: Many people spoke about the pressure to embody certain quiet or compliant stereotypes: to be soft, delicate, interchangeable, or “easy.” These expectations often operate subtly, but they shape how someone feels they can show up. Naming these pressures together often created a sense of release. What I found meaningful was how each person articulated their own way of resisting or complicating those narratives, simply by being present, vocal, and self-defined in the sessions.
MS: A common thread that I found many of the models discussed was how often they get boxed into a category and what comes about is this feeling of being dehumanised. Some of the models also battle other stereotypes because of their gender identity, body size, age, and mixed heritage. They all had experiences that are unique to them so it’s difficult to generalise what they did to overcome them but I will say that I felt the strength they have to overcome these barriers, and their strength to continue embracing the fluidity and vastness of Asian identity with pride.
Do you feel that the current political environment in the USA has impacted the model industry too?
RJW: Yes, absolutely. The political climate in the U.S. has made conversations around race, visibility, and representation much more urgent, but also more complicated. On one hand, there has been a push for diversity across casting and campaigns, which has opened doors for many people who were previously overlooked. But at the same time, that push often collides with the reality of an industry that still moves fast, relies on shorthand, and sometimes treats representation as a checkbox rather than a shift in power.
For many Asian models I spoke with, the climate brought both increased visibility and increased scrutiny. The rise of anti-Asian sentiment during the pandemic shaped how some models felt in public spaces, on set, or even in front of the camera. It made certain stereotypes feel more pronounced, or revealed how thin the industry’s commitment to inclusion can be when the news cycle moves on.
So yes, the political environment has absolutely impacted the industry, but the effect isn’t linear. It’s a mix of progress, fatigue, contradiction, and the need for deeper structural change. For me, GO SEE* was a way to step outside the reactive cycles of the industry and focus instead on care, agency, and relationships that aren’t defined by trends or external pressures.
What changes would you like to see in the models industry?
RJW: I hope the industry continues moving away from extraction that treats models as interchangeable or as raw material. Collaboration should be a working method, not an exception. I’d love to see more spaces where models are recognised as storytellers, thinkers, and creative contributors, not just bodies for the camera.
MS: I share the same sentiment. I remember we had a conversation with Ramona’s friend who is a model at the beginning of the project and he mentioned how models are often disconnected from the creative process of a photo shoot, only to be provided with instructions with what to do once they arrive on set. This experience taught me how enjoyable and valuable it can be when models are involved in collaborating throughout the creative process.
To add to that, I would love to see the modelling industry progress so that we see more Asian models at the forefront but not only that, I would love to keep seeing the push for diverse representation at the forefront. Where models are supported so they can achieve longevity in their careers and like Ramona mentioned, not be treated as interchangeable.
Did you remain in contact with the people you portrayed? Did your work create a sense of community?
RJW: Yes, many of the people I photographed are still in my life. Some became close friends, some collaborators on new work, and others people I stay in touch with in smaller but meaningful ways. I didn’t set out to “build community,” but the relationships that grew out of these sessions became one of the most important parts of the project. The book feels like an archive of those connections and the trust behind them.
MS: Same with me, I’ve remained in contact with many of them and I hope to maintain these relationships in the future. There were many people and entities who we reached out to and were involved in this project, from hair stylists and makeup artists to fashion brands and PR agencies. They contributed their time, energy and resources to support our cause and in that sense, I do feel like there is a shared hope and goal for progression in the industry that embodies a sense of community.
