During the nineteenth-century, fashion etiquette distinguished many categories of clothing suitable for specific occasions, locations, and times of day. One category was that of interior gowns or undress. While most were relatively simple, the interior gowns of wealthy women could be lavish, their design inspired by a spatio-temporal Other, meaning, either a prior historical period or a non-Western place. These gowns were inappropriate to wear outside of the home but, within the semi-private sphere, women could indulge in them. Here, these gowns entered into a visual and tactile dialogue with the interior's furnishings—upholstery, draped textiles, and objets d’art. Together, these elements constituted a sartorial scenography for women to privately form their identity, but also to publicly perform it, for example when opening the family home to their social network during the jour de réception. Through the analysis of extant interior garments, as well as their contemporary depictions and descriptions, this project aims (1) to provide a categorisation of the different types of undress and to understand more thoroughly the importance of Othering interior garments within the wider category, (2) to analyse the entanglement of Othering interior garments and domestic interiors, and (3) to understand how women used these Othering garments within their interiors to form and perform identity in Belle-Époque Belgium and France.