In 2003, Serena Dugan launched Serena & Lily with co-founder Lily Kanter. Dugan was a textile designer who had taught herself block-printing, and the company began as baby bedding, with a wholesale catalog in October 2004. Lily Kanter put the origin plainly: what she wanted in her nursery did not exist. Out of that came a whole house of rattan, stripes and sky blue.

Architectural Digest calls the brand the top name in coastal decor, with a catalog of rattan, wicker, seersucker, stripes and scalloped linens. It also says the full look can tip a little too proper Beach House, which may be why people go hunting for a Serena & Lily dupe in the first place: they want the shape and the weave, in their own mix, with room to add something of their own. That is what this edit is. Pieces from other labels that share the original's defining details, in the same spirit, nothing more.

Start with the dining chairs, because the oval woven back is the whole story. The Maru from West Elm has a curved rattan frame and a round woven back, and I would pull it up to a plain oak table. The Rossini is the French bistro shape, with a rattan seat as well as a rattan back, and it suits a small kitchen corner. The Monty swaps rattan for cane webbing on a dark wood frame, which reads dressier. The Godfrey has a black curved frame with a natural cane back and brass-tipped legs, and I would put it at the end of a table as a host chair.

Before you choose, turn a chair over. Look at where the rattan poles meet the frame and whether the joints are wrapped neatly. Then look at the bends: a smooth, tight curve is harder to make, and it is what you see first from across a room.

Rattan itself is a solid-cored vine, and the pendant shades in this group borrow that texture for the ceiling. Architectural Digest explains that the poles are heated until they can be shaped, then bent into form. A shade skips the bending and shows off the weave instead, so the weave is what you should judge.

The Orie has a wide scalloped edge in a warm brown, and I would hang it over a dining table where it can be seen from the side. The Borum is a 36 inch open-weave dome with a cut-out lattice, big enough for a room with a high ceiling. The Declo is a tall natural bell on a black chain, the one I would pick for a hallway. The Jenni is a two-tier handwoven drum, and the JONATHAN Y orb in white is the lighter, smaller choice for a nook. The Towne goes a different way, in layered woven rope with a fringed edge on a gold stem.

Check the weave before you trust a photo. Strands should sit evenly, with the ends tucked out of sight and no gaps that let the frame show through. Hold the shade up if you can and look at the light it throws on the wall.

What I would skip: a very small shade over a long table, however nice the weave. The scale does more for the look than the fiber does.

Wicker is a weaving method rather than a material, and flat jute is the same idea laid on the floor. The look worth chasing is a natural base with a calm stripe, the kind that makes a room feel like it has been lived in for years. One Architectural Digest jute pick has fibers hand-sorted by color for a subtle, brindled look, and that is the detail I would hunt for up close.

The Jute Ticking in indigo is a handwoven natural flatweave with thin indigo stripes, shown here at 2 by 3 feet, so it works at a door or beside a bed. The Fredric has wide natural and slate-blue stripes in jute and sisal. The Reseda is jute and cotton with fine black stripes across the center, and the Alisia is off-white and natural in a wide flatweave. The Danton goes bold with black bars on a natural base. If you want plain, the West Elm hand-spun in bleached ivory and the Liana in sand at 8 by 10 feet leave the pattern to the rest of the room.

Run your palm across the surface. It should feel even, not scratchy, with fringe ends that look finished. Check that stripes sit straight along the weave.

What I would skip: a pale jute in an entry where wet boots land. Natural fiber and damp do not get along.

A good counter stool is a narrow frame, a seat at the right height and a material that looks honest. That is why this look travels so well from the Riviera stool, the one many coastal kitchens start from, to a lot of other makers. I would not go looking for one that matches anything, only for the same idea: a rattan frame with a woven seat.

The Lennart has a natural rattan frame with a woven pale blue and white seat, and it is the one that comes closest to that two-tone look. The Alastair is backless with a round seat in rattan and hyacinth weave, 24 inches at the seat. The Maru counter stool has a round woven back and curved frame. The Monty has cane webbing on a dark wood frame, with a cream cushion. The Tobie in honey brown wash and the Felipe on black wood legs both give you a woven back, and the Leclerc and Leda are backless saddle seats if you want the lighter shape.

Check the footrest: a rung that sits at a natural height matters more than any finish. Sit down and make sure the seat does not rock, and that no strand ends catch your clothes.

What I would skip: a stool with an arched back if your counter has a deep overhang. It will not tuck in.

Architectural Digest sums up the coastal palette in one line: sky blues, taupes, soft greens and crisp whites. In October that palette makes sense with a heavier throw at the foot of the bed, and a stripe is the easiest way to get there.

The Levi in navy and white is a clean vertical stripe with two shams. The Eddie Bauer ticking stripe in navy is cotton percale, which is crisp to the touch. The Bara is a white set with scalloped pale blue edging, the one I would choose if you love the quilt look. The Hawthorn is wide pale blue and white chambray stripes, and the two Threshold sets are a soft textured blue stripe and a white and navy woven stripe in OEKO-TEX certified cotton. For layers, the Beachcomber throw is in parchment and pecan, and the Stacked Stripe throw is hand-loomed in natural, sand and slate with tassels.

Look at the stripe at the seam and at the edge of the cover. Architectural Digest likes it when stripes carry onto the back, so the bed looks right even unmade. Check that the shams match the cover and that the weave feels crisp.

What I would skip: more than one bold stripe on a single bed. Pair a stripe with a plain sheet instead.

I would begin with the rug, since it sets the room. Then add a pair of chairs or stools with a rattan weave, and a single woven pendant, and let the bedding carry the blue.

Nothing here needs to match the original. It just needs to share the same weave and palette, and look good with what you already own, which is the point of a look-alike. Serena Dugan started with a baby bedding catalog and a lot of block-printed fabric. A good coastal room still starts small, with one stripe and one handwoven thing.

Then I would live with it through the cold months, add the throw when the heat is off, and see what the room is asking for next.