Roaring 20s

Mary Pallattella, Capital C's creative director of events, said the event "came to life" based on an image that she found of an alluring alleyway. The alley image inspired the save-the-date and the video invite; it also inspired the setup at the entrance to the event. Guarded by a gangster character (more on him later), the entryway had a graffiti sign that read "No Killjoys." There was also an illuminated image of 1920s icon Louise Brooks.

Milan Sukunda, associate creative director at Capital C, always plays a character at the company's parties; this year, he was an ornery gangster who greeted guests at the door. If they forgot the event's password, Sukunda made them say: "Milan is awesome. He is so much smarter than [Capital C C.E.O.] Tony [Chapman]."

A ritzy area called the Moon Lounge had layers of glowing, reflective elements. Mylar balloons on mirrors reflected light, which bounced off sequins on glittering linens. Playing off the company's logo, the area also had a big mirrored "C" in which guests could sit. Capital C designed the event, and Devan handled decor.

In the Moon Lounge, noted Toronto jazz singer Errol Fisher performed with his band. Channeling glitzy lounges of the 1920s, seashells and drapes spruced up the stage.

In the lounge area, café tables with sequined linens were topped with globes and rings of baby's breath. At the tables, guests sat to have snacks prepared by chef Domenic Chiaromonte of C2 Catering Couture. The menu included pulled-pork "cigars," "moneybag" ravioli, and "moonshine chowder."

To the right of the glitzy lounge, a gangster-themed area area had a lineup of famous gangsters including Al Capone. There were outlined feet on the floor that guest could stand on to be photographed as part of lineup.

Near the lineup, Chicago-style pizza was served on a table that had a faux cement top with shoe tips sticking out of it. The "encased body" was another cheeky nod to the gangster lifestyle.

In another area, the team recreated Al Capone's Philadelphia jail cell. Prison bars and ghostly images of the notorious gangster were projected onto the windows. There was also a voice in the background that was meant to sound like the spirit of Capone haunting the cell; a corner toilet was the final, jail-cell-inspired touch. Apex Sound and Light handled audiovisual production.

One space channeled a taxi-dance hall, which was a type of nightclub that had "dime-a-dance" entertainers in the 1920s. Guests of the era could pay 10 cents to dance with a girl for 90 seconds, so Pallattella hired models to wear period costumes and dance with employees. The dance hall also had big, black-and-white photos of women from the 1920s.

There was, of course, a speakeasy area. It doled out drinks called "Chappy's Hooch," named for company C.E.O. Tony Chapman. At the entrance to the space, a hostess held a violin case filled with shots. Inside, LED lights filled whiskey bottles, and beer was served in old gasoline cans.