Every bride has a vision for her wedding day, whether it be a traditional affair, an event filled with surprises, or a combination of both. For Candie Sraberg, romance was at the very top of her wish list—just not the syrupy-sweet variety. She and her fiancé, Richard Weitz, wanted an affair to remember, so we created an utterly cool, strikingly original, and absolutely fabulous modern work of art.

The locale of choice was the Beverly Hills Hotel’s gorgeous Crystal Ballroom. Though an idyllic setting for an ultra-traditional wedding, the hotel’s incredible staff agreed to give our team creative carte blanche in order to reinvent the entire space. Our plan was to transform the ballroom from floor to ceiling in order to create a minimalist masterpiece that was glamorous and avant-garde without being over-the-top.

The rich colors of autumn inspired our deliciously smoky color scheme. We chose shades of sherry, burnt sienna, rusted orange, caramel, ochre, and gold. These subtly blazing colors graced everything from the invitations and linens to the bridesmaids’ cognac satin gowns, as well as the 2,000 copper-dipped light bulbs that adorned the chandeliers. Because the guest list was so large—nearly 400 friends and family members—we also commandeered the hotel’s tennis court, building a tent swathed in glorious cognac hues for the ceremony. And for the concept that would galvanize the whole event and bring it full circle, we decided everything would be in the round, both literally and figuratively.

The amazing oversized wedding invitations were guests’ first hint of the wonders that lay ahead. Designed by Ellen Weldon, the lining paper was hand-painted in five sumptuous fall colors and backed with a magnificent matte copper (we would later repeat the identical pattern by painting it on the dance floor of the ballroom). The ornate lettering was copper engraved on sheer ecru stock, while the outer cover was a heavier ecru stock trimmed in a subtle pressed-leaf pattern. This same chic motif was carried out in the menus, place cards, and thank-you notes as well.

The day of the wedding was all about finishing touches. The twelve hours before the ceremony were spent dressing the 41 tables, arranging thousands of roses and delivering last-minute instructions to the small army of staff. But when the clock struck seven, every last detail was in place. Four ethereal harps begin to strum, a pair of cognac-colored drapes parted and 390 friends and family members descended down two aisles on either side of the tent to take their seats in the round. Suspended over the circular, elevated platform, where the couple would take their vows, was an astonishingly ornate chuppah. The meticulously constructed dome was decorated with 13,000 spectacular Sari and Leonidas rose blossoms. Candie then glided down the aisle in a dazzling Vera Wang gown, complete with spaghetti-straps, beaded bodice, and a tulle skirt that took on a circular, cloud-like shape that seemed to float around her. We wanted to tie Candie’s gown and bouquet together, so the same beads used on her gown were threaded onto a wire and woven through the white stephanotis blossoms for sparkle and shimmer.

During cocktails, Spanish guitars strummed in the background as butlers circulated through the ballroom foyer with sumptuous tray-passed hors d’oeuvres. On the menu were warm onion, walnut, and Roquefort tarts; strudel of baby spinach, feta, and sun-dried tomatoes; cornmeal pastry “finger pies” of duck confit; and forest mushroom wontons. Bottles of Dom Pérignon were showcased in fantastic sculpted ice urns topped with round “bubbles,” also sculpted out of ice. Six sublime rose-accented pyramids of poached jumbo shrimp provided additional nibbles. All of the dipping accoutrements were placed on cocktail tables surrounding the champagne table.

But that was just the beginning. After the cocktail reception, the doors swung open on cue to the music of the orchestra, revealing a ballroom bathed in a warm amber glow. Guests were in awe upon entering the room, with their eyes drawn to an elevated, round, hand-painted dance floor. Dozens of round dinner tables filled the room, dressed with three different floor-length cloths in cognac, burnt sienna, and chocolate. All of the tables had the same floor-length chocolate organza overlay. The tabletops were mirrored to reflect the sensuous lighting and the large Murano glass chandelier outfitted with the custom-colored light bulbs to cast a soft glow. The beautiful centerpieces alternated between domes of burnished brown and soft orange roses, or a combination of both, arranged in concentric circles.

For dinner, guests were delighted with foie gras ravioli swimming in a light squash soup, followed by a sublime seafood Napoleon, capped off with a succulent herb-crusted rack of lamb. With each course, the silverware was collected and replaced, ensuring that the tables looked pristine and uncluttered throughout the evening.

Before long, friends and family were jiving to 1970s classics like “YMCA” and “Brick House.” (Richard wanted fun, sexy, feel-good music, and the Chuck Wansley Band was delighted to oblige.) The crowd could have danced all night; that is until they caught a glimpse of the elaborate wedding cake. The chic confection was designed in collaboration with Polly Schoonmaker using rich shades of chocolate, ochre, orange, and cognac with alternating horizontal stripes and white chocolate pearls. At the top of the cake were three spheres made of cognac-colored fondant and dusted with copper and gold metallic sugar that spilled onto the mirrored cake table. And since the wedding took place on Halloween, the delectable wedding cake was served with a melt-in-your-mouth pumpkin crème brulee and caramel ice cream for a perfect end to an opulent evening.