The elegant Georgian townhouse off Tottenham Court Road in London could not be the headquarters of any other designer than fashion’s hippie guru, Matthew Williamson.

A blown-up photograph of Jade Jagger in a shocking-pink slip hangs at the top of the staircase. A gold “fairy” dress and a dramatic black and multicolored rainbow gown are suspended from the walls like works of art.

A giant turquoise and fuchsia impression of a butterfly looms over a jeweled couch.

On it sits the designer, looking like a backpacker in T-shirt, jeans, and a mustard paisley Rajasthan scarf knotted at his neck. Even his spaniel, Coco, has caught the ethnic mood, wearing a Navajo-style, turquoise-studded collar.

Mr. Williamson should be in a mild panic – his autumn/winter 2005 collection will soon be shown in New York and, so far, only seven of 120 samples have arrived from the factory in India.

And there is another engagement on the horizon. Eight days after his New York show, Mr. Williamson will be honored with the Moet & Chandon Fashion Tribute for 2005 during London Fashion Week, in recognition of the 33-year-old’s eight successful years in the business.

The tribute will be held at Old Billingsgate Market, with guests such as Sienna Miller, Jade Jagger, and Helena Christensen in attendance and champagne and dinner for 350. The R&B star Kelis, who got married recently wearing a Williamson design, will sing, and there will be a show featuring 50 of his most memorable looks, with pieces from his new collection. This will be the first time his designs have been seen at London Fashion Week since he decamped to show in New York nearly three years ago.

He is also preparing to open his second London boutique, at Harvey Nichols in Knightsbridge, and working on the launch of his first perfume in April. But apart from smoking more than usual, he is remarkably calm.

“It’s a little scary, but I’m thrilled,” he says. “If someone had said, eight years ago, I would have my own shop in Bruton Street and another in Harvey Nichols, I would never have believed it.”

Mr. Williamson burst on to the London fashion scene in September 1997 with his debut collection, featuring Kate Moss, Helena Christensen, and Jade Jagger dressed as “electric angels” in bias-cut dresses and separates in tangerine, fuchsia, chrome, yellow, magenta, and turquoise. It was vibrant, ethnic, and, in an era of dark suits and aggressive tailoring, a breath of fresh air. It was also an instant hit, which caught Mr. Williamson and his partner, Joseph Velosa, then a pilot in training, completely by surprise.

“We had no money to produce our first order for A La Mode, so we backpacked off to India, with some cheap tickets Joseph got through his connections. Then we persuaded a factory to make the pieces on credit. It’s really been a case of rags to riches.”

The celebrity element that marked his first show has escalated ever since. The roster of famous faces who clamor for his cobweb beading, rainbow palette, and peacock and butterfly dresses includes Sarah Jessica Parker, Halle Berry, and Kate Beckinsale – although, unlike some designers, Mr. Williamson doesn’t pay them to wear his clothes.

“I’ve never paid anyone. I don’t have enough money. It’s always been an organic thing with me. It’s the joy of knowing someone appreciates what you do and loves wearing what you design.”

Mr. Williamson’s work has always encompassed the bohemian-hippie ethic. Colors are joyous, embroideries and beading have a hint of the exotic, and there is a playful sexiness to the cut, which makes the outfits obvious choices for celebs walking the red carpet.

“It would have been easy to get sucked into this [celebrity] world. And it’s great, but for me it’s just the icing on the cake. I spend 12 months working on clothes that will sell in the stores. If Nicole [Kidman] wants a shirt, that’s fantastic, but it doesn’t drive the business.” That business is running at a turnover of $9.8 million a year, with 150 stockists worldwide.

“It’s all down to Joseph,” Mr. Williamson says. “He’s the one who thought ahead and monitored the growth. We had initial support from the British Fashion Council, but we haven’t any backers, even now. We’re looking for investment so that I can open a store in New York.”

He still feels sad about deserting London Fashion Week, but says, “It’s down to facts and figures. London is small compared to Paris, Milan, and New York. There are no big advertising designers, it’s not a money-driven industry. Anna [Wintour, editor of Vogue] and Glenda [Bailey, editor of Harper’s Bazaar] are not getting on a plane to come here. London is great for new talent, but you have to decide either to stay here and stay domestic or go abroad and go global.”