he Tourbillon of Tourbillons, unveiled in 2015, is the continuation of a journey that began in 1974 when Antoine Preziuso joined the Geneva Watchmaking School. But it is also the capture of a precise moment in time—the collaboration between the watchmaker and his son, Florian. The Tourbillon of Tourbillons embodies a generational harmony, a father- and-son partnership that gave rise to an unprecedented watchmaking development—one that Laura Preziuso later enriched through various iterations, including gem-set versions.

In this sense, the Tourbillon of Tourbillons is also the first step of a new momentum, driven by a new generation. It marks a transition, a chapter showcasing what Florian and Laura Preziuso can achieve at the highest level. A glimpse into the future of the family workshop.

Past, present, future. The Tourbillon of Tourbillons represents all 3 at once.

The number 3 embodies Passion, Patience, and Perseverance. To celebrate its first decade, the Preziuso family unveils the behind-the-scenes story of this project. A conversation... among three, of course, with three minutes each to reveal some never-before-shared secrets of the Tourbillon of Tourbillons.

3 MINUTES WITH... MAY PREZIUSO

When the piece was unveiled, you were given the role of “synchronizer,” just as within the Tourbillon of Tourbillons. Why?

I ensure the balance of energies, which I transmit to each member of our family. I play a pivotal role. My husband, my son, and our daughter Laura are three creative individuals with strong personalities. I balance their energies so that our workshop operates harmoniously. My goal is to relieve everyone of peripheral burdens, so that each person can focus on their craft.

You have been closely involved in the development of the Tourbillon of Tourbillons. Have you seen it constantly at the workbench, or did it progress in phases?

In phases. First of all, because we have obligations towards our clients. We travel to meet our markets. But there was also the financial aspect. We are a 100% family-run and independent workshop. Over the ten years of its development, we didn’t always have the resources to push the Tourbillon of Tourbillons forward. It has always been in our hearts and minds, but not always at the workbench, as we had to face our daily obligations.

In 2015, your husband and your son stepped onto the podium of the Grand Prix d’Horlogerie de Genève twice in a row, for the Mechanical Exception Prize and the Public Prize. What does one feel in such moments?

A great deal of pride... and stress, because we had entered the competition in the tourbillon category, but someone else won the prize! A few minutes later, we were called for the Mechanical Exception award. Antoine and Florian went on stage, a bit caught off guard, with a speech outline that they managed to adapt for this unexpected category.

But when they were called back to receive the Public Prize, it was a real surprise. Antoine was having a glass of champagne backstage. He barely had time to sit down before he had to get up again and return to the stage with Florian. It was a very intense moment, pure improvisation.

How was the Tourbillon of Tourbillons received?

Some collectors contacted us as early as the next day. We also received congratulations from our peers. They felt a sense of pride in seeing that it was possible to accomplish major achievements, like the Tourbillon of Tourbillons, without the resources of large groups. These awards have elevated our workshop to a level that, I believe, has benefited many independents.

From the collectors’ perspective, the Tourbillon of Tourbillons is an experience. There is a difference between reading the press release and actually wearing it on the wrist. It is a living, vibrant work of art. One can physically feel its resonance on the wrist. It is a piece that must be seen, touched, and worn. Many have asked to experience it firsthand once these two awards were received.

3 MINUTES WITH... ANTOINE PREZIUSO

Antoine, what is the meaning behind the number 3?

A universal symbol. It runs through the laws of physics and astrophysics. It represents the past, the present, and the future. The three steps of the podium. The three members of my family who accompany me. A recurring number in history, science, and spirituality, echoing the synergy between tradition, innovation, and the transmission of knowledge.

And then, from a technical standpoint, I had worked extensively on the single tourbillon, and Breguet had just released a double tourbillon. What was the next step? The triple tourbillon!

Where did the original idea for the Tourbillon of Tourbillons come from?

Since the beginning of my career, I have explored this complication in all its forms. However, because it was originally designed for the vertical positions of pocket watches, it no longer truly had a purpose today. But one day, while observing the movements of celestial bodies, I asked myself a question: what if multiple tourbillons interacted with one another, like planets in orbit? The universe is a vast mechanism in perpetual motion, and I wanted to recreate this dynamic on the wrist. The idea of having three tourbillons rotating on themselves while simultaneously revolving around a central axis became an obvious choice. It is a mechanical dance—hypnotic and harmonious.

Did you realize that you were taking on a mountain higher than the others?

Absolutely! That’s precisely what motivated me. In watchmaking, every creation is an ascent, a challenge. With the Tourbillon of Tourbillons, I knew I was tackling an unprecedented, extraordinary technical feat. It is this ambition that drives me to surpass myself. A higher mountain means a more breathtaking view once you reach the summit!

Together with my son Florian, we climbed this mountain. We found solutions, overcame obstacles, and reached a peak we are proud of. It is the culmination of a decade of passion and research—a demonstration of craftsmanship, innovation, and independence. And above all, an invitation to dream. Because watchmaking is not just about measuring time—it is about elevating it.

Have you ever felt a sense of discouragement in the face of the enormity of the task?

Not really. But in 40 years of work, I have sometimes set certain projects aside to focus on others. The Tourbillon of Tourbillons could have followed that path—ended up in a drawer. But we didn’t give up, and the discovery of natural resonance, followed by Florian’s development of the differential, convinced us that we had to see it through. Even if it took us 10 years.

Would you have done some things differently, in hindsight?

I would have liked the project to come to fruition a bit more quickly. But objectively, given our resources at the time, we did our best. Going back to manual execution took us a lot of time. And during that time, I saw simple and double tourbillons being released, as well as spherical tourbillons—ones I had studied as early as 2004! We couldn’t afford to delay with our Tourbillon of Tourbillons.

3 MINUTES WITH... FLORIAN PREZIUSO

In 2004, when the Tourbillon of Tourbillons adventure began, you were not working in the family workshop. What was the turning point?

I was working at Franck Muller, developing rather complex tourbillons. But my father received an order for several tourbillons and asked if I could come and help him. I went back to work with him, and we completed the order. When the watchmaking crisis hit, I decided to dedicate my bandwidth to the Tourbillon of Tourbillons and its differential, which was giving us so many challenges! I managed to finalize it, and the piece was finally completed.

Then the spotlight was on you for a double win at the GPHG... You were 35, it must have been quite a pressure at that stage of your career, right?

Not really, because I don’t work for the recognition of others. Of course, it was a great pleasure, especially the Public Prize, but I was just as honored to receive calls the next day from colleagues in R&D units or at CERN, congratulating me for the work done on the technical and scientific level. They recognized the culmination of an approach that even their software programs were struggling with.

So it’s true, this legend that you sabotaged certain R&D programs, even at CERN?

Absolutely! From the moment you reason with prime numbers, like 3, and combine them with a sequence like Fibonacci’s, you’re working with infinite decimals, in a kind of loop. The programs were also unable to account for the natural phenomenon of resonance, which they couldn’t model. We ’crashed’ several servers this way, which would loop endlessly and eventually overload...

Would they be able to solve the resonance problem today?

I don’t think so. We would need to see if artificial intelligence can address it, but its integration into watch simulation software is still in its infancy.

Has mastering the unpredictability of 3 tourbillons made you want to explore pieces with 4 or 5 tourbillons, or even more?

That wouldn’t make much sense. When you think in even numbers, like 4 or 6 tourbillons, it’s essentially the same as having 2: they resonate in pairs to essentially form just one large tourbillon. And if you think in odd numbers, like 5 or 7, it would be essentially the same exercise as with 3 tourbillons, without any real added value.

The piece is of rare complexity. Has this generated any service returns?

Zero! No piece has come back. In fact, it’s a bit frightening! We’ll see when the first ones return for service after about ten years... Ten years later, the flame of innovation still shines with the same intensity. And the story of the ’Tourbillon of Tourbillons’ is just beginning."