In this month’s YKRA Faces, we had the pleasure of talking to Bori Körösényi, founder of Abra, a retailer of stunning Moroccan rugs in Budapest. Rugs tell stories — about the people who make them, the communities they support, and the traditions they keep alive — and for Bori, it’s become more than just a passion. Through Abra, she works directly with Moroccan artisans, bringing their handmade creations to new homes across Europe. Discover Bori’s path to the world of weaving, and take a look at what she keeps in her YKRA gear!

Hi Bori, tell us about the journey that led you to founding your company?

I’ve been working with Moroccan rugs for five years now, and it all happened organically. I always knew I wanted to start a business; everything in my life pointed me in that direction, but it took me some time to figure out exactly what I wanted to focus on.

Originally, I took up weaving as a hobby and was captivated by traditional hand-knotting techniques. I’ve also always been fascinated by travel, especially experiencing the raw, authentic lives of locals, meeting people, seeing their surroundings, and exploring their creations. I appreciate traditional textiles from different parts of the world, and in hindsight, I wish I had studied textiles, as I find materials, textures, shapes, and colours so intriguing.

There’s something incredibly humbling about the craft of weaving rugs, as each knot is made by hand, one by one, with immense dedication. I deeply appreciate that level of craftsmanship, and I understand just how much work goes into making one rug. I’m still absolutely in love with textiles, and it’s this passion that led me to found Abra.

How would you define Abra?

Abra isn’t just about rugs — it’s about stories, craftsmanship, and community. What started as my passion for Moroccan weaving has evolved into a rug business with a focus on ethical sourcing. One of the most meaningful aspects of Abra has been building direct relationships with weavers, as I get to work with Amazigh artisans, keeping centuries-old traditions alive. Each rug has a personality, a history, and a connection to the women who weave them, who balance their craft with daily life in rural Morocco. I aim to bring these unique rugs into homes while uplifting the artisans who create them.

How did Morocco become part of your life?

Before having kids, my husband and I traveled constantly, mainly off-the-beaten-track adventures, and even after our children were born, we kept traveling, just differently. We took our little ones to many countries, but Morocco was special — it was the first place we traveled to as a couple after having kids, and it felt like reclaiming a part of our old life. Now, the kids come as well, as it’s important to me that they grow up seeing the world with open eyes.

Since founding Abra, I travel to Morocco three to six times a year, depending on the workload. Being there makes all the difference — things naturally fall into place, and any problems or misunderstandings get resolved. The whole operation relies on personal connections, as most artisans don’t speak any foreign languages. 

How are you able to manage your business abroad?

This business model requires a lot of on-the-ground presence, so Abra wouldn’t be possible without my translator — now a friend — who recently stepped into a managerial role. Our warehouse is located in his city, and he coordinates most of the logistics. Think: tracking 13 different rugs from various regions, traveling to weaving communities to resolve issues, handling deposits and payments, and overseeing the washing and packing of entire shipments.

Why has ethical sourcing become such an important aspect of the business?

Abra has evolved a lot since we first started. Initially, things were different, but over time, we built direct relationships with weaving communities. Our processes and pricing center around how we can support and empower local communities of female weavers to our best ability. Now, all our rugs come directly from the artisans themselves, and we work together with numerous women-led weaving collectives across Morocco, each producing rugs specific to their region. 

Witnessing how weaving transforms lives has been one of the most rewarding and beautiful parts of my job. I’ll never forget the young woman who, at just 22, revived her grandmother’s loom and built a weaving collective with her friends from scratch. Seeing her determination and creativity firsthand was incredible, and she saw weaving as an opportunity to create something meaningful while supporting herself and her four children. For many women, weaving isn’t just a craft — it’s a path to independence. Traditionally, life revolved around marriage and family in Morocco, but for women, having their own income, even a small one, shifts perspectives and possibilities. Some embrace weaving as their main livelihood, earning well enough to redefine their future. Many men work in larger cities, so villages often have generations of women who share their lives, skills, and stories. The strength of these women-led communities is undeniable, inspiring, and it’s very rewarding to see how new perspectives open up for them through our collaboration. 

This process took a lot of effort — lots of travel, searching, talking, and partnerships that didn’t always work out. Everyone I work with weaves from home — the rugs are made on the pillars of family-based weaving traditions, and our relationships are deeply personal, built on trust. 

What’s the traditional rug market like in Morocco?

The way the Moroccan rug market operates today offers little to no benefit to the weavers themselves. Young, male middlemen, skilled at selling both online to European shops and to shop owners in the souks of Moroccan cities, often exploit the women doing the actual weaving, paying extremely low prices for their work. They show up with downloaded designs and poor-quality wool, disrupting the organic design process and undermining the autonomy of weaving communities that would otherwise set their own prices and quality standards.

Can you tell us more about the creative side of weaving?

This is intuitive, self-expressive weaving with no pre-planned design. Weavers draw from patterns and colours passed down in their communities – which is why we work with many different groups. Each has its own style, evolving in unique ways. I love this diversity and try not to interfere. We do offer custom orders, but they require flexibility, as our weavers work from home and aren’t trained to follow strict design briefs. A custom piece will always reflect the weaver’s personality – she might tweak a detail or add a colour she prefers.

What’s the story behind changing the name of the business, from Berber to Abra? 

Changing our name from Berber Budapest to Abra was a big decision — but ultimately, it felt necessary. When we first started, Berber seemed like the obvious choice: it was the internationally recognized term for Moroccan rugs, and it helped introduce this style to an audience in Hungary who wasn’t yet familiar with it.

My name, Bori, also shares its root with the word ‘Berber’, which at the time felt like a playful, fitting detail. But as we deepened our work and understanding, the meaning behind the word became harder to ignore. Berber means “outsider”, “barbarian” and it was a label imposed by colonizers, while the indigenous people of Morocco identify themselves as Amazigh, which means “free people.” 

As our business evolved to work directly with artisans, and our relationships with Amazigh weavers grew more personal and collaborative, we came to see that the name Berber Budapest no longer reflected the respect and appreciation we wanted to express.

What does Abra mean?

Abra is inspired by the Amazigh word "abrid," meaning "winding path" or "journey". It perfectly represents the journey we’ve taken, which has been anything but straightforward; it’s been full of twists, challenges, and discoveries. I also wanted our new name to have a feminine touch, since women are at the heart of the business. I’m also fond of the Hungarian words "ábra" and “ábrázolás”, meaning "diagram" or "illustration", which connect beautifully with the visual and storytelling aspect of textiles.  

Changing the name of the business wasn’t an easy decision or taken lightly, as it came with plenty of extra costs, but it was a personal decision, staying true to values and making sure the brand reflects what Abra stands for.

How would you describe your typical day as a business owner?

It’s always a mix of things; no two days are ever the same. Since we’re a small business, I juggle a lot of different roles. I have an amazing colleague who runs our small store and showroom in downtown Budapest on Fridays and Saturdays, but during the week, I step in when needed — welcoming customers by appointment, overseeing shipments, or handling logistics tasks.

Behind the scenes, there’s always plenty going on — inventory updates, product photography, home styling shoots, and working with freelancers like graphic designers, photographers, developers, and SEO experts for the website. A lot of this I can handle remotely, so I often work from home. I also enjoy organizing pop-ups and events in our store, which has evolved into a vibrant community space, naturally bringing together small businesses, independent female designers, and creatives. It wasn’t something I set out to do, but this has also become a very rewarding aspect of having a store, not just in the digital sphere.

How do you balance your business and family life?

Generally speaking, the mornings and afternoons belong to my kids — I have two little boys, so my workdays have to be in sync with them. My husband and I split school drop-offs and pick-ups, which works well since he also has a reasonably flexible schedule.  

I love cooking (and eating!), and food is a huge passion of mine. Some days I cook from scratch, on other days we cook together. 

We also have a house in Kisoroszi, where we spend most of our weekends. It’s a special place for us as we renovated it ourselves, and there’s space for everyone. The kids play football in the garden, and we relax and hang out at the Danube bend. There’s also always something creative happening. It’s where I feel I can truly rewind, kick off my shoes, and carve out creative time for myself. Ceramics is another cherished hobby of mine, and last year, I got into making patchwork curtains, dyeing fabrics with plants, and sewing them. My personal projects always give me an extra spark of energy.  

What's in Bori’s bag?

Beach Bag - I love this bag! It’s a great size and fits everything, even smaller rugs. It’s also perfect for how I use my bags — toss everything in, and then spend half an hour digging for what I need!

Cards - I always have a pack of cards with me. If I’m out with the kids and we have to wait somewhere, cards save the day. Everyone in our family loves playing cards.

Keys - I have a massive collection of keys, for the warehouse, the shop, our home, and the weekend house. I mark them with tiny nail polish dots to keep track of them all.

Hair Tie - A must-have. It’s always in my bag.

Scarf - I found this one thrifting in Copenhagen. The store was huge, literally a second-hand paradise. We had been cycling around in freezing temperatures, which made it extra satisfying to step inside and browse.

Sunglasses - This is also a Danish piece, although my sunglasses are more of a disposable item. Unfortunately, I tend to just toss them into my bag without much care, so I’ve ended up with quite a few, all in a rather worn-out condition.

Water Bottle - I’ve started using one again because I keep spilling takeaway filter coffee on myself. Now, I brew my V60 coffee at home and pour it into my thermos — fewer spills, more efficiency.

Book - After what seems like a five-year break, I recently started reading books again. When the kids were younger, I had less time to read, and it’s so nice to pick up a book. This is the third book in the Jana Kippo trilogy by Karin Smirnoff — I’ve already read the first two and have been eagerly awaiting this one. It’s a raw and haunting series set in rural northern Sweden, following the tough Jana as she confronts childhood trauma, family secrets, and her own resilience. Written in a striking, minimalist style without punctuation or quotation marks, it’s undeniably dark, but impossible to put down.

Necklace - It’s a vintage piece from Après Ski, and is at least 100 years old. The archaic face illustration is stunning, and the material is also beautiful.

Zine - We created this zine during our brand name transition. I’ve always been drawn to paper, and right now, we have a bunch of print-focused projects in the works.

Pen - I like writing by hand and taking notes. It completely changes the way I process my thoughts when I put pen to paper. Sketching is also something I enjoy, it simply helps me think differently.

Rug - Checkered designs have become a contemporary trend in the past few years, however, it's a design element with deep roots, not just something pleasing to the European eye. Originally, Moroccan checkered rugs depicted agricultural landscapes from a bird’s-eye view, and were woven in many different shades and tones, creating a richer visual depth.

This particular piece was woven in the Middle Atlas region by a group that is very private, meaning I can’t share any photos of the weavers, as they prefer to stay out of the spotlight. Sometimes, if the owner or buyer of a rug wants to know more about its origins, we arrange to share those details privately. It’s our middle-ground solution.