It is not only an object found in a museum, but it is above all an everyday tool found in the pockets of millions. Indeed, the Opinel knife has always inspired writers. In all regions of France, it is true that «opinel» is referred to in the same way as a «knife» is. It has become a common name (whilst at the same being a trademark), its letters attaining a certain noble reputation by sometimes leaving them small and not in their capital form. 

Various authors such as Jacques Lanzmann, Michel Déon, Gérard de Villiers, Jean Dutourd, Jean-Pierre Chabrol or Me Badinter have referred to it in their books.

Olivier, the hero in «Wild Nuts» by Robert Sabatier, is proud of his «great Opinel in the name of the heros of the chanson de geste». In the «The Fingers full of Ink», Doisneau and Cavanna refer to the «prestigious blade of hoodlums […] a turning collar which immediately classes you very highly in the social scale of values». 

The same perspective, with a certain amount of derision for Renaud:

«Come out into the road,
I will show you my Opinel.»

As for Bérurier, the colourful assistant to the famous «commissaire San Antonio», can it really be imagined that he devours one of his pantagruelian meals without the assistance of an Opinel?