The phrase "stylistic manner" is correct and usable in written English.
It is often used to refer to the style of a text or artistic piece, e.g. "This novel is written in an elegant, stylistic manner".
This nimble, entertaining homage to Henry James's late work "The Ambassadors," in which an American heads to Paris to retrieve a wayward son, brilliantly upends the theme, meaning and stylistic manner of its revered precursor.
What makes this novel such an absorbing achievement is not so much its slanted replications of the story line of "The Ambassadors" (probably the least crucial component of the later James) but the witty, fierce way in which it goes about upending the whole theme and meaning and stylistic manner of its revered precursor.
As long as there was at least a theoretical separation of comic and tragic styles, either genre could, on occasion, appropriate the stylistic manner of the other to a striking effect, which was never possible after the crossing of stylistic lines became commonplace.
Carrying the swords in their hands in a stylistic manner, the sword bearers expose to viewers the governing power and the authoritative presence of the chiefs.
At a time when documentaries often come adorned with all manner of stylistic frills, there's a traditional, even old-fashioned, feel to Steve James's The Interrupters – a meticulous, interview-heavy account of life and death in inner-city Chicago.
George Will wrote last week that Mr. Obama was Reaganesque in the stylistic sense that "his manner lulls his adversaries into underestimating his sheer toughness — the tempered steel beneath the sleek suits".
Both sequences involve spurts of multiple gunplay, which, as we know from an average week at the movies, or in front of the TV, is liable to trigger all manner of stylistic folly; but Maclean holds his nerve, and somehow finds order in the uproar.
Offering to outsource stylistic identity in this manner, via a kind of football aesthetics national listening tour, would have been enough to make Klinsmann a figure of ridicule in any other country, but in the America of Klinsmann's imagining, it probably made perfect sense.
The figure is everywhere, and being addressed with all manner of stylistic intonation.
As it tells its art-house tale, the film, which does not yet have commercial distribution in the U.S., folds in all manner of stylistic doodads, including freeze frames and swapped-in images of shots taken with different camera equipment.
The structure of the book is complex; the style is a triumph of stylistic art, in the old manner of setting style to subject.
