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“She's beautiful,' he murmured.
'She's a metre across the hips, easily,' said Julia.
'That is her style of beauty,' said Winston.”
― George Orwell, 1984

“Above all things -- read. Read the great stylists who cannot be copied rather than the successful writers who must not be copied.”
― Ngaio Marsh, Death on the Air and Other Stories

“Behind the perfection of a man's style, must lie the passion of a man's soul.”
― Oscar Wilde, Reviews

“Fashion is only different skins for different flavours of you.”
― Lauren Beukes, Zoo City

“Accentuated plainness and accentuated vice ought to bring about harmony. Beauty lies in harmony, in style, whether it be the harmony of ugliness or beauty, vice or virtue.”
― Yevgeny Zamyatin, Islanders & The Fisher of Men

“I'm the first to admit that I don't write right. Now, relax and enjoy the show! The sideshow, that is.”
― Lori R. Lopez

“Sensuality is the most expensive taste and luxury in the world.”
― Lebo Grand

“All my stories are webs of style and none seems at first blush to contain much kinetic matter. For me style is matter. ”
― Vladimir Nabokov

“I want to be able to do anything with words: handle slashing, flaming descriptions like Wells, and use the paradox with the clarity of Samuel Butler, the breadth of Bernard Shaw and the wit of Oscar Wilde, I want to do the wide sultry heavens of Conrad, the rolled-gold sundowns and crazy-quilt skies of Hitchens and Kipling as well as the pastel dawns and twilights of Chesterton. All that is by way of example. As a matter of fact I am a professed literary thief, hot after the best methods of every writer in my generation.”
― F. Scott Fitzgerald, A Short Autobiography

“It's not revealing, it's informative.”
― Gemma Burgess, A Girl Like You

“My bottom is my deliquent daughter. I lavish praise upon her cheeks when she's well behaved and when she gets out of control, I pretend she isn't mine.”
― Anna Johnson, Three Black Skirts: All You Need to Survive

“Sensuality never ages nor go out of style.”
― Lebo Grand

“The subject may be crude and repulsive. Its expression is artistically modulated and balanced. This is style. This is art. This is the only thing that really matters in books.”
― Vladimir Nabokov

“Sensuality is not about perfection, it’s about inspiration and expression.”
― Lebo Grand

“For a translator, the supreme authority should be the author's personal style. But most translators obey another authority: that of the conventional version of “good Frenchâ€� (or good German, good English, et cetera), namely, the French (the German, et cetera) we learn in school. The translator considers himself the ambassador from that authority to the foreign author. That is the error: every author of some value transgresses against “good style,â€� and in that transgression lies the originality (and hence the raison d'être) of his art. The translator's primary effort should be to understand that transgression. This is not difficult when it is obvious, as for example with Rabelais, or Joyce, or Celine. But there are authors whose transgression against “good styleâ€� is subtle, barely visible, hidden, discreet; as such, it is not easy to grasp. In such a case, it is all the more important to do so.”
― Milan Kundera, Testaments Betrayed

“I set about seeking a thread, a theme, a style, in the realm of legend. Something that might allow me to give free rein to my juvenile sense of romanticism and the beautiful image.”
― Leni Riefenstahl

“[...] with the protecting sky in all its splendour and the golden sun blazing forth against a backdrop of crystalline blue, to use the inspired words of a television reporter[...].”
― José Saramago

“Whether Max would have jabbed her so hard at the base of the skull with the poker, then slammed her head on the floor when she fel, had he known it was a woman beneath the break-in gear was something he could ponder at leisure, if he survived the night.”
― Mick Herron, The Secret Hours

“Above all, it is choice. Pater is at all points an eclectic. Several times he insists upon the necessity of separating what is touched with ' intense and individual power' in a man's work from what has ' almost no character at all.' In art, in life, the best of whatever kind will delight him. He loves the spectacle of 'brilliant sins and exquisite amusements.' The strong, the magnificent, the saintly, the beautiful, the cruel, the versatile, the intense, the gay, the brilliant, the weary, the sad-coloured, everything but the dull, delights him. From religion, philosophy, poetry, art, Nature, human life, he summons what is rich and strange. He delivers it in choicest language because it has to be worthy of his own choicest moments of enjoyment. For here also he is an eclectic, ignoring the ordinary, the dull, the trite.”
― Edward Thomas, Walter Pater

“Self-restraint, a skilful economy of means, ascêsis, that too has a beauty of its own; and for the reader supposed there will be an aesthetic satisfaction in that frugal closeness of style which makes the most of a word, in the exaction from every sentence of a precise relief, in the just spacing out of word to thought, in the logically filled space connected always with the delightful sense of difficulty overcome.”
― Walter Pater, Appreciations, With an Essay on Style

“Possessed of an absolute belief that there exists but one way of expressing one thing, one word to call it by, one adjective to qualify, one verb to animate it, he [Flaubert] gave himself to superhuman labour for the discovery, in every phrase, of that word, that verb, that epithet. In this way, he believed in some mysterious harmony of expression, and when a true word seemed to him to lack euphony still went on seeking another, with invincible patience, certain that he had not yet got hold of the unique word.... A thousand preoccupations would beset him at the same moment, always with this desperate certitude fixed in his spirit: Among all the expressions in the world, all forms and turns of expression, there is but one—one form, one mode—to express what I want to say.”
― Walter Pater, Appreciations, With an Essay on Style

“As in living creatures, the blood, nourishing the body, determines its very contour and external aspect, just so, to his mind, the matter, the basis, in a work of art, imposed, necessarily, the unique, the just expression, the measure, the rhythm—the form in all its characteristics.

If the style be the man, in all the colour and intensity of a veritable apprehension, it will be in a real sense "impersonal.”
― Walter Pater, Appreciations, With an Essay on Style

“The more we know of any man the more singular he will appear, and nothing so well represents his singularity as style. Literature is further divided in outward seeming from speech by what helps to make it in fact more than ever an equivalent of speech. It has to make words of such a spirit, and arrange them in such a manner, that they will do all that a speaker can do by innumerable gestures and their innumerable shades, by tone and pitch of voice, by speed, by pauses, by all that he is and all that he will become. ' Is it wonderful,' asks Newman, after quoting Shakespeare's lines on the 'poet's eye in a fine frenzy rolling ' and * the poet's pen ' giving ' to airy nothing a local habitation and a name ':

'Is it wonderful that that pen of his should sometimes be at fault for a while � that it should pause, write, erase, re -write, amend, complete, before he satisfies himself that his language has done justice to the conceptions which his mind's eye contemplated?

‘In this point of view, doubtless, many or most writers are elaborate ; and those certainly not the least whose style is furthest removed from ornament, being simple and natural, or vehement, or severely business-like and practical. . . .”
― Edward Thomas, Walter Pater

“The only certainty was that minutes led to hours, hours to days, and days to patterns of life. That was the math behind every bad case he'd ever worked. Small decisions. The wrong step. After that, it was all about the road.”
― John Hart, The Unwilling

“We do not dislike everything that shines, but we do prefer a pensive luster to a shallow brilliance, a murky light that, whether in a stone or an artefact, bespeaks a sheen of antiquity. Of course this 'sheen of antiquity' of which we hear so much is in fact the glow of grime. In both Chinese and Japanese the words denoting this glow describe a polish that comes of being touched over and over again, a sheen produced by the oils that naturally permeate an object over long years of handling - which is to say grime. If indeed 'elegance is frigid', it can as well be described as filthy.”
― Junichiro Tanizaki, In Praise of Shadows and Other Essays

“Women have been using style, color and shape for centuries for our self-expression and identity. At times we may not have held a voice, our lips were still painted red.”
― Emily Swisher, STABLE: A Therapist and the Healing Nature of Horses

“There is no such thing as prose. There is the alphabet, and then there are verses which are more or less closely knit, more or less diffuse. So long as there is a straining toward style, there is versification.”
― Stéphane Mallarmé

“A kilt swings with the wind and stands firm in spirit—Scottish soul in every fold.”
― Haider Ali Bajwa

“A man in a kilt carries his heritage on his hips and courage in his heart.”
― Haider Ali Bajwa

“Today American men may claim to be individuals, but most of us aren't. Our personalities muted by confusion and cultural strife, we dress like ten-year-olds in cargo shorts and flip-flops.”
― Alton Brown (Author)