There's a graphic illustrating the typographic homogenization of a bunch of fashion houses in the late 2010s early 20s like you described in the article below. It's come full circle and there's been a return to maximalism and signaling heritage/legacy among some brands. Largely, I think, as a reaction to ever-accelerating trend cycles, planned obsolescence, the cursed nature of millenial targeted d2c brands and especially the looming specter of big tech - all of which have some sort of association with the clean, cool/pastel, sans-serif, minimalist kind of vibe.
replyhttps://www.designandpaper.com/they-are-calling-it-a-sans-se...
Oh, very neat! I'd noticed the Burberry abandonment of that style and looking far downmarket the Cracker Barrel rebrand to less baroque style failed as well. I hadn't noticed it was so widespread. It's funny. I still like the minimal style but I'm old now so maybe that's how it goes.
replyAt least Geist looks nice. Corporate Memphis has always been ugly, beyond ugly even, its an insult to aesthetics itself, an insult to all of life.
replyHaha, I agree. I always thought Corporate Memphis people looked extraordinarily fat. The colours chosen to accompany were always rather jarring too. But then again, I won't claim to be much of an artist. My wife was at Figma's conference "Config" and their visual design also looks awfully jarring to me. Scroll to the bottom here: https://config.figma.com/
replyIt seems that others like that though.