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Minimalism has been declared over roughly once a year for a decade, usually by someone showing a maximalist portfolio site. The declarations keep being wrong, and not because the aesthetic is fashionable. They are wrong because minimalism was never mainly an aesthetic.
Attention is the one input every brand is buying with the same currency, and the supply has not grown. A page that makes its case in six seconds is not competing on taste with a page that takes thirty. It is competing on whether the reader is still there.
That is why clarity outlives the style it arrives in. The typefaces change, the palettes change, the illustration conventions change every eighteen months — and the advantage of being understood does not.

Adding is easy and feels like progress. Removing requires knowing what the page is for, which is a harder thing to be sure about and a much harder thing to defend in a meeting.
The third question is the productive one. Most bloated pages are not design failures; they are org charts rendered in HTML.
An empty page is what happens when nothing was decided. A minimal page is what happens when a great deal was decided and most of it was decided against.
Work built on fashion has to be redone when the fashion turns, and the turn is never scheduled. Work built on hierarchy, spacing and honest type keeps functioning through several cycles of taste, which is worth more to a brand than any single season of looking current.
Spend the budget on structure and the last ten per cent on personality.
The personality can be replaced cheaply later. The structure cannot.
Minimalism still matters because the problem it solves has not gone anywhere. There is more noise every year, not less, and the brands people remember are still the ones that were willing to say one thing and mean it.