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Dressing one person is a decision. Dressing four so they belong in the same photograph without looking like a uniform is a different problem, and it is normally solved by trial and error in a shop with everyone present and unhappy. Here the whole group is dressed at once, on your own photo of them.
Coordinated, matching or complementary. This is the choice that decides whether the photo reads as a family or as a team, and it is the one most people get wrong in the same direction — too matched.
The same range as single outfits: casual through quiet luxury and streetwear, for everyday, a wedding, travel or something formal, in a season and a palette that holds the group together.
A shared palette in different garments reads as intentional. Identical garments in different sizes reads as a school trip.
Groups photograph better when one person carries the strongest colour and everyone else supports it.
Everyone in one frame, full length, against a plain wall, standing slightly apart so nobody is hidden, in daylight. Children move — take several and pick the one where all the faces are visible. The result is one image with everyone dressed, which is also what makes it useful to send round the family before anybody buys anything.
Family dressing has a constraint single dressing does not: the same idea has to work on a toddler, a teenager and two adults, and the teenager has opinions. A palette survives this better than a garment does — everyone can be found something in warm neutrals, nobody has to wear the same shirt. Seeing the whole group dressed at once makes it obvious when one person has been asked to carry an idea that suits nobody.
A family photo is looked at for decades, which is an argument for restraint. Loud seasonal themes date fastest; plain colours and simple shapes date slowest. It is also an argument for comfort — children look how they feel, and a stiff outfit shows in every frame no matter how good it looked on the hanger.