Your question seems to be based on several unstated assumptions. A common one (though I can only guess, since the assumptions are implied rather than stated) is that every preamp has a certain sonic "character" or "signature", and this character should be balanced by choosing microphones that have an opposing / contrasting "character" or "signature". At least, that's how I've seen this viewpoint expressed most often.
To me, though, that outlook seems to take a problem "for granted" and treat it as unavoidable, in the same way that certain diseases were taken for granted before we understood their causes and prevention. I don't mean to make light of the fact that many people today still die of preventable illnesses. I just want to say that our outlook, and our consequent actions, ought to change when we have a reasonable understanding of what causes a thing.
Microphones that have higher output impedance, and/or an output impedance that varies significantly across the audio range, interact with the preamps they're used with (and sound quality is affected by that interaction) much more than microphones do if their output impedance is lower and more constant across the frequency range. And preamps that have lower input impedance, and/or input impedance that varies significantly across the audio range, interact with (and sound quality is affected by that interaction) far more than other preamps do if their input impedance is higher and more constant. That can be understood very easily from Ohm's Law: Differing amounts of the signal voltage are "dropped" in the preamp's input impedance at different frequencies, as a kind of voltage divider effect. When these interactions occur, the signal effectively has frequency-selective filtering applied to it before it gets into the preamp circuitry per se.
The problems occur much more with dynamic microphones (including ribbons, which are a kind of dynamic microphone) than with condenser microphones, provided that the input impedance of the preamp is reasonably high and constant (not like the old, old days of 600 Ohm output AND input impedance for tube/transformer studio equipment). The idea of the recording engineer as as chef, for whom the knowledge of which-preamps-go-with-which-microphones was like the skill of using seasonings, got its start before the solid-state era when condenser microphones were extremely expensive and hard to obtain, and ribbon and other dynamic microphones were almost universally used, even in high-ticket professional applications, with preamps that often still had 600 Ohm input impedance (a standard left over from the 1920s, which still had some force 50 years later when I started recording professionally).
Some calculable / measurable "interface losses" always occur, so this is a question of degree. Modern condenser microphones have nearly constant, low (often well below 100 Ohms) output impedance across the audio spectrum, so they aren't nearly as vulnerable to sound-coloring interactions with preamps. And preamps don't need to have input transformers with high turns ratios any more, which create "iffy" loading situations especially at high frequencies.
Thus by choosing your equipment with minimal attention and care, you can sidestep this whole forest of issues. And this is looking only at one aspect of the problem; distortion is another; preamps designed to have a particular sound coloration for marketing purposes are yet another. Again, all these problems are truly optional at this point, and most modern engineers long ago took the Nancy Reagan option ("just say 'no'") because we have better things to do with our limited time and mindspace. To me and a lot of other engineers, if a preamp has an identifiable "sound" of its own (and especially if it might or might not, depending on which mikes I might use it with), I'd prefer some other preamp that doesn't involve me in such unnecessary complications.
--best regards