I do remember the CNC machines and spaces for the logos and what-not being cut into the headstock. The toxicity, as Banjomike notes, may be the reason we didn't see any inlay being done.
Except for the soundhole rosettes -- which looked like shell or MOP -- being laid in in strips. Maybe it was some kind of synthetic material?
Those strips are almost always abalone. They come accurately pre-cut, but may need minor trimming, mostly on the ends, for the best fit with another piece. End clippers work the best for that job, and the clippers don't create enough stray particles to be harmful. Neither does some minor sanding to smooth a tiny rough spot that happened when the material was cut.
These days, the CNC (and other cutting machines) do this work so cleanly and accurately that it's cheaper for the guitar companies to buy their inlays from specialists rather than making them in-house.
The only hand-cut pearl I see nowadays is work done by folks like Grit Laskin and a few others who are truly genuine artists, and are using their chosen medium. All of them I know of don't exclusively use shell; they'll use modern synthetic materials, exotic woods, gold & silver wire, and other stuff too. Like a painting, the best inlayers always work using contrasts in their inlays.
Canada is home to a bunch of them, including Raskin.
...and typically, those inlays only go on outstanding and super-expensive guitars, totally small-shop outfits with a 5-figures as their starting point.
Sold and appreciated as objects d'art, the modern equivalent of the Fabregé eggs the last Russian Czar purchased over 100 years ago at the dawn of the 20th century. No owner ever plays them past the very first time; one strum, just to make sure the guitar sounds as good as it looks, and that's all the playing it ever gets.