can be traced back to the Paleolithic era through artifacts which use basic forms like triangles and circled dots. Later forms were more complex and highly varied, including scrolls and curlicues, heart shapes, and plant motifs. It has been suggested that these more complex motifs may have come from contact with First Nations peoples. There are even examples of beadwork on parkas from the early 20th century that represent complex images like faces and sailing ships. Beginning in the 1950s and 1960s, the designs on fur inserts used for became increasingly elaborate, and by the 1980s were incorporating designs drawn from modern culture. Jill Oakes and Rick Riewe describe the increased variety: "a larger number of intricate insets were used, including animals, flowers, logos, letters, hockey team names, people's names, community names, snowmobile brand names, and political concerns." Women's designs have traditionally been placed horizontally as a band around the top of the shaft, while motifs on men's have traditionally been placed vertically down the shaft of the boot. Beadwork Beadwork was generally reserved for women's clothing. Before European contact, beads were made from amber, stone, tooth, and ivory. Beginning in the 1700s, European traders introduced trade beads: colourful, highly prized glass beads that could be used as decoration or to trade for other valuables. The Inuit referred to these beads as ("precious stone"). The Hudson's Bay Company was the largest purveyor of beads to the Inuit, trading strings of small seed beads in large batches, as well as more valuable beads such as the Venetian-made Cornaline d'Aleppo, which were red with a white core. Access to trade beads increased significantly in the 1860s, and by the early 20th century, many Inuit groups had developed distinct and elaborate styles of beadwork. Sections of strung seed beads were used as fringe or stitched directly onto the hide. Some beadwork was applied to panels of skin, which could be removed from an old garment and sewn onto a new one; such panels were sometimes passed down through families. Driscoll-Engelstad describes a style typical of the eastern Arctic, where long strings of beads in horizontal bars were draped across the chest. In the central Arctic, beads were set on parkas in the areas where fur insets and skin fringes had traditionally been placed; some of these patterns echoed traditional tattoo designs. Elaborately beaded and embroidered can take weeks or months to make. Because