In a pivotal legal development, singer La Roux has confirmed model Jennifer An’s sexual assault allegations against Kanye West from a 2010 music video shoot, calling the incident “horrific” in newly filed court documents that also include corroborating witness testimony and reveal West’s free speech defense strategy.
The 2010 Assault Allegations Unfolded
Jennifer An, a finalist on America’s Next Top Model in 2009, filed a lawsuit in 2024 against Kanye West over events on the set of La Roux‘s “In for the Kill” music video at New York’s Chelsea Hotel in September 2010. The complaint describes West, who was meant to film a cameo, seizing creative control and committing violent acts against An while cameras rolled.
Key allegations include West choking and strangling An first with one hand, then both hands, smearing her makeup, and forcing his fingers down her throat to simulate oral sex while screaming, “This is art. This is f—ing art. I am like Picasso.” An claims she struggled to breathe and temporarily blacked out during the ordeal [AOL].
La Roux Breaks Silence with Direct Support
The lawsuit gained significant traction with the inclusion of Instagram direct messages between An and La Roux (Elly Jackson), filed on March 10, 2026. In these exchanges, Jackson unequivocally backs An’s account, stating, “I could never forget that, it was horrific. How can I help?”
Jackson, who was present on set, revealed she had never viewed the footage but insisted it never be released out of concern for An and her family. She offered to provide her own eyewitness account, writing, “I have no problem being honest about what I saw.” Jackson also admitted she wanted to speak earlier but felt it was An’s story to tell, and disclosed that West later threatened her career to force a written apology [People].
Makeup Artist Corroborates the Assault
Further strengthening An’s case, Liz Martins, La Roux’s makeup artist that day, submitted a sworn statement detailing the assault. Martins described West clearing the set except for An, then forcefully inserting fingers into her mouth and commanding, “Suck on them,” while gagging her.
“Everyone on set was shocked and nervous to step in because of Kanye’s influence. Afterwards, Jenn was crying and I heard her repeatedly say, ‘My mom is going to see this. I don’t want my mom to see this,'” Martins stated, asserting that West targeted An because she is female [People].
West’s Free Speech Defense Sparks Outcry
West’s legal team has moved to dismiss the suit, arguing his actions constituted protected “expressive” art. A January filing claims: “The emulation of sexual violence for artistic purposes is not itself sexual violence, and the presence of physical contact in a staged performance does not transform expressive conduct into a crime.”
This argument has been widely criticized as an attempt to weaponize artistic freedom to shield alleged violence, setting a dangerous precedent for accountability in production environments [People].
Why This Case Resonates Beyond the Courtroom
This lawsuit transcends a single incident, highlighting systemic issues of power and consent in the entertainment industry. Kanye West‘s history of controversial behavior adds weight to these allegations, while La Roux’s involvement—she rose to fame with hits like “Bulletproof”—brings a personal dimension from a fellow artist who witnessed the aftermath.
For fans of La Roux’s music, the “In for the Kill” video is an iconic piece of early 2010s pop culture; these revelations force a reevaluation of its creation. The case also underscores how survivors, especially women in modeling and music, often face daunting obstacles in speaking out against powerful figures.
With La Roux and a makeup artist both supporting An’s narrative, West’s defense rests on a tenuous legal theory that many see as a gross misinterpretation of artistic expression. The outcome could influence how similar claims are addressed in creative industries moving forward.
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