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The Widows of Culloden (Scottish Gaelic: Bantraich de cuil lodair) is the twenty-eighth collection of the British designer Alexander McQueen, made for the Autumn/Winter 2006 season of his eponymous fashion house. Widows was inspired by his Scottish ancestry and is regarded as one of his most autobiographical collections. It is named for the widows of the Battle of Culloden (1746), often seen as major conflict between Scotland and England. Widows makes extensive use of the McQueen family tartan and traditional gamekeeper's tweeds, as well as other elements taken from Highland dress. Historical elements reflected the fashion of the late Victorian era and the 1950s.

The collection's runway show was staged on 3 March 2006 during Paris Fashion Week. It was dedicated to Isabella Blow, McQueen's friend and muse. The show marked a return to theatricality for McQueen, whose shows in the preceding two seasons had been comparatively conventional. Widows was presented on a square stage with a glass pyramid at its centre. Fifty-one ensembles were presented across roughly three phases, ending with a Pepper's ghost illusion of English model Kate Moss projected within the glass pyramid.

Critical response was positive, especially towards McQueen's tailoring and the collection's balance of artistry and commercial practicality. The show is since regarded as one of McQueen's best, with the illusion of Kate Moss regarded as its highlight. Ensembles from Widows are held by various museums and have appeared in exhibitions such as the McQueen retrospective Alexander McQueen: Savage Beauty. The Widows of Culloden collection and show, especially the Kate Moss illusion, have been extensively analysed, especially as an exploration of gothic literature in fashion. Widows is frequently discussed with McQueen's first Scottish-themed collection, Highland Rape (Autumn/Winter 1995), whose runway show was highly debated in the fashion world.