5 Minutes with… Dan Noller
Growing up in the North-West of England during the '80s and '90s, Dan Noller found inspiration in the region’s cultural renaissance, which planted the seeds for his inventive approach to problem-solving. After studying Graphic Arts at Liverpool John Moores University, a chance discovery of the D&AD Annual sparked his fascination with advertising. From his early days crafting standout work at a small agency to working on high-profile campaigns for brands like BT and Unilever in London, Dan has built a career defined by curiosity, ingenuity, and an unwavering drive to make ideas that truly connect.
Now executive creative director at McCann Manchester, Dan is as passionate about nurturing talent as he is about breaking new ground. Known for his collaborative spirit and ability to inject energy into everything from Christmas icons to culture-savvy stunts, he has a knack for bringing out the best in his team while producing work that resonates with audiences and delivers results. His enthusiasm for exploring untapped potential extends to mentoring diverse young creatives, challenging industry norms, and pushing the boundaries of what advertising can achieve.
In this conversation with LBB’s Alex Reeves, Dan talks about his career, the creative philosophies that guide him, and why he believes the future of advertising is about emotion, innovation, and inclusivity.
LBB> Where did you grow up and how do you think that shaped you?
Dan> I grew up in the North-West in the ‘80s and ‘90s in a fairly normal working-class family. My mum was a single parent for the most part, and I was the youngest of three kids. Growing up in this environment taught me so much that I now use daily – work ethic, determination, and a proper understanding of how the vast majority of the UK lives. At the time, Manchester was also having a cultural renaissance and built a real identity around creativity. That must have unknowingly seeped in and influenced me, as "why not consider a career in the creative industries" wasn’t something you’d hear said in my house.
LBB> You say you were one of those who fell into advertising rather than actively pursuing it. How did that happen?
Dan> The truth is, I didn’t even realise it was someone’s job. Ads seemed like things that just appeared somehow. It wasn’t until on a design course that I found a big yellow book in the library called the D&AD Annual, and something just clicked. I realised that there were roles where people created strategies and ideas before the design craft phase even begins. This made it feel like one big puzzle game – finding the answers hidden in every brief. I still have that approach; I’m very much a problem-solver type of creative.
LBB> What was a project early in your career that helped shape your perspective on creativity?
Dan> After finishing uni, my first job was at a tiny three-person design agency. I had the opportunity to create a piece of direct mail for NSPCC. They were expecting a simple letter, but I put everything into it and created a mailer that, when pulled out of the envelope, ripped and left a third of the letter inside to illustrate the number of calls left unanswered due to a lack of donations. Seeing an idea that fell out of my head come to life was brilliant and gave me the confidence that maybe I could do this. Suddenly, I was selling my things and living in a flat in Walthamstow (before it was trendy), trying to land a job at an agency that did this kind of work regularly.
LBB> What sort of creative work do you most admire and want to achieve for your own clients?
Dan> I don’t have a hierarchy of value regarding creative ideas that exist in one space versus another. I just want to see thinking that takes big creative leaps and that evokes emotion. Sometimes it’s a TV ad, sometimes it’s a product, and sometimes it’s a meme. The opportunities for brands to communicate has grown drastically in the past 15 years, there’s seemingly endless ways to reach people. Ultimately, it’s a dogfight for attention, and brands finding innovative ways to be part of people’s lives is the game. That’s what I encourage all our clients to lean into.
LBB> What was it like returning to the North to work at McCann after over 15 years in London?
Dan> It was brilliant! It feels a bit like being part of a club. In London, everyone was intensely competitive, it often felt like agencies were wishing each other to fail as much as they wanted to succeed. Oddly, up here, I feel a sense of pride when I see someone else produce great work. I was especially fortunate to move to McCann, where we have the most incredibly talented creative department – something people often don’t expect outside the M25, but trust me, they’re amazing, it makes my job a lot easier.
LBB> Can you talk about Aldi and Kevin the Carrot's place in the nation's hearts? It has become such a phenomenon that it's gone beyond Christmas. What’s the key to maintaining that?
Dan> Kevin is a brilliant example of a distinctive asset created for the public rather than advertising juries. Sure, he’s never won a Pencil or a Lion, but he’s crashed the Aldi website with 80,000 people trying to buy toy carrots, published six books, and my kids get excited when I show them the ads. That’s what it’s all really about – how the non-advertising lot connects with your ideas.
In terms of maintaining his success, it’s all about growth. As Kevin’s narrative and place in culture has evolved, that’s allowed us to creatively lean into showing up in unexpected ways – like merch, DJing at a festival or doing cameos for charity like a bona fide celebrity. Understanding your brand's place in people’s lives and where you can or should show up is imperative to its success.
LBB> What other projects have you been most proud of recently, and why?
Dan> The ‘Fake Moss’ stunt we did last year at the Chanel Fashion Show in Manchester holds a special place in my heart. It showcased our social team (McCann Content Studios) at its best – a small, tightly-knit client, agency and production collaboration who fully understood the brand, the cultural moment, and how to engage the audience in a fresh way. We turned it around in a matter of days and it really landed with people, trending above the actual event at one point. It also felt particularly satisfying when colleagues at the agency fell for it, hook line and sinker.
LBB> Can you tell us about your work with CMN and other organisations trying to help people from different backgrounds find their way into the creative industry?
Dan> Yes, I was a mentor with Creative Mentor Network, an amazing charity that helps introduce young people from diverse backgrounds to the world of advertising. So many people (myself included) grow up unaware that this industry exists. Whatever your interests or skill set, there’s pretty much a role you could fit into, and I think that’s great.
We have a similar partnership at McCann with Bauer. We’ve actually just welcomed four apprentices into our creative department. They don’t fit the traditional mould of art director and copywriter creatives, and we’re not about to force them into that. But watch this space; we’re excited to see where it goes.
LBB> If a brand were to advertise successfully to you as an individual – not as someone in advertising – what would it do?
Dan> Get my attention and give me something to talk about.
LBB> What’s got you fascinated or inspired in culture right now?
Dan> I have two young boys, aged three and six, so we’re constantly watching or reading together. For me, there’s a lot of inspiration to be drawn from how we communicate with children – taking big, complex subjects and elegantly simplifying them in a way that still makes for brilliant entertainment. Whether we’re reading a version of Stephen Hawking's theories of space and time for a three-year-old or watching ‘Inside Out 2’ to help them better understand their emotions, it’s amazing to see the effect it has on them. Each of these examples truly appreciates the audience and communicates effectively. When I think of our job as advertisers, there are valuable lessons we can learn from this.
