Well, different folks see this different ways… I just do not see what that buys you over knowing the notes in the key (or indeed mode) that the music is in, playing within that key / mode, and — when it’s appropriate — focusing on chord notes. And I haven’t had to fill my head with 7 different names for modes which don’t even cover all possible scales…
Anyway you chords = modes guys keep doing what makes you happy: but for the OP or other people interested in it, remember its a possible approach but it’s not the One True Way (& neither is my scale / key / mode of the piece approach either, I know!).
I’m no “chords = modes” guy. The OP was/is confused.. so I simply shared what helped me understand what they are. To me, without understanding the chordal resolutions and implications then I was failing to be able to actually use this stuff. Without the harmony it’s not really a mode, just a scale alteration that maybe suggests of a mode.
You don’t have to learn anything, or memorize names of anything if you don’t want to. Ultimately it should be about playing what you hear inside.