Basically, modes:

Scales + common practise of how to use them = modes
A scale itself is just like an alphabet, you can write anything with it, but a mode is like a genre, there are recipes when using them, a form, a structure, habits, principles and restrictions, which reflects the musical styles of their time.

Church modes are the most well known and founded modes. And of course, the piano organisation arised from them and not the other way around.

Not all those arising on the piano are used frequently in Western music, e.g. Locrian has a diminished fifth and thus no working tonic. Yet you may hear some moves in techno, goa and industrial basses.

The phrygian mode, ditto, you need to go to spain, eastern europe or middle east to find its most frequent uses.

Aeolian and mixolydian are pretty nordic sounding, mainly because the seventh degree is major, which works perfectly as both a destination for modulation and as cadance VII-i or VII-I.

Lydian is called the film music mode.

Ionian and aeolian are our standard major and minor.

However, we have also practise attached to our use of scales today, e.g. raising the seventh degree of an aeolian or mixolydian scale to get a major dominant V-i or V-I at end points (cadences) and a lead tone from the dominant’s third to tonic of the mode. These are thus chromatic alterations of the original modes.

Kindly
Gothi