Modal harmony, if that's the proper term for it, is a complicated thing for me. It seems like the term "progression" would imply progress toward or away from something, which would be the tonic. So I'm going out on a limb to guess that the chords still function the same ( like five, four, one would still be a closing cadence ) even if the chords themselves were changed from major to minor or vice versa.
The one, anyway would still function as a one whether it was major or minor. In ionian, lydian or mixolydian the one is major; in dorian, aeolian and whatever you call that one based on the third note, the one is minor. So each mode has it's own diatonic chords (chords that only use notes found in that mode). It helps me keep them straight if I group them by key signature. So, C major, D dorian, F lydian, G mixolydian etc all have the same notes ( being relative modes ) therefore they would all have the same chords. D minor chord, for instance would be the minor ii in C, it would be the minor i in D dorian, it would be the minor vi in F lydian, and the minor v in G mixolydian.
I am finding out what works for me by trial and error. Some rules of thumb that I have found are: in mixolydian you get to use a major chord based on the flat 7th ( F major in the mode of G mixolydian ), and in lydian you get to use a major chord based on the 2nd ( D major in the mode of C lydian).